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1. Opera Rara highlights

Opera Rara highlights

Some of our very favourite highlights from the Opera Rara catalogue

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2. 05 La Straniera, Opera - Act II - 5

05 La Straniera, Opera - Act II - 5

'E sgombro il loco...' - Patrizia Ciofi, Dario Schumnck, London Philharmonic Orchestra, David Parry (conductor)

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4. 02 Emma D' Antiochia, Opera- In Quest'ora Fatale E Temuta'

02 Emma D' Antiochia, Opera- In Quest'ora Fatale E Temuta'

'In questa ora fatale' - Nelly Miricioiu, Philharmonia Orchestra, David Parry (conductor)

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5. 03 Rosamonda D'Inghilterra, Opera- Torna, Torna Or Caro Oggetto

03 Rosamonda D'Inghilterra, Opera- Torna, Torna Or Caro Oggetto

'Torna, torna o caro ogetto' - Renee Fleming, Philharmonia Orchestra, David Parry (conductor)

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6. 08 Zaira, Opera- Sommo Dio

08 Zaira, Opera- Sommo Dio

'Sommo Dio' - Aria of Zaira (Peter von Winter) - Diana Montague, Academy of St Martin in the Fields, David Parry (conductor)

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7. Opera Rara recordings

Opera Rara recordings

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10. Belisario - Showcase - Track 8

Belisario - Showcase - Track 8

'Quando di sangue tinto' - Nicola Alaimo, Russell Thomas, BBC Symphony Orchestra, Sir Mark Elder

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11. Tu l'amor mio, tu liride' - Caterina Cornaro

Tu l'amor mio, tu liride' - Caterina Cornaro

'Tu l'amor mio, tu l'iride' - Carmen Giannattasio, Colin Lee, BBC Symphony Orchestra, David Parry (conductor)

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12. 01 Track 1 - L'amor conjugale

01 Track 1 - L'amor conjugale

'L'amor conjugale' - Eiddwen Harrhy, Philharmonia Orchestra, David Parry

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14. 05 Carlo Di Borgogna ORC21 CD1 - 5

05 Carlo Di Borgogna ORC21 CD1 - 5

'Vinsi o popoli' - Bruce Ford, Academy of St Martin in the Fields, David Parry (conductor)

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15. Opera Rock El Eter Nauta - Netlabel Day 2016. Casa Rara Release 0008 -

Opera Rock El Eter Nauta - Netlabel Day 2016. Casa Rara Release 0008 -

Opera Rock El Eter nauta El Buque Rabdomante: Araceli N. Matus: Piano, teclado y voz. Luis A. Alesio: Batería y voz en tema 2. Luis J. Sayago: Guitarra, bajo y voz. Invitados: Germán Cotonat: Voz en tema 3, efectos interludios. Gabriel Somma: Voz en tema 1 y 10. Matrías Fazioli: Voz en tema 2 y 7. Ricardo Vito Cafici: Voz en tema 1, 4, 8, 9. Germán Cotonat: grabación, mezcla y masterización. Producido por El Buque Rabdomante y Germán Cotonat. Grabado entre Octubre de 2012 y Marzo 2013 en Planta Baja Studio. Buenos Aires, Argentina. Adaptación letras: Luis A. Alesio. Música: Luis J. Sayago. Ópera Rock basada en la obra “El Eternauta” de Héctor Germán Oesterheld. Contacto: https://www.facebook.com/ElBuqueRabdomanteLaOdisea/ [email protected] [email protected] Mas discos del ciclo Netlabel Day 2016: http://casararanetlabel.com.ar/netlabel-day-2016-discos/ Info sobre Netlabel Day 2016: http://casararanetlabel.com.ar/netlabel-day-2016/ Entrevista a Manuel Silva Creador del Netlabel Day http://casararanetlabel.com.ar/netlabel-day-entrevista-a-manuel-silva-mist-records/ Ver Netlabels de Argentina http://casararanetlabel.com.ar/netlabels-argentina/ http://casararanetlabel.com.ar/ http://netlabelcasarara.com/

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16. Racionais MC´s - Mulher Elétrica

Racionais MC´s - Mulher Elétrica

Ela chega, Ela olha, Ela bate um flash, Ela invade a pista e ninguem se mexe Ela dança, Ela ri, Ela quer curtir, quer amar, quer beijar quer se divertir Ela manda, Ela pode, Ela é quem faz, Ela é funk, Ela é samba, Ela é mais mais mais Ela é Dolce & Gabbana, Ela é Louis Viton, Ela é Madureira, Ela é Kingston, Ela é Barra Funda, Ela é Bela Vista, reflete no globo ilumina e pista, Ela é... Ela é preta na cor loira no cabelo, Ela é 1 hora e meia em frente ao espelho, Ela é... Ela é Naomi, Ela é Clara, é Nunes, é Dona Summer, Rosa, é Sônia, Ela é Tereza, Ela é Ana, Ela é Glória, Ela é bem Brasil, me engana que eu gosto ela tem tristeza balança o swing rara beleza, Ela é... Onde vai...? Mulher Elétrica Mulher Elétrica 3000 volts Ela é frenética hipinotizou Haaaau Maquiavélica me atraiu Onde vai...? Mulher Elétrica Mulher Elétrica... 3 da manhã, Ela é só suor, Ela flerta, Ela causa, Ela é mó B.O. Ela é manta, é nagô, é ioruba, Ela é vingativa, Ela é de mata !!! Ela canta, Ela chora, Ela multa, Ela compra, Ela bebe e malandro paga, Ela... E a festa não acaba... uns 10 na fita e eu também... se vai vai, vem vem... Ei DJ toca Mary Jane, que Ela dança, Ela ri, Ela quer curtir, quer beijar, quer amar, Quer se divertir... Ela é zica na cena, Ela é glamour, Ela é ie ie ie ie, ou ou ou ou... D I S C O ela é as 10 mais da Billboard, Ela é Capão Redondo, Ela é Xerém, Ela é Blacking Loving, Ela é Soul Tran, Ela é poucas palavras talvez já viveu, já sofreu o sistema na pele... é ZN, ZS ou ZO, Baixada Santista, ABC ou ZL... Podia me Aproximar... Ela opera a festa, Ela é quem comanda e a minha comanda quase preencheu, mais Se Ela vier valeu.... ooo entendeu... Contos de uma festa Black é a cinderela High Tech, vai vendo muleque, Ela foi capaz de entrar no banheiro e não voltar mais, Ela é... Infelizmente a sua chamada não pode ser completada, Por favor verifique o número de recados e tente novamente Onde vai...? Mulher Elétrica Mulher Elétrica 3000 volts Ela é frenética hipinotizou Haaaau Maquiavélica me atraiu Onde vai...? Mulher Elétrica Mulher Elétrica... Mulher Elétrica 3000 volts Ela é frenética hipinotizou Haaaau Maquiavélica me atraiu Onde vai...? Mulher Elétrica Mulher Elétrica... Infelizmente a sua chamada não pode ser completada, Por favor verifique o número de recados e tente novamente Tente Novamente !!! Tente Novamente !!! Tente Novamente !!! Ten ten ten ten ten ten te Novamente !!! Tente Novamente !!! Tente Novamente !!!

