The Presto Scherzando from Haydn’s string quartet in D Major, Opus 20 No. 4, performed on original instruments by the New Esterházy Quartet. Live, HD video from the Voices of Music “Saturday Night at the Movies” event, January, 2014. Founded in 2006 and currently in its ninth year of concerts in San Francisco, Berkeley and Palo Alto, the New Esterházy Quartet continues to present masterworks of the classical period alongside intriguing works from less-familiar composers. With Haydn’s sixty-eight string quartets as its core repertoire, NEQ is increasingly recognized as one of the world’s top period-instrument string quartets. http://www.newesterhazy.org
Lisa Weiss & Kati Kyme, violins Anthony Martin, viola William Skeen, violoncello Every year, Voices of Music offers our colleagues a free day of video recording, in order to represent the wide variety of Early Music performances both locally and worldwide. We hope you enjoy our video of the New Esterházy Quartet.
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Handel’s aria, “Dove sei, amato bene” from the opera Rodelinda HWV 19. Live, 4K video from our award winning Musical Labyrinth concert, December, 2019. Christopher Lowrey, countertenor Voices of Music Hanneke van Proosdij & David Tayler, directors Dove sei, amato bene! Vieni, l’alma a consolar Sono oppresso da’ tormenti ed i crudeli miei lamenti sol con te posso bear. Dove sei… —Nicola Francesco Haym Where are you, beloved? Come console my heart! I am beset by sorrow, And my cruel grief I can only bear with you. Where are you… Copyright Voices of Music 2019
The aria Gelido in ogni vena from Vivaldi’s opera Farnace. Live, 4K video from the Voices of Music “Harmonic Labyrinth” concert, December, 2019. Chirstopher Lowrey, countertenor. Vivaldi borrows lavishly from his “Winter” concerto from the Four Seasons for the introduction and ritornelli. The trills in the repeated notes are not notated in the manuscript, and are typically not performed nowadays, but in Vivaldi’s time everyone in the orchestra would have known to add the trills for the “Frozen” effect–an effect that by then had been widely used by composers all over Europe, and so they are presented here. One of Vivaldi’s finest works. The manuscript is unusual for the rich layer of carefully notated ornaments for the voice–clearly, Vivaldi had a skilled soloist in mind, possibly the contralto Maria Maddalena Pieri. Text and translation:
Gelido in ogni vena (Il Farnace) Scorrer mi sento il sangue L’ombra del figlio esangue M’ingombra di terror E per maggior mia pena, Credo che fui crudele A un’anima innocente, Al core del mio cor —Antonio Maria Lucchini I feel my blood like ice Coursing through every vein. The shadow of my lifeless son Is a burden of terror. And to make my agony even worse I realize that I was cruel To an innocent soul To the heart of my heart