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Lucette van den Berg - Friling
Lucette van den Berg
Friling, 2007

A journey to the modern world seen through the eyes of Yiddish culture and tradition. It's an extraordinary CD, completely dedicated to the Yiddish composer Beyle Schaechter-Gottesman.
'Give me a song I can feel' is the versatile singer Lucette van den Berg's motto. Van den Berg has an extraordinary, warm and expressive voice and she is passionate about Yiddish music.
Lucette was educated a singer at the Zwolle Conservatory. After graduating she was coached by Cora Canne Meyer and Kevin Smith. After a successful and prolonged career in classical music she changed her tack, following her great passion for Yiddish music. She recorded her first CD Zing shtil/yiddish songs in 2004, which was received with much acclaim by the press and the critics alike. That same year Lucette met the renowned Yiddish writer and composer Beyle Schaechter-Gottesman, who presented her with sixteen new compositions that had not been published before.
Over recent years Lucette has had substantial success due to her frank and lyrical expression of Yiddish song that she considers her roots. Currently she is one of the top performers in this field and is often invited to festivals and concert venues, such as the Amsterdam Concertgebouw and Enschede Music Center as well in Germany, France and USA. The Dutch national companies, the KRO and AVRO, and the WDR of Germany have broadcast her performances.
Lucette is artistic director of the Jiddisch Festival Leeuwarden and is much in demand as a singing coach and leader of Yiddish song workshops. Up till now she published three CD albums, to wit Zing shtil/ yiddish songs (2005), Lomir geyn tansn (2005) and Friling (2007) including the sixteen new compositions by Beyle Schaechter-Gottesman.

01. Friling
02. Sheyner Tog in Grin un Blo
03. Falsher Krants
04. 'S Hot Geregnt, 's Hot Gegosn
05. Ze der Himl Hot Genidert
06. Kranker Foygl
07. Du Geyst Durkh di Gasn
08. Klezmers Viglid
09. Nay Gezets in Nyu-York
10. Ir Fregt Mikh Farvos
11. Di Simfonye Fun Gas
12. Mayn Khaver Yankl's Bloer Mantl
13. Ver Ken Es Tseyln
14. Di Royte Royz
15. Zumer Geven
16. Ven Es Fort Avek a Fraynd

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Luis Orlandini - Mauro Giuliani, Le Rossiniane op.119, No.1-6
Luis Orlandini
Mauro Giuliani, Le Rossiniane op.119, No.1-6, 1993

Giuliani composed several sets of potpourri on themes from Rossini operas, all entitled Le Rossiniane. Aside from listening to them, you can tell them apart only by their opus numbers. These pieces were probably more fun for their original listeners, who could recognize most of the themes, than they are for us. Luis Orlandini puts a lot of musical interest into his playing, and he has such a secure technique that he makes the music sound easy. On the one hand, this is a lot of light guitar music to have at once; on the other, running only 91 minutes, it's not much music for two CDs. - Leslie Gerber

The problem with the guitar has always been one of dimension, both in an absolute and a relative sense. That is, it has neither the volume nor the dynamic range of even the earliest pianofortes (and some harpsichords). At best, it holds its own against the meek little clavichord, hardly a blockbuster of an instrument.
This is a simple mechanical problem; you can't play as loudly on an instrument with six single nylon (or gut) strings as you can on one 70 or 80 double- or triple-wound steel strings, with soundboard and case ten times larger. That's a simple fact of acoustics.
What can be done on a guitar, however, are pull-offs, slides, vibrato, etc., and other timbral effects (harmonics, palm-muting, rasguiendos) that are impossible, at least on the standard modern Steinway-type concert piano. Many composers (particularly later romantics, such as Tarrega, Albeniz, and Granados) made use of these guitar-specific techniques, and created an idiom-rich vocabulary for the guitar.
Giuliani's art, however, dates from the very beginning of the guitar literature, before some of these technqiues would have come into vogue, and as such, is a "purer" sort of animal. Here, the guitar is still trying to challenge the piano on its own turf. Therefore, the concern is more with fullness of texture, multiplicity of voices (contemporaneous, and comparable, piano composers would be slightly lesser lights like Hummel, Weber, Moscheles, or Field). Beethoven had very little interest in the operatic world (particularly that of Rossini).
Giuliani, a personal friend of Rossini, has a melodic sensibility that owes everything to early romantic Italian opera, even in his own works. Here, though, the melodic material is all transplanted from Rossini's operas. Each individual Rossiniana consists of a melange of material from several of Rossini's operas. No. 3, for instance, quotes from "La Donna del Lago," "Turco in Italia," and others.
At every turn, Giuliani's handling of the material shows his quasi-pianistic vision (or ambition) for the guitar. The melodic voices are put in the very top register of the instrument, then moved down to the middle, then to the bass. Accompaniment or decoration is almost always present as or two more voices. The effect is dazzling, three-dimensional, kaleidoscopic, anticipating what later piano virtuosi like Thalberg and Liszt were to do -- to still greater degree -- in the 1830s with their operatic transcriptions and fantasies.
The player here, Luis Orlandini, is not familiar to me (outside of this disc). His playing is brilliant, his technique is sure and easy. His instrument also has a bit of more of a "period" character than the other recording of Rossiniana I own (on Arts by Ricardo Zigante). That is to say, it favors the treble voices a bit, but gives each one quite a bit of articulation and detail in the overall sonic picture.
There is also some confusion as to opus numbering between this set and the Arts label's edition. CPO lists these as Op. 116, nos. 1-6, whereas Arts has individual opus numbers for each Rossiniana (no. 5, for instance is given as Op. 123, and no. 6 as Op. 124). I have no idea which is correct.
As a final aside, ignore the nose-holding review of Amazon.com's own Leslie Gerber above. Her description of this music as "light" is enough to suggest a lack of qualification to review such a disc. Her unfamiliarity with themes from Rossini's operas only confirms it. - Joseph Barbarie

CD 1
1. Le Rossiniane, Op.119 No.1
2. Le Rossiniane, Op.119 No.2
3. Le Rossiniane, Op.119 No.3

CD 2
1. Le Rossiniane, Op.119 No.4
2. Le Rossiniane, Op.119 No.5
3. Le Rossiniane, Op.119 No.6

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Lutz Kirchhof - J.S. Bach, Works for Lute, Vol.1
Lutz Kirchhof
J.S. Bach, Works for Lute, Vol.1, 2004

Suite g minor BWV 995
01. Prelude
02. Allemande
03. Courante
04. Sarabande
05. Gavotte I - Gavotte II en Rondeau - Gavotte I
06. Gigue
Fugue g minor BWV 1000
07. Fugue
Suite e minor BWV 996
08. Praeludio: Passagio - Presto
09. Allemande
10. Courante
11. Sarabande
12. Bourrée
13. Gigue
Prelude, Fuga & Allegro E flat major BWV 998
14. Prelude
15. Fuga
16. Allegro

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Lucilla Galeazzi & Vincent Courtois & Michel Godard -Trio Rouge
Lucilla Galeazzi & Vincent Courtois & Michel Godard
Trio Rouge, 2004

01. Bella Ciao
02. Voglio Una Casa
03. Per Vita Bella
04. Ah, Vita Bella
05. La Luze de Oro
06. C'Era Una Volta
07. Una Serenata
08. Stornelli a Saltarello
09. Per la Ninna Nanna
10. La Muntagnella
11. La Tarantelle Translucida
12. Per Gorizia
13. Gorizia
14. Rosso

Lucilla Galeazzi - vocals
Vincent Courtois - cello
Michel Godard - tuba, serpent

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