| 'Concertato' Prelude from Prelude and Fugue in D BWV 532 - 287 sec
John Scott Whiteley of York Minster plays the Arp Schnitger organ at the Jakobikirche Hamburg. Restored by Jurgen Ahrend.
Auteur : ZachariasHildebrandt
Tags:Prelude Fugue Bach organ concertato bwv 532 johann sebastian schnitger hamburg major short octave organist whiteley
 | | Fugue from Concertato Prelude and Fugue in D BWV 532 - 389 sec
Organist John Scott Whiteley. Organ by Arp Schnitger.
Auteur : ZachariasHildebrandt
Tags:Fugue Bach Organ bwv 532 johann sebastian arp schnitger organist spielfuga broken octave sunglasses Hamburg
| | LUISA MILLER - Fiorella Burato - Concertato - - 171 sec
Fiorella Burato and great cast performing Luisa Miller in Leipzig, March 2008. Visit her website: www.fiorellaburato.com!!!
Auteur : RecitarCantando
Tags: Luisa Miller Verdi Burato Fiorella Soprano Opera Lirica Classica Traviata Ricciarelli Domingo Leipzig Lipsia Germany
| | La Traviata - Atto secondo Concertato finale - 585 sec
Theatre Municipal de Sète (France)
8 febbraio 1997
Violetta: Giovanna Gomiero
Alfredo: Giuliano Di Filippo
Flora: Irene Macutan
Germont: Pierre Marin
Annina: Paola Francesca Natale
Gastone: Guido Bernoni
Duphol: Alberto Mirino
D'Obligny: Ciro Miccoli
Giuseppe: Fabio Andreotti
Domestico e Commissionario: Salvatore Saulle
Maestro del Coro: Marcello Calapai
Coreografie: Massimo Puddu e Antonella Iacopucci
Regia: Lucio Umberto Parise
Direttore: Fabio bernoni
Coro e Orchestra dell'Associazione "Musica nel Mondo"
Auteur : nenet67
Tags: lirica traviata verdi irene macutan fabio bernoni sète france
| | Matilde di Shabran Concertato Atto II 2/2 - 426 sec
G.Rossini Matilde di Shabran Sestetto: "Perfida! Invan tu piangi!... Fra quattro armigeri immantinente"
Matilde_ Elisabeth Futral Corradino_ Juan Diego Florez Contessa D'Arco_ Francesca Franci Don Isidoro_ Bruno Praticò Ginardo_ Pietro Spagnoli Aliprando_ Roberto Frontali Conductor Yves Abel Director Pier'Alli Pesaro, Rossini Opera Festival 1996 http://operafree.forumfree.net
Auteur : signorinaermione
Tags: Rossini Matilde Shabran Pesaro 1996 opera Elisabeth Futral Juan Diego Florez Bruno Praticò Francesca Franci Pietro Spagnoli Roberto Frontali Abel Pier'Alli
| | Leonardo Leo - "Fa l'alluorgio cammenare, concertato" - 396 sec
Leonardo Leo - "Fa l'alluorgio cammenare, concertato".
Cappella de Turchini.
Roberta Invernizzi (Soprano).
Daniela Del Monaco (Contralto).
Giuseppe de Vittorio (Tenori).
Giuseppe Naviglio (Baritono).
Dir. Antonio Florio.
Auteur : OedipusColoneus
Tags: Leonardo Leo Fa l'alluorgio cammenare concertato Antonio Florio Capella Turchini
| | Matilde di Shabran Concertato Atto II 1/2 - 260 sec
G.Rossini Matilde di Shabran
Sestetto: "E' palese il tradimento... Passegger che si confonde"
Matilde_ Elisabeth Futral
Corradino_ Juan Diego Florez
Contessa D'Arco_ Francesca Franci
Don Isidoro_ Bruno Praticò
Ginardo_ Pietro Spagnoli
Aliprando_ Roberto Frontali
Conductor Yves Abel
Director Pier'Alli
Pesaro, Rossini Opera Festival 1996
http://operafree.forumfree.net
Auteur : signorinaermione
Tags: Rossini Matilde Shabran Pesaro 1996 opera Elisabeth Futral Juan Diego Florez Bruno Praticò Francesca Franci Pietro Spagnoli Roberto Frontali Abel Pier'Alli
| | L'ELISIR D'AMORE Concertato"Adina credimi" Rieti 21/10/1988 - 263 sec
G.Donzzetti: L'elisir d'amore
Concertato "Adina credimi"
Paola Vella (debutto artistico)
Stefano Montanari (debutto artistico)
Luca Ranieri (debutto artistico)
Anna Carnovali (debutto artistico)
Direttore: Maurizio Rinaldi
Regia: Franca valeri
Teatro Flavio Vespasiano di Rieti 21/10/1988
Video originale e inedito tratto dalla videoteca personale di Flavio Raule
Rieti 2008
Auteur : camperlaia
Tags: Donizzetti opera lirica classica Paola_Vella Stefano_Montanari Luca_Ranieri
| | NABUCCO CONCERTATO TENORE CRISTIAN DI GREGORIO - 225 sec
NABUCCO
Auteur : digregoriocristian
Tags: LUCIANO PAVAROTTI PLACIDO DOMINGO JOSE CARRERAS MARIA CALLAS CRISTIAN DI GREGORIO ROCWELL BLAKE
| | Canone concertato, presentato l'accordo - 109 sec
Presentato a Palazzo Moroni il nuovo accordo sui contratti di affitto concertati. L'accordo è stato siglato dai rappresentanti dei sindacati degli inquilini, delle associazioni dei proprietari immobiliari e dall'Esu.