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17. Music Is Life G-Funk Beat - Talkbox & Prod.Tao G Musik

Music Is Life G-Funk Beat - Talkbox & Prod.Tao G Musik

****G-FUNK4LIFE**** BEATMAKER/TALKBOXER REMIXER/SINGER Productor de instrumentales y remixes de Rap y G-FUNK inspiradas en la era dorada de los 80's-90's¡ Nacido en Valencia,España en 1992.Se interesó desde bastante joven por el mundo del Hiphop y especialmente por el subgénero de Rap llamado G-Funk.Escribió sus primeras letras allá por el año 2003-2004 y comenzó a remezclar y producir beats alrededor del 2008 influenciado por el Jazz,Soul,R&B,etc...Actualmente sigue trabajando en proyectos y colaboraciones con cantantes y productores de todo el mundo. Producer instrumentals and remixes of Rap and G-FUNK inspired by the golden age of 80-90¡¡Was born in Valencia, Spain in 1992.Interested from a very young age for the Hiphop world and especially for the subgenre of Rap called G-Funk, wrote their first letters beyond the year 2003-2004 and began remixing and producing beats around the 2008 influenced by Jazz,Soul,R&b,Rap,Blues,etc...It is currently working on projects and collaborations with singers and producers around the world. @tao-g-musik facebook.com/profile.php?id=100001967597027 www.youtube.com/channel/UCgTmyhWVsudl-BnhJlFkbJw www.reverbnation.com/taogmusik plus.google.com/117122418962125294742 twitter.com/TaoGMusik www.orkut.com/Main#Profile?uid=1…766208446334710447 E-MAIL:[email protected] ADDICIONAL TAGS: TAO G PRODUCTIONS Tao G Musik TaoGMusik g-funk hip-hop instrumental hip-hop r&b r&b/soul r&g, soul beat tape beats groove dj battlecat dogg pound eazy e g-funk gangsta rap hip-hop/rap instrumental kurupt ruthless snoop dogg we can freak it west coast talkbox G-Funk Spain Spanish G-Funk 2013 2014 2015 2016 2017 2 Step 2 tone 2-step garage 4-beat 4x4 4x4 garage 8-bit A cappella Abstract Hip-Hop Acapella Acid Acid Breaks Acid House Acid Jazz Acid Rock Acid Techno Acid Trance Acousmatic Acoustic Adult Contemporary Music African Rumba Afrobeat Afro-dub Afropop Aggrotech Aleatoric Music Alternative Alternative Country Alternative Dance Alternative Hip Hop Alternative Metal Alternative Rap Alternative Rock Ambient Ambient Breaks Ambient Dub Ambient Goa Ambient House Ambient Techno Americana Anime Anti-folk Apala Aquacrunk Arabesque Arabic pop Argentine rock Ars antiqua Ars nova Art Punk Art Rock Artcore Ashiq Atmospheric Breaks Australian country Australian hip hop Australian pub rock Avant-garde Avant-garde jazz Avant-garde metal Axé Bachata Baggy Baião Baila Baile Funk Baisha xiyue Bajourou Bakersfield sound Bakou Bakshy Balakadri Balearic Beat Balinese Gamelan Balkan Brass Band Ballad Ballata Ballet Bal-musette Baltimore Club Bamboo band Bambuco Banda Bangsawan Bantowbol Barbershop Barndance Baroque Bass Bassline Bassline Breaks Batá rock Batá-rumba Batcave Batucada Beach Beat Beatboxing Beatport Bebop Beiguan Bel canto Bend-skin Benga Berlin School Bhajan Bhangra Bhangragga Bhangramuffin Bhangra-wine Big band Big Beat Big Room House Biguine Bihu Bikutsi Bio Bitpop Black metal Blackened death metal Bleep techno Blue-eyed soul Bluegrass Blues Blues ballad Blues-rock Boogie Bootleg Booty bass Booty Breaks Bossa Nova Bouncy Hard House Bouncy Techno Brass Brass band Brazilian folk Brazilian funk Brazilian jazz Brazilian pop Break Breakbeat Breakbeat hardcore Breakcore Breaks Breakstep Breton Brill Building Pop Britfunk British blues British Invasion British Rap Britpop Broken beat Brokenbeat Brostep Brown-eyed soul Brukdown Brutal Death Metal Bubblegum dance Bubblegum pop Bulerías Bumba-meu-boi Bumping Bunraku Burger-highlife Burgundian School Bush ballad Byzantine Chant Ca din tulnic Ca tru Cabaret Cadence Cadence rampa Cadence-lypso Café-aman Cai luong Cajun Cakewalk Calenda Calgia Calypso Calypso-style baila Campursari Candombe Canon Cantata Cante chico Cante jondo Canterbury Scene Cantiga Cantiñas Canto livre Canto nuevo Cantopop Canzone napoletana Capoeira Caracoles Cardas Carimbó Cariso Carnatic Carol Cat Cartageneras Cavacha Caveman CCM Celempungan Cello rock Celtic Celtic fusion Celtic metal Celtic punk Celtic reggae Celtic rock Chacarera Cha-cha-cha Chakacha Chalga Chamamé Chamber Chamber jazz Chamber pop Champeta Changuí Chanson Chant Charanga Charanga-vallenata Charikawi Chastushki Chau van Chemical breaks Chèo Chicago blues Chicago House Chicago jazz Chicago soul Chicha Chicken scratch Children's Chill Chill Out Chillout Chillstep Chillwave Chimurenga Chinese Chinese rock Chip Chiptune Cho-kantrum Chongak Chopera Chorinho Choro Chouval bwa Chowtal Christian Christian alternative Christian black metal Christian Country Christian electronic Christian Hardcore Christian hip hop Christian Industrial Christian metal Christian punk Christian rock Christian ska Christmas Christmas carol Chumba Church Opera Chut-kai-pang Chutney Chutney-soca Chylandyk Cigányzene Cinematic Classic Classic country Classic female blues Classic Rock Classical Classical Crossover Clicks n Cuts Close harmony Club Club House Club Mix Coimbra fado Coladeira Coldwave Columbia Combined Rhythm Comedy Rap Comedy rock Comic opera Comparsa Compas direct Complextro Computer Concert overture Concerto Concerto grosso Concrete Conjunto Contemporary Christian Contemporary R&B Contest Contradanza Cool jazz Corporate al Corrido Cosmic