Oxford Philharmonic Orchestra

Haydn: The Creation

The Sixth Day: Accompanied Recitative (Uriel)

The Sixth Day: Duet and Chorus (Eve, Adam)

The Sixth Day: Recitative (Adam, Eve)

The Sixth Day: Duet (Adam, Eve)

The Sixth Day: Recitative (Uriel)

The Sixth Day: Chorus (II)

Introduction (Representation of Chaos)

Air (Uriel) and Chorus

Recitative (Raphael)

Solo (Gabriel) and Chorus

Air (Raphael)

Recitative (Gabriel)

Air (Gabriel)

Recitative (Uriel)

Chorus

Accompanied Recitative (Uriel)

Accompanied Recitative (Gabriel)

Trio (Gabriel, Uriel and Raphael)

Trio and Chorus

Accompanied Recitative (Raphael)

Air (Uriel)

Chorus I

Trio (Gabriel, Uriel, Raphael)

Chorus II

Marios Papadopoulos

Mozart: Symphonies Nos. 40 & 41 'Jupiter'

Marios Papadapoulos

Symphony No. 41 in C Major, K. 551: IV. Molto allegro

Paul Merkelo

The Enlightened Trumpet

Mats Lidström

Vladimir Ashkenazy

Vladimir Ashkenazy and Mats Lidstrom began their collaboration in London in the 1980s, during Ashkenazy’s tenure at the Royal Philharmonic Orchestra where Lidstrom was principal cellist. They have since appeared together in concert as well as on recordings, including a recording of concertos by Kabalevsky and Khachaturian on BIS. They are here reunited, in front of the Oxford Philharmonic Orchestra, in a performance of what has become a true modern classic: Dmitri Shostakovich’s Cello Concerto No. 1. The concerto was composed in 1959, during the so-called Khruschev Thaw, but even though Soviet censorship and repression had relaxed somewhat following the death of Stalin, the approval from the mighty Composer’s Union was still needed before any public performances could take place. When the concerto was performed before the Union’s committee, Vladimir Ashkenazy – then in his early twenties – was present and has recounted how nervous and uncomfortable Shostakovich appeared while observing the reactions of the committee. The release opens with Mats Lidstrom’s own Rigoletto Fantasy, based on Verdi’s opera. Inspired by virtuosic violin pieces such Sarasate’s Carmen Fantasy, and with professional experience from the orchestra pit of the Royal Swedish Opera, Lidstrom has selected a string of highlights from Rigoletto, including of course the Duke’s La donna è mobile and Gilda’s Caro nome, joining them together in a virtuosic, dramatic and moving narrative.

Haydn: The Creation

歌曲列表

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