Auteur : palazzomoroni
Tags: palazzo moroni comune Padova canone concertato concordato politiche abitative esu uppi
| | Re: 'Concertato' Prelude from Prelude and Fugue in D BWV 532 - 147 sec
Is that the Console of the Jakobikirche. I played the organ in 1968 and the stop knobs had people's heads. Also I can't remember it having short octaves.
Auteur : YMNTWTANKH
Tags: IS THAT CONSOLE JAKOBIKIRCHE
| | 1. Donati: Benedictus Deus / Marco Mencoboni - 266 sec
Stereo: http://br.youtube.com/watch?v=swKZBwC-Hqw&fmt=18
Ignazio Donati (1570 - 1638).
1. Benedictus Deus.
Ensemble Sacro & Profano.
Rosa Dominguez (Soprano).
Roberta Invernizzi (Soprano).
Nadia Ragni (Soprano).
Roberto Balcone (Countertenor).
Gian Paolo Fagotto (Tenor).
Antonio Abete (Bass).
Dir: Marco Mencoboni.
Ignazio Donati was an Italian composer of the early Baroque era. He was one of the pioneers of the style of the concertato motet.
Donati was born in Casalmaggiore, near Parma. Little is known about his earliest years, but he must have had a thorough early musical training, and his succession of posts at various cathedrals in Italian towns is well documented: he served successively at Urbino, Pesaro, Fano, Ferrara, Casalmaggiore, Novara, and Lodi, eventually acquiring the prestigious post at Milan Cathedral in 1629, which he kept with one short break until his death.
Donati wrote "sacred concertos", motets, masses and psalm settings. Most of Donati's music is sacred, and his style tends towards the cheerful, the light, and the practical. He wrote motets using the new concertato style pioneered by the composers of the Venetian School, though he was not associated with Venice himself. Most of his music is for two to five voices with instrumental accompaniment including basso continuo, and some of his works - for example a book of psalm settings - exist in several settings for different types of performance, with different instrumental and vocal forces.
In some of his music he went even farther, and suggested multiple performance ideas - from singing only a very few parts, to using multiple choruses with instrumental doubling, based on the resources of the performing ensemble and the type of effect required by the performance occasion. This kind of practical advice is rarely found in the writings accompanying the music of the Venetian school composers, who had massive, virtuoso, well-paid ensembles at their disposal, but it would have been essential to the musical establishments at the small provincial towns in which Donati worked.
In addition to his concertato motets and other mixed instrumental-vocal music, he wrote some relatively conservative masses, which, however, are not in the polyphonic Palestrina style but find a middle-ground between the stile antico and the more modern harmonic practice.
Auteur : OedipusColoneus
Tags: Donati Benedictus Deus Ensemble Sacro Profano Marco Mencoboni
| | Carlo Coccia - Maria Stuart - Finale I part I - 541 sec
Carlo Coccia
Maria Stuart, Regina di Scozia, Opera seria in three acts, first performance 7 june 1827, King's Theatre, London.
Libretto: Signor Giannone
Finale of act I: Vieni, o Grande!... Ecco l'indegna
Maria: Bronwen Mills
Elisabetta: Jennifer Rhys-Davies
Leicester: Bruce Ford
Burleigh: Alastair Miles
Mortimero: Paul Nilon
Melvil: Clive Bayley
Paoletto: Mark Glanville
Seymour: Ivan Sharpe
Anna: Anne Mason
Ladies, Knights, Huntsmen: Geoffrey Mitchell Choir
Orchestra: Philharmonia orchestra
Conductor: David Parry
Unfortunately was Maria Stuart not a success and got only four performances.