disco Country Country blues Country Gospel Country Pop Country rock Countrypolitan Country-rap Coupé-Décalé Cover Cowpunk Cretan Crossover Crossover thrash Crunk Crunkstep Crunkcore Crust punk Csárdás Cuarteto Cuban Rumba Cuddlecore Cueca Cumbia Cumbia villera Cut & Paste Cybergrind Dabka Dabke Dadra Daina Dance Dancecore Dancehall Dance-pop Dance-punk Dance-rock Dangdut Danger Dansband Danza Danzón Dappankuthu Dark Ambient Dark cabaret Dark electro Dark pop Dark Progressive Dark Psy Trance Dark Wave Darkcore Darkcore jungle Darkstep Darkwave De dragoste Death Death industrial Death Metal Death rock Deathcore Deathgrind Décima Deep Deep House Deep soul Deep Techno Defected House Degung Delta blues Dementia Demoscene Desi Detroit blues Detroit Techno Deuda Dhamar Dhrupad Dhun Digital Hardcore Dirge Dirty Dutch Dirty Rap Dirty South Disco Disco Funk Disco House Disco Soul Disco polo Disney Disney pop Diss Diva house Dixieland jazz DJ Djent Doina Dondang sayang Donegal fiddle tradition Dongjing Doo wop Doom Doom metal Doomcore Download Downbeats Downtempo Drag Drama Dream pop Dream trance Drill'n'bass Drone Drone doom Drone metal Dronology Drum Drum & Bass Drumfunk Drumstep Dub Dub House Dub Techno Dub Trance Dubby Dubstep Dubstyle Dubtronica Dubwise Dunedin Sound Dunun Dutch Dutch House Dutch jazz Early East Coast blues East Coast hip hop East Coast Rap Easy Listening Elafrolaïkó Electric blues Electric folk Electro Electro Backbeat Electro House Electro Industrial Electro Pop Electro Progressive Electro punk Electro Swing Electro Techno Electroacoustic Electroacoustic improvisation Electroclash Electrofunk Electro-Industrial Electronic Electronic art Electronic Body Music Electronic dance Electronic luk thung Electronic rock Electronica Electronicore Electropop Electro-Punk Electro-swing Elevator Emo Emotive Hardcore Enka Ethereal pop Ethereal Wave Ethnic electronica Euro disco Euro House Euro Techno Euro Trance Eurobeat Eurodance Europop Eurotrance Exotica Experimental Experimental noise Experimental rock Extended Mix Extreme metal Ezengileer Fado Falak Fandango Farruca feat. Fidget House Filk Film Filmi Filmi-ghazal Finger-style Flamenco Flamenco Rumba Florida Breaks Flower power Flute Folk Folk metal Folk pop Folk punk Folk rock Folktronica Footdrag Footwork Foreign Rap Forró Franco-country Freakbeat Freak-folk Free Free improvisation Free jazz Free tekno Freestyle Freestyle Breaks Freestyle House Freetekno French Electro French House Frenchcore Frevo Fuji Full-On Funaná Funeral doom Funk Funk metal Funk rock Funky Breaks Funky House Funky Techno Furniture Fusion jazz Future Garage Future Jazz Futurepop Gaana Gabba Gabber Gagaku Gaita Galant Game Boy Gamelan Gamelan angklung Gamelan bebonangan Gamelan degung Gamelan kebyar Gamelan salendro Gamelan selunding Gamelan semar pegulingan Gamewave Gammeldans Gandarva Gandrung Gangsta Rap Gar Garage Garage house Garage rock Gavotte Gender wayang Gending German Folk G-Funk Gharnati Ghazal Ghetto House Ghettotech Girl Glam metal Glam punk Glam rock Glitch Glitch Hop Glitter rock Glo-fi Gnawa Goa Trance Go-Go Gong-chime Goombay Goregrind Goshu ondo Gospel Gospel Trance Gothic Metal Gothic Rock Grebo Gregorian chant Grime Grindcore Grindie Groove metal Group Sounds Grunge Grupera Guaguanco Guajira Guasca Guitar Guitarra Baiana Gumbe Gunchei Gunka Guoyue Gwo ka Gwo ka moderne Gypsy jazz Gypsy punk Gypsy rumba Habanera Hakka Hall Halling Hambo Hamburger Schule Handbag house Hands Up Hapa haole Happy Hardcore Haqibah hard bebop Hard bop Hard Dance Hard House Hard IDM Hard Music Hard NRG Hard Rock Hard Techno Hard Trance Hardbag Hardbass Hardcore Hardcore Breaks Hardcore Continuum Hardcore Hip Hop Hardcore jungle Hardcore metal Hardcore punk Hardcore Rap Hardcore Techno Hardstep Hardstyle Harmonica Harmonica blues Hasaposérviko Hát bôi Hát chau van Hát chèo Hát tu?ng Heartland rock Heavy beat Heavy Metal Highlife Highlife fusion Hillybilly Hindustani classical Hi-NRG Hip hop Hip House Hip Hop Hip-hop/Rap Hiplife Hiragasy Honky tonk Honkyoku Hoomii Hora lunga Hornpipes Horror punk Horrorcore Horrorcore Rap House Hua'er Huasteco Huaynos Hula Humppa Hunguhungu Hyangak Hymn Hyphy Ibiza Icaro IDM Igbo Illbient Impressionist Improvisational Incidental Indie Indie Dance Indie folk Indie Pop Indie Rock Indietronica Indo jazz Indoyíftika Industrial Industrial al industrial dance Industrial death metal Industrial hip-hop Industrial metal Industrial rock Industrial Techno Inspiration Instrumental Instrumental Hip Hop Instrumental Rock Intelligent Intelligent dance music International Latin Inuit Irish folk Irish Rebel Iscathamiya Island Isolationism Isolationist Italo dance Italo Disco Italo House Izvorna bosanska muzika Jackin House Jaipongan Jam band Jam rock Jamrieng samai Jangle pop Japanese Pop Japanoise Jarana Jarochos Jawaiian Jazz Jazz blues Jazz fusion Jazz metal Jazz-Rap Jazz-funk Jazzstep Jegog Jenkka Jesus Jibaro Jig Jig punk Jing ping Jingle Jit Jitterbug Jive Joged Joged bumbung Joik Joropo Jota J-Pop J-Rock Jug band Jùjú Juke joint blues Jump blues Jump Up Jumpstyle Jungle Junkanoo Junodownload Juré Kaba Kabuki Kachashi Kadans Kagok Kaiso Kalamatianó Kalenda Kalinda Kan ha diskan Kansas City blues Kantádhes Kantrum Kargyraa Kaseko Katajjaq or Inuit throat singing Kawachi ondo Kayokyoku Kebyar Kecak Kecapi suling Kélé Kertok Khaleeji Khap Khene Khoomei khoomii Khyal kihoalu Kinko Kirtan Kiwi rock Kizomba Klape Klasik Kléftiko Klezmer Kliningan Kolomyjka Komagaku Konpa Kpanlogo K-pop Krakowiak Krautrock Krithi Kriti Kroncong Krump Kuduro Kulintang Kulning Kumina Kundiman Kvæði Kwaito Kwassa Kwela La la Label Laïko Lambada Laptronica Latin Latin House Latin Pop Lavani Lavway Left-field House Leftfield Legényes Lelio Letkajenkka Lhamo Lieder Light Light Rock Liquid Funk Liquindi Live Looping Lo-Fi Logobi Long-song Louisiana blues Lounge Love Lovers rock Lowercase Lu Lubbock Sound Luk grung Lullaby Lundu Macro Language Madchester Madrigal Mafioso rap Magnificat Mahori Makina Makossa Malhun Maloya Mambo Manaschi Mandarin pop Manele Mangue Bit Manila sound Manouche Mapouka Marabi Maracatu Mariachi Marimba Marinera Marrabenta Martial Industrial Martinetes Mashup Maskanda Mass Matamuerte Math rock Mathcore Maxixe Mazurka Mbalax Mbaqanga M-Base Mbira Mbube Mbumba Medieval Medieval folk rock Medieval metal Meditation Mejorana Melam Melhûn Melodic Melodic black metal Melodic death metal Melodic hardcore Melodic House Melodic metalcore Melodic Techno Melodic Trance Melody Memphis blues Memphis soul Mento Merengue Merengue típico moderno Meringue Merseybeat Metal Metalcore Metallic hardcore Mexican rock Meykhana Mezwed Miami Bass Microhouse Milonga Mini-jazz Minimal Minimal House Minimal Psytrance Minimal Techno Minimalist Minimalist trance Minneapolis sound Minstrel show Minuet Min'yo Mirolóyia Mix Modern classical Modern Laika Modern Rock Modinha Montuno Moombahcore Moombahsoul Moombahton Mor lam Mor lam sing Morna Motorpop Motown Mozambique MPB Mugam Multicultural Murga Musette Mushroom Jazz Music Music Concrete Música criolla Música llanera Música Popular Brasileira Música tropical Musiqi-e assil Musique concrète Muwashshah Muzak Muzak Nagauta Nakasi Nangma Nanguan Narcocorrido Nardcore Narodna muzika Nasheed Nashville Sound National Socialist Black Metal Naturalismo Nederpop Néo kýma Neo Soul neo soul Neoclassical Neo-classical metal Neofolk Neo-Medieval Neo-prog Neo-Psychedelia Neo-Soul Neotraditional country Neotrance Nerdcore Neue Deutsche Härte Neue Deutsche Todeskunst Neue Deutsche Welle Neuro Jump Up Neurofunk New Age New Beat New Instrumental New Jack R&B New Jack Swing New Orleans blues New Orleans jazz New Pop New prog New Rave New Romantic New school hip hop New Taiwanese Song New Wave New Wave of British heavy metal New Wave of New Wave New Weird America New York blues New York House Newgrass Nganja Niche Nintendocore Nisiótika No Wave Noh Noise Noise Pop Noise Rock Nongak Norae Undong Nordic folk Nordic folk dance Nortec Norteño Northern Soul Nota NSBM Nu Breaks Nu Disco Nu Jazz Nu metal Nu skool breaks Nu Soul Nu Style Gabber Nueva canción Nu-funk Nu-NRG NWOBHM Nyatiti Obscuro Oi! Old School Old school hip hop Old School Rap Oldschool Drum & Bass Oldies Old-time Olonkho Oltului Ondo Opera Operatic Pop Oratorio Orchestra Organ Orgue Organ trio Organic ambient Organum Orgel Oriental metal Original Mix Ottava rima Ottoman military band Outlaw country Outsider Pagan metal Pagan rock Pagode Paisley Underground Palm wine Pambiche Panambih Panchai baja Panchavadyam Pansori Paranda Parang Parody Parranda Partido alto Pasillo Patriotic Peace Punk Pelimanni Peruvian cumbia Petenera Peyote Song P-Funk Philadelphia soul Piano Piano blues Piano rock Piedmont blues Pimba Pinoy rock Pinpeat orchestra Piphat Piyyutim Plainchant Plena Pleng phua cheewit Pleng Thai sakorn Poky Polka Polo Polonaise Pols Polska Pong lang Pop Pop folk Pop punk Pop Rock Pop sunda Pop Rap Pornocore Pornogrind Porro Post Dubstep Post-Britpop Post-disco Post-dubstep Post-grunge Post-hardcore Post-industrial Post-metal Post-minimalism Post-Punk Post-Rock Post-romanticism Powada Power duo Power electronics Power metal Power Noise Power pop Power trio Powerviolence Pow-wow Ppongtchak Praise song Program symphony Progressive Progressive bluegrass Progressive Breaks Progressive electronic Progressive Folk Progressive House Progressive Metal Progressive Rock Progressive Trance Protopunk Psy Chill Psy-Progressive Trance Psybient Psybreaks Psych folk Psychedelic Psychedelic Breakbeat Psychedelic folk Psychedelic rock Psychedelic Trance Psychobilly Psy Trance Pumping House Punk Punk blues Punk Cabaret Punk jazz Punk Rock Punta Punta rock Purple sound Qasidah Qasidah modern Qawwali Quadrille Quan ho Queercore Quiet Storm R&B Rada Raga Raga rock Ragga Ragga Jungle Raggacore Raggamuffin Ragtime Rai Raicore Raï'n'B Rake-and-scrape Ramkbach Ramvong Ranchera Rap Rara Rare groove Rasiya Ravanahatha Rave Rebetiko Recordings Records Red Dirt reel Reggae Reggae dancehall Reggae fusion Reggae highlife Reggaeton Rekilaulu Relax Religious Rembetiko Remix Renaissance Requiem Rhapsody Rhyming spiritual Rhythm and blues Rhythmic noise Ricercar Rímur Riot grrrl RNB Rock Rock & Roll Rock en español Rock opera Rockabilly Rocksteady Rococo Romantic period in Ronggeng Roots reggae Roots rock Roots rock reggae Rotterdam techno Rumba Sabar Sacred Harp Sadcore Saibara Salegy Salsa Salsa erotica Salsa romantica Saltarello Samba Samba-canção Sambai Samba-reggae Samba-rock Sambass Sanjo Sardana Sato kagura Sawt Saxophone Saya Schlager Schottisch Schranz Scottish Baroque Scouse House Scrumpy and Western Scuff Sea shanty Sean nós Seapunk Second Viennese School Sega Seggae Seis Semba Sephardic Serialism Sertanejo Set Set dance Sevdalinka Sevillana Sex Sexy Shabad Shalako Shan'ge Shango Shape note Shibuya-kei Shidaiqu Shima uta Shock rock Shoegaze Shoka Shomyo Show tune Sica SID Siguiriyas Silat Sinawi Singer Singer-songwriter Situational Ska Ska punk Skacore Skald Skate punk Skiffle Skullstep Skweee Slack-key guitar Slängpolska Slide Slow Motion House Slowcore Sludge metal Smooth Jazz Soca Soft rock Son montuno - Cuban folk Sonata Son-batá Song Songo Songo-salsa Sophisti-pop Soukous Soul Soul blues Soul jazz Soulful Drum & Bass Soulful House Sound art Soundtrack Southern Gospel Southern Harmony Southern hip hop Southern metal Southern Rap Southern rock Southern soul Space Space age pop Space Disco Space rock Spacesynth Spectralism Speed Garage Speed metal Speedcore Spirituals Spouge Sprechgesang OnBeatz A Major (CAN) Square dance St. Louis blues Steelband Stoner metal Stoner rock Straight edge Strathspeys Street bass Stride String String quartet Sufi Suite Sunshine pop Suomirock Suomisaundi Super Eurobeat Surf Surf ballads Surf instrumental Surf pop Surf rock Swamp blues Swamp pop Swamp rock Swing Swing house Swingbeat Sygyt Symphonic black metal Symphonic metal Symphonic poem Symphonic rock Symphonic techno Symphony Synthpop Synth-Pop Synthpunk Taarab Tai tu Taiwanese pop Tala Talempong Tambu Tamburitza Tamil Christian keerthanai Táncház Tango Tanguk Tappa Tarana Tarantella Taranto Tech House Tech Trance Technical death metal Technical metal Techno Technoid Technopop Techstep Techtonik Tecno brega Teen pop Tejano Tekno Tembang sunda Terrorcore Texas blues Tex-Mex Theme Thillana Thrash Metal Thrashcore Thumri Ti kannot Tibetan pop Tientos Timbila Tin Pan Alley Tinga Tinku Toeshey Togaku T'ong guitar Township Jive Tracker Traditional pop Trallalero Trance Trancestep Trap Puss Dam Funk Gangstaz Nate Dogg Tribal House Tribal Techno Trikitixa Trip rock Triphop Trip-Hop Tropicalia Tropipop Truck-driving country Trumpet Tumba Turbo-folk Turkish Turntablism Tuvan throat-singing Twee pop Twist Two tone UK Funky UK Garage UK Hardcore UK pub rock UK Techno Unblack metal Underground Uplifting Trance Uptempo Urban Cowboy Urban Folk US Garage Vallenato Vaudeville Verbunkos Verismo Video game Viking metal Villanella Violin Virelais Visual Visual Kei Vocal Vocal Breaks Vocal Drum & Bass Vocal Dubstep Vocal House Vocal Jazz Vocal Techno Vocal Trance Volksmusik Waila Waltz Wangga Warabe uta Wassoulou Were West Coast hip hop West Coast Rap Western blues Western swing Wimmin Witch House Witch Hop Wizard rock Woman Women Womyn Wong shadow Wonky Wood Sounds Work song World Worldbeat Xhosa Xoomii Xote Yambu Yass Yayue Yé-yé Yodeling Yo-pop Yorkshire Bleeps & Bass Yukar Kate Perry Zajal Zamrock Zapin Zarzuela Zef Zeibekiko Zeuhl Ziglibithy Zouglou Zouk Zouk chouv Zouklove Zulu Zydeco Tio Fugas Popular In 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023, 2024, 2025, 2026, 2027, 2028, 2029, 2030 + etc In Abkhazia, Afghanistan, Albania, Algeria, Andorra, Angola, Antigua and Barbuda, Argentina, Armenia, Australia, Austria, Azerbaijan, Bahamas, Bahrain, Bangladesh, Barbados, Belarus, Belgium, Belize, Benin, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Brazil, Brunei, Bulgaria, Burkina Faso, Burma, Burundi, Cambodia, Cameroon, Canada, Cape Verde, Central African Republic, Chad, Chile, China, Colombia, Comoros, Congo, Democratic Republic of the (Congo-Kinshasa), Congo, Republic of the (Congo-Brazzaville), Costa Rica, Côte d'Ivoire, Croatia, Cuba, Cyprus, Czech Republic, Denmark, Djibouti, Dominica, Dominican Republic, East Timor, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Fiji, Finland, France, Gabon, The Gambia, Georgia, Germany, Ghana, Greece, Grenada, Guatemala, Guinea, Guinea-Bissau, Guyana, Haiti, Honduras, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Jamaica, Japan, Jordan, Kazakhstan, Kenya, Kiribati, Korea, North, Korea, South, Kosovo, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Libya, Liechtenstein, Lithuania, Luxembourg, Macedonia, Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Marshall Islands, Mauritania, Mauritius, Mexico, Micronesia, Moldova, Monaco, Mongolia, Montenegro, Morocco, Mozambique, Nagorno-Karabakh, Namibia, Nauru, Nepal, Netherlands, New Zealand, Nicaragua, Niger, Nigeria, Northern Cyprus, North Korea, Norway, Oman, Pakistan, Palau, Palestine, Panama, Papua New Guinea, Paraguay, Persia, Peru, Philippines, Poland, Portugal, Pridnestrovie, Qatar, Romania, Russia, Rwanda, SADR – Sahrawi Arab Democratic Republic, Saint Kitts and Nevis, Saint Lucia, Saint Vincent and the Grenadines, Samoa, San Marino, São Tomé and Príncipe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Solomon Islands, Somalia, Somaliland, South Africa, South Korea, South Ossetia, Spain, Sri Lanka, Sudan, Suriname, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tajikistan, Tanzania, Thailand, Timor-Leste, Togo, Tonga, Transnistria, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Tuvalu, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Uzbekistan, Vanuatu, Vatican City, Venezuela, Vietnam, Western Sahara, Yemen, Zambia, Zimbabwe Ethereal LAB Monday Tuesday Wednesday Thursday Friday Saturday Sunday Voyage Funktastique Show January February March April May June July August September October November December

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18. Una cosa Rara, de Vicent Martin I Soler

Una cosa Rara, de Vicent Martin I Soler

La Ópera en el tiempo presenta su ciclo de septiembre: "Óperas de Compositores españoles". Este domingo transmitimos: Una Cosa Rara, del compositor Vicent Martín I Soler, en punto de las 17:00 hrs. por Opus 94.5 FM de IMER.

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19. Corelli- Concerto Grosso Op.6 #8

Corelli- Concerto Grosso Op.6 #8

Concerto grosso Op. 6, no. 8,……………..……………………………………Arcangelo Corelli Fatto per la notte di natale 1653-1759 -Vivace-Grave-Allegro -Adagio-Allero-Adagio -Vivace -Allegro-Pastorale. Largo Soloists: Margaret Ziemnicka and Peter Kupfer, violin, and Sarah Freiberg, cello Circle of Friends Judson Griffin...........................violin and director Peter Kupfer........................... violin Lisa Rautenberg....................... violin Theresa Salomon..................... violin Nelva Tebrake......................... violin Margaret Ziemnicka................... violin Andrea Andros........................ violin Margret Hjaltested....................viola Sarah Freiberg......................... cello Mollie Glazer........................... cello Susan Iadone........................... cello Patricia Ann Neely..................... violone Dongsok Shin.......................... harpsichord Sarah Davol............................. oboe and oboe D'amore Glenn Alpert............................ tenor Notes on the Program By the time Corelli's Concerti grossi were published in 1712, a year before his death, they may well have been in existence for 30 years. They certainly seem conservative, if not old-fashioned, next to the emerging galant style coming out of Naples or the new music being composed by the Venetian Vivaldi. Yet few composers of instrumental music in the first half of the 18th century could escape their influence. Corelli came to Rome as a young man from his studies in Bologna where, in the 1660’s, the concerto principle, which contrasts a large group of massed strings with a smaller group of soloists, was being developed. At the same time, multi-sectional instrumental forms were being expanded into works with separate movements, while the modal system was being refined into modern tonality. Corelli perfected these ideas and married them to Roman counterpoint modeled on that of Palestrina. His gift was not for motoric energy like Vivaldi, or daring harmonies, nor are his melodies memorable. It is rather the equipoise between overall sweep and fine detail and the exquisite balance of form as a result of revising and perfecting over the course of a career that engage the listener today as they did in the 18th century. Op. 6, no. 8 may seem an unlikely candidate for the title Christmas Concerto, being in the grim key of G minor. Furthermore, the work begins with a sort of inverted introduction: a brief, impatient, almost violent passage yielding to a Grave of stern import, which the listener may take to be a foreshadowing of the Passion. But in the second group of movements -Adagio - Allegro – Adagio- the gently lapping solo strings and accompaniment pulsating in the warm key of E flat set a scene of melting tenderness that may recall the scene in the manger. After a sarabande and gavotte (not so labelled) in G minor, Corelli suddenly brings in droning bagpipes, evoking a pastoral scene; the work ends in a hush. Every Christmas Eve to this day shepherds from the Abruzzi, playing bagpipes, make a procession into central Rome and up the long flight of steps to the church of the Aracoeli as a re-enactment of the shepherds' journey to Bethlehem. Our vocal selections are arranged as a tableau. Ombra mai fù is cherished as “Handel's Celebrated Largo," a popular selection for weddings and other solemn occasions. Ironically Handel's indication is larghetto: the young king Xerxes professes his preference for the companionship of a plane tree over that of people- especially women! William Boyce's Solomon is not an oratorio like Handel's contemporary work of the same title, but rather "A Grand Serenata" based on a play by one Edward Moore. The music, a string of melodious arias and effective nature painting, was extremely popular for many years until its mildly erotic texts brought it into disfavor in the more decorous 19th century. It remains a masterpiece of Boyce, well deserving more frequent performance today. In the aria Softly rise, O southern breeze the strings gently suggest the rustling of leaves. Handel`s Musette takes its name from the French instrument of that name, a type of bagpipe associated with the countryside and pleasure. As in the Corelli, we have drones to summon images of shepherds and peasants. The mood is then elevated for the sublime Waft her, Angels from Handel's final oratorio, Jephtha. Jephtha has made a vow that if successful in battle he will sacrifice the first living thing he encounters: this turns out, tragically, to be his beloved daughter. In preparation for her death on the altar he sings this fervent yet peaceful prayer. (In one of the most thrilling of Handel's many dramatic masterstrokes, an Angel intervenes in the nick of time to save her life; In the Book of Judges from which the story originates, however, the sacrifice duly takes place - although scholars dispute the translation and the interpretation.) Bagpipes and shepherds' pipes are double-reed instruments, of course, and in much baroque music the oboe connotes an outdoor, bucolic setting. Alessandro Marcello, like his better-known brother Benedetto, was a noble amateur, but the music of the Marcellos and of their contemporary Albinoni contributed much to the style associated with Vivaldi. This includes the structure based on the ritornello (orchestral passages), which is often musically distinct from what the soloist plays, as in the first movement of this Concerto for Oboe and Strings in D minor. The Adagio features the oboe in its plaintive-shepherd, quasi-improvisational, "oriental" mode, supported by throbbing, searching harmonies. (This kind of texture derives from archaic practice in which an instrumental work replaces al1 or parts of a sung Mass; the mystical shimmering accompaniment is associated with the Elevation of the Host, in which bread and wine are transubstantiated into flesh and blood.) The last movement is rhythmically a Passepied, a light, nimble triple-¬meter dance. So much fresh air and sunshine might whet the appetite! Each of Telemann's three productions of Musique de table comprises an orchestral Ouverture, a quartet, a concerto for multiple solo instruments, a trio sonata, and a solo sonata. Rather than music for dinner, Telemann proposes music as dinner: a complete, well planned concert; yet the individual component compositions easily stand on their own. The Concerto for 3 violins, from the second production, is especially appropriate for our musical fête champêtre, being set in the quíntessentially pastoral key of F. A characteristic of Telemann's concerto style is his use of numerous themes in his ritornellos; the opening tutti of the first movement, for example, features at least four ideas. Throughout the concerto the three soloists, in addition to extensive solo passages, engage in complicated interplay, two of them often commenting together on the solo utterance of the third. Ouverture for Oboe d’amore and strings in E. Some 100 Telemann Ouvertures survive today, an astounding number even for this most prolific composer, if far short of the Incredible number of 3000 claimed by Telemann himself. The French overture as developed by Lully and his followers from the 1660s is a 2-part structure, the first part majestic, even pompous the second fleet, with voices entering in imitation. This is followed by a suite of dances or, in the hands of Telemann, character pieces like the Harlequinade. Telemann was fond of exotic tone colors, unusual or neglected instruments figuring prominently in his chamber music. The oboe d'amore may be somewhat unfamiliar today, but for Telemann (as for I. S. Bach) it was simply an alto oboe, nearly as useful as the normal oboe - if perhaps more specially expressive and well suited to playing in sharp keys. In this work less a soloist than an integral part of the ensemble, the oboe d'amore imbues the aggregate sound with its plaintive earthiness by doubling now one instrument, now another, often playing the melody with the first violins. - Judson Griffin THE MUSICIANS GLENN ALPERT (tenor) has been a member of the Metropolitan Opera Chorus since 1987. Since that time he has performed more than 4000 times in over 100 different operas. As a soloist at the Met he has appeared in a number of operas, including Eugene Onegin, La Traviata, La Boheme, Luisa Miller (with Luciano Pavarotti), Manon, The Magic Flute, Falstaff, Pagliacci (with Placido Domingo) and Turandot. ANDREA ANDROS (violin) maintains a steady career as a commercial and classical musician. Active on Broadway, in the recording studio, and at the Bethlehem Bach Festival, Radio City Music Hall, New York Grand Opera, American Ballet Theater, and the New York Gilbert and Sullivan Players, she is a prominent talent in the early music field. SARAH DAVOL (oboe) serves as principal oboe of Big Apple Baroque, Bach Sinfonia, Vox Ama Deus Orchestra, La Follia, Connecticut Early Music Festival Orchestra, and is a founding member of the American Classical Orchestra. Ms Davol has performed as soloist with these ensembles as well as with Amor Artis, Concert Royal, and Los Angeles Baroque Orchestra. She has toured Europe with Publick Musick, Washington Bach Consort and Apollo Ensemble, and South America with Bachanalia and with John Malkovich’s one-man show with Music Angelica. The Metropolitan Museum features Ms Davol’s demonstration of historical oboes on their Audioguide, and she may be heard on 30+ CDs. Her recording of Sunbin Kim’s Aphorisms for solo oboe won a national ASCAP award, and Tulpe, a CD by Englewinds featuring her compositions, was listed for Grammy Nomination. She is on the adjunct faculties of Sarah Lawrence College and William Paterson University. SARAH FREIBERG (cello) is principal cellist of Boston Baroque and a tenured member of the Handel and Haydn Society. She has performed with the New York Collegium, Philharmonia Baroque Orchestra (San Francisco), Portland Baroque, Seattle Baroque, the Boston Early Music Festival and Arion (Montreal). Ms Freiberg edited the long forgotten Guerini cello sonatas for both PRB Productions and Broude Brothers, and recorded both Guerini and Laurenti cello sonatas for Centaur. She teaches in the Historical Performance department at Boston University and is Chair of Strings and Chamber Music at the Powers Music School in Belmont. Sarah received her DMA and MM degrees from SUNY Stony Brook, and holds degrees from the San Francisco Conservatory, Brown University and the Mozarteum in Austria. MOLLIE GLAZER (cello) is the Artistic Director of the Nantucket Community Music Center. She studied cello and viola da gamba at New England Conservatory of Music and the Royal Conservatory of The Netherlands. Ms Glazer has performed throughout the US and Europe with such ensembles as Concert Royal, Waverly Consort, New York's Ensemble for Early Music and is a frequent soloist at the Bethlehem Bach Festival. She has made seven recordings, the latest a self-produced CD with former student Ethan Philbrick entitled Two Friends Two Cellos. Also a pianist, composer and jazz vocalist, Ms Glazer wrote the score to the musical about Nantucket, Faraway Land, which was produced on- island. She has also written scores for films and modern dance including a work for the Pennsylvania Ballet. She sings and plays regularly with jazz guitarist Andy Bullington. JUDSON GRIFFIN (violin) is a graduate of the Eastman School of Music and earned Master's and Doctorate degrees at The Juilliard School. After a period as viola soloist and champion of new music, Mr. Griffin began playing period instruments in 1979 through the influence of harpsichordist Albert Fuller. He was a founding member of the Smithson Quartet, in residence at and using instruments from the collections of the Smithsonian Institution, making ground-breaking recordings of quartets of Haydn, Mozart, and Beethoven. He was Music Director of the Connecticut Early Music Festival from 2000 to 2007. He has been a frequent performer in Europe and in the US as concertmaster, soloist, and conductor, appearing with groups like Amor Artis, the American Classical Orchestra, Concert Royal, Florida Pro Musica, and Baltimore Pro Musica Rara. Mr. Griffin led period-instrument orchestras for dance performances at the Maggio musicale in Florence, in opera at Musica nel chiostro near Grosseto, Italy, and led the Lobkowitz Quartet in performances of Haydn's Seven Last Words in Germany. He has toured with the English Concert and Trevor Pinnock; played with the Akademie der alten Musik in Berlin; with Il complesso barocco in Innsbruck, Milan, and Venice; and has been a soloist at the Festival de Clisson, France. Solo recitals have been given in Boston, Detroit, Washington, D.C., in New York at Weill Recital Hall and Merkin Hall, and in Alaska. MARGRÉT HJALTESTED (viola) is an active performer and teacher in the New York area. She has played with orchestras such as Westchester Philharmonic, Brooklyn Philharmonic, New Jersey Symphony and Key West Symphony. On baroque viola she has performed with the American Classical Orchestra and Clarion Music Society. Ms Hjaltested has toured internationally with the Icelandic Symphony Orchestra, the New York Symphonic Ensemble on its annual tour of the Far East, Luciano Pavarotti ́s International Farewell Tour and with the Icelandic award-winning pop artist Björk. She is a member of the chamber ensemble Resonant Spectra. Ms Hjaltested is a recipient of the American Scandinavian Society’s Cultural Award for her musical contributions to Scandinavian communities in New York and New Jersey. Ms Hjaltested is currently on the faculty of the Queens College preparatory division and Summerkeys in Lubec, Maine. She is a graduate of the Reykjavík College of Music, The Juilliard School and the Mannes College of Music. Her teachers include Karen Tuttle, Karen Ritscher, Richard Simon and Joey Corpus. SUSAN IADONE’s (viola) diverse musical activities run the gamut from Medieval and Renaissance music through contemporary opera. For over twenty years, she has been the recorder and viola soloist with the Bach Vespers at Holy Trinity Lutheran Church in New York City, and has never met a Bach cantata she didn't love. As a performer on viola, viola d’amore and viola da gamba, Ms Iadone has appeared with the Washington Bach Consort, the Smithsonian Chamber Orchestra, the Classical Band, the Bethlehem Bach Festival, Concert Royal, the New York Consort of Viols and the Waverly Consort. Some highlights of her career include performing in recital with Victoria de los Angeles at the Metropolitan Museum, touring Europe with Meredith Monk’s opera Atlas, recording with klezmer icon Giora Feidman, performing the viola d’amore solos in the St. John Passion with the NY Philharmonic, playing viola da gamba on-stage in the Broadway production of The Three Musketeers, and playing sopranino recorder at the Metropolitan Opera in Britten’s A Midsummer Night’s Dream. Ms Iadone can be heard on the soundtracks of the Coen Brothers remake of The Ladykillers, and the Heath Ledger Casanova, as well as numerous legitimate recordings. PETER KUPFER (violin) specializes in 17th- and 18th-century repertoire performed on period instruments. Following undergraduate studies at the University of California at Berkeley, conservatory studies in France and graduate studies at the University of Michigan, he began performing with Philharmonia Baroque Orchestra and other early music ensembles. Other groups he has performed with include American Bach Soloists, Apollo’s Fire, Aston Magna, Handel & Haydn Society, Opera Lafayette, Smithsonian Chamber Orchestra, Tafelmusik, and Washington Bach Consort. In New York Mr. Kupfer has performed with American Classical Orchestra, Clarion, Concert Royal, Four Nations, Trinity Wall Street, and Rebel, and has served as concertmaster for Bach Vespers at Holy Trinity Lutheran Church since 2001. PATRICIA ANN NEELY (violone) has appeared with many early music ensembles including the Folger Consort, Smithsonian Chamber Players, New York Collegium, Washington Bach Consort, Amor Artis, Glimmerglass Opera, New York City Opera, Boston Camerata, Boston Early Music Festival Orchestra, Newberry Consort, Bach Vespers at Holy Trinity, New York Consort of Viols, Early Music New York, and Sonnambula, among others, and was a founding member of the viol consort Parthenia. She performed with the European medieval ensemble Sequentia on the medieval fiddle throughout Europe and North America. Ms Neely began playing the viol at Vassar College and earned an MFA in Historical Performance at Sarah Lawrence College. She has recorded for Arabesque, Allegro, Musical Heritage, Deutsche Harmonia Mundi, Ex Cathedra, Classic Masters, Erato, Lyrichord, and Music Masters labels. She is currently on the faculty of The Brearley School in New York City and is the Executive Director of the Connecticut Early Music Society and Festival. In addition to her role as Associate Concertmaster of the Hartford Symphony, LISA RAUTENBERG (violin) performs as a soloist, chamber musician and recording artist. She gave her New York City solo debut with Concert Royal at the Mostly Mozart festival in Alice Tully Hall at Lincoln Center. She performed her New York City recital debut in Merkin Hall playing virtuoso masters for the baroque violin. Ms Rautenberg can be heard on over 100 recordings on SONY Classical, Virgin Classics, Newport Classics, MCA, Decca, Nonesuch, Telarc, Deutsche Grammophone, and Champignon International. Notable solo recordings include Bach’s Brandenburg Concerti and Vivaldi’s Four Seasons with Anthony Newman, as well as the Schubert String Quintet. Ms Rautenberg has performed solos in America and Europe including Carnegie Hall, Alice Tully Hall, Kennedy Center, Orchestra Hall Chicago, Boston Symphony Hall, Hercules Hall, Concertgebow, BBC London, and at the London Proms. Ms Rautenberg holds a degree in violin performance from Indiana University, and studied early violin techniques with Marilyn McDonald. THERESA SALOMON (violin), a native of Germany, came to New York in 1993. She has performed at such international festivals as Festival Presence, Paris; Gulbenkian Festival, Lisbon; Prague Spring Festival; Ostfriesland Festival, Germany; Connecticut Early Music Festival; and Ostrava Days for New Music (Czech Republic), where she was a soloist with the Janacek Philharmonic. In New York she performs on both period and modern violin with the Orchestra of St. Luke’s, Rebel Baroque Orchestra, New York Collegium, and SEM Ensemble. She also directs a new music series at Music under Construction and plays frequently for Dance under Construction. Ms Salomon has recorded for the Vandenburg and Tzadik labels, among others. DONGSOK SHIN (harpsichord) has appeared with American Classical Orchestra, ARTEK, Bach Sinfonia, Dryden Ensemble, New York Philharmonic, Early Music New York’s Grande Bande, and Pro Musica Rara. He has toured throughout North America, Europe, and Mexico, has been heard on countless radio broadcasts, and has recorded for Bridge, ATMA Classique, Dorian Sono Luminus, Ex Cathedra, Helicon, Hollywood Records, Lyrichord, Naxos, and Newport Classic. Mr. Shin has been the keyboard player for the internationally acclaimed baroque ensemble REBEL since 1997. He has parallel careers as a tuner/maintainer of early keyboard instruments. He is the harpsichord technician for the Metropolitan Opera. NELVA TEBRAKE (violin) is a graduate of the University of Michigan. She studied Baroque violin with Jaap Schroder at the Amsterdam Conservatory and with Sigiwald Kuyken at the Royal Conservatory of the Hague. She has performed and recorded with the Amsterdam Baroque Orchestra, Concert Royal, the Waverly Consort, Smithsonian Chamber Players and the Boston Early Music Festival Orchestra. MARGARET ZIEMNICKA (violin), studied violin, piano, and chamber music at the Wieniawski Music Lyceum in her native Lodz, Poland and in the United States at DePaul and McGill Universities. As a member of the Chicago Civic Orchestra she performed under Sir Georg Solti, Daniel Barenboim, and Pierre Boulez. Ms Ziemnicka has performed baroque and classical music on period instruments with REBEL, Concert Royal, Early Music New York, Trinity Baroque Orchestra, Sinfonia New York, Gotham Chamber Opera, at Museum Concerts in Providence, and has made numerous recordings on modern and baroque violin. She appears regularly at Lincoln Center with the American Classical Orchestra, and has performed at the Kennedy Center and the Washington National Cathedral. Ms Ziemnicka is also a member of the recently formed New York Classical Quartet. The Annual Roslyn Young Memorial Concert Roslyn Young (1957–2004) grew up in Guilford, and began violin lessons at the age of nine with Julius Scheir at the Neighborhood Music School in New Haven. After attending Brown University, she studied and performed in Vienna and Salzburg, Austria, from 1979 – 1986. She earned a diploma in violin and viola from the Mozarteum Conservatory in Salzburg, studying under Juergen Geise. As principal violist, she played with the Rome Opera Orchestra, Palermo Opera Orchestra and the Quattro Stagioni Chamber Orchestra of Italy. Upon returning to the United States, Roslyn settled in New York with her husband Glenn Alpert, a tenor with the Metropolitan Opera Chorus. She performed on viola and baroque viola with many ensembles and orchestras in the New York area, throughout the United States and in Europe. These included the New Jersey Symphony Orchestra, Philharmonia Virtuosi, American Classical Orchestra, Concert Royal and Virtuosi strings. Summer festivals included Glimmerglass Opera, Monadnock Music Festival, the Windham Chamber Music Festival and the Connecticut Early Music Festival. Roslyn continued studying under Burton Kaplan and Midhat Serbagi. ****** The Roslyn Young Memorial (RYM) was established by the family of Roslyn Young to honor her memory and love of music by presenting an annual classical music concert in the Guilford, Connecticut area. Judson Griffin is the artistic director.

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