The detail of the conspirator who tries to assassinate Elizabeth is not included in Donizettis opera, but is to be found in Schillers tragedy, the common source of both operas. Of the two, Coccias is the closer and more faithful to Schiller, not only in this but also, for example, in the inclusion of Paoletto (Paulet) instead of Talbot as Marys gaoler, and in the introduction of Mortimero (Mortimer), Paolettos hot headed young nephew who is secretly in love with Mary. The choice, indeed, is between a more faithful rendering of the play but a more diffuse libretto in Coccias opera; and a more streamlined symmetrical version, but one in which a telescoping of characters results in some awkwardness and anomalies, in Donizettis.
This encounter of the queens will, we predict, come as a surprise perhaps at first hearing as a disconcerting surprise to those who are familiar with Donizettis treatment of the same scene. In the first place, we must accustom ourselves to a different, a significantly different, conception and conduct of the action. Whereas Donizetti allows himself only a very short, very restrained concertato when the queens first meet presumably because the true climax, Marias denunciation of Elisabetta, is still to come and throughout gives the impression of maximum concision and shaping for dramatic effect, Giannone and Coccia, manipulating a larger cast and allowing all to play their part, treat the scene at considerably greater length. They give us not one concertato but two, one (Oh come freme commosso il core) following immediately upon the queens first setting eyes on each other, and the other (Terribil momento) following Marias denunciation of Elisabettas honour as a lie. Donizetti, it will be remembered, made Marias denunciation one of those moments at which he excelled a moment of supremely dramatic declamation as Maria triumphantly but irrevocably seals her fate and used it to precipitate the final stretta. In Giannone and Coccia, as already mentioned, it launches another concertato; the final stretta comes later, sparked off by the incident that is suppressed in Donizettis treatment; the hasty and ill-judged attempt upon Elisabettas life. In Donizetti, moreover, Marias denunciation is held back through one taunt after another, until we feel that she is goaded beyond all possible further endurance. In Coccia, on the other hand, her outbursts seems to come much sooner, with only a fraction of the same provocation; and since it occurs before the second concertato and is then continued in the tempo di mezzo after it in the allegro molto leading to the attempted it does not pack everything like the same punch. Its effect, by comparison, is diffused and repetitive.
Auteur : Meyerbeer1
Tags: Classical Opera Carlo Coccia Maria Stuart Stuarda Finale Bruce Ford Alastair Miles King's Theatre
| | 2. Donati: Salve Regina / Marco Mencoboni - 286 sec
Stereo: http://br.youtube.com/watch?v=I9AtWCa5ZAk&fmt=18
Ignazio Donati (1570 - 1638).
1. Salve Regina.
Ensemble Sacro & Profano.
Roberta Invernizzi (Soprano).
Nadia Ragni (Soprano).
Dir: Marco Mencoboni.
Ignazio Donati was an Italian composer of the early Baroque era. He was one of the pioneers of the style of the concertato motet.
Donati was born in Casalmaggiore, near Parma. Little is known about his earliest years, but he must have had a thorough early musical training, and his succession of posts at various cathedrals in Italian towns is well documented: he served successively at Urbino, Pesaro, Fano, Ferrara, Casalmaggiore, Novara, and Lodi, eventually acquiring the prestigious post at Milan Cathedral in 1629, which he kept with one short break until his death.
Donati wrote "sacred concertos", motets, masses and psalm settings. Most of Donati's music is sacred, and his style tends towards the cheerful, the light, and the practical. He wrote motets using the new concertato style pioneered by the composers of the Venetian School, though he was not associated with Venice himself. Most of his music is for two to five voices with instrumental accompaniment including basso continuo, and some of his works - for example a book of psalm settings - exist in several settings for different types of performance, with different instrumental and vocal forces.
In some of his music he went even farther, and suggested multiple performance ideas - from singing only a very few parts, to using multiple choruses with instrumental doubling, based on the resources of the performing ensemble and the type of effect required by the performance occasion. This kind of practical advice is rarely found in the writings accompanying the music of the Venetian school composers, who had massive, virtuoso, well-paid ensembles at their disposal, but it would have been essential to the musical establishments at the small provincial towns in which Donati worked.
In addition to his concertato motets and other mixed instrumental-vocal music, he wrote some relatively conservative masses, which, however, are not in the polyphonic Palestrina style but find a middle-ground between the stile antico and the more modern harmonic practice.
Auteur : OedipusColoneus
Tags: Donati Salve Regina Ensemble Sacro Profano Marco Mencoboni Roberta Invernizzi Nadia Ragni
| | 3. Donati: Ecce tu pulcra es / Marco Mencoboni - 215 sec
Stereo: http://br.youtube.com/watch?v=ZLmy5ab2ujs&fmt=18
Ignazio Donati (1570 - 1638).
1. Ecce tu pulcra es.
Ensemble Sacro & Profano.
Roberta Invernizzi (Soprano).
Nadia Ragni (Soprano).
Dir: Marco Mencoboni.
Ignazio Donati was an Italian composer of the early Baroque era. He was one of the pioneers of the style of the concertato motet.
Donati was born in Casalmaggiore, near Parma. Little is known about his earliest years, but he must have had a thorough early musical training, and his succession of posts at various cathedrals in Italian towns is well documented: he served successively at Urbino, Pesaro, Fano, Ferrara, Casalmaggiore, Novara, and Lodi, eventually acquiring the prestigious post at Milan Cathedral in 1629, which he kept with one short break until his death.
Donati wrote "sacred concertos", motets, masses and psalm settings. Most of Donati's music is sacred, and his style tends towards the cheerful, the light, and the practical. He wrote motets using the new concertato style pioneered by the composers of the Venetian School, though he was not associated with Venice himself. Most of his music is for two to five voices with instrumental accompaniment including basso continuo, and some of his works - for example a book of psalm settings - exist in several settings for different types of performance, with different instrumental and vocal forces.
In some of his music he went even farther, and suggested multiple performance ideas - from singing only a very few parts, to using multiple choruses with instrumental doubling, based on the resources of the performing ensemble and the type of effect required by the performance occasion. This kind of practical advice is rarely found in the writings accompanying the music of the Venetian school composers, who had massive, virtuoso, well-paid ensembles at their disposal, but it would have been essential to the musical establishments at the small provincial towns in which Donati worked.
In addition to his concertato motets and other mixed instrumental-vocal music, he wrote some relatively conservative masses, which, however, are not in the polyphonic Palestrina style but find a middle-ground between the stile antico and the more modern harmonic practice.
Auteur : OedipusColoneus
Tags: Donati Ecce tu pulcra es Ensemble Sacro Profano Marco Mencoboni Roberta Invernizzi Nadia Ragni
| | DIMITRA THEODOSSIOU - ATTILA - 161 sec
This is the Concertato of Attila's II act by G. Verdi. This is the performance of the 15April 2007 in Piacenza.
Will Humburg directed the A. Toscanini Orchestra.
Attila is Michele Pertusi
Foresto is Walter Fraccaro
Auteur : sarguar
Tags: Theodossiou Dimitra Attila Verdi Opera Live Piacenza Pertusi Humburg Fraccaro concertato soprano
| | Carlo Coccia - Maria Stuart - Finale I part III, last part - 513 sec
Carlo Coccia
Maria Stuart, Regina di Scozia, Opera seria in three acts, first performance 7 june 1827, King's Theatre, London.
Libretto: Signor Giannone
Finale of act I: Concertato II and stretta
Maria: Bronwen Mills
Elisabetta: Jennifer Rhys-Davies
Leicester: Bruce Ford
Burleigh: Alastair Miles
Mortimero: Paul Nilon
Melvil: Clive Bayley
Paoletto: Mark Glanville
Seymour: Ivan Sharpe
Anna: Anne Mason
Ladies, Knights, Huntsmen: Geoffrey Mitchell Choir
Orchestra: Philharmonia orchestra
Conductor: David Parry
Unfortunately was Maria Stuart not a success and got only four performances.
All these remarks will suggest, quite rightly, that Donizetti handles the scene with a more masterly sense of shape and impact. And yet, the more one listens to Coccia, the more one becomes aware the he, too, has very real strengths.
Right from the start he achieves a sense of formality and occasion by beginning with a full-scale hunting chorus. Already the scale of his conception is imposing: not only is it a chorus written in a predictable 6/8 rhythm with the voices accompanied by hunting calls for divided horns, but it is in full ternary form, the flanking hunting movements contrasted by a central section, more lightly scored and broader in its effect.
The following moment, when the queens actually meet, the moment that precedes and precipitates the first concertato, is marked by a most arresting passage in which the two soprano voices first alternate in florid declamation and then, as it were, lock together in antagonism. Here it is not only Elisabetta who spurns her rival the moment she claps eyes on her: it is Maria who actually leads off and sets the example. From the moment they meet, therefore, the gauntlets are thrown down and the die is cast long before there is any question Marias humbling herself and pleading for mercy.
Later, when Maria actually begins her plea (Oh Sorella! Il ciel decise), we may note a similarly telling touch of characterisation: her ostensible humility does not go unaccompanied by a veiled threat (Ah pensa, che a superbi sempre amico il ciel non è). Moreover Coccia, thanks to an agitated pianissimo accompaniment, captures the nervousness of the situation most tellingly: both queens, we feel, have their hearts pounding in their throats: both have their self-control stretched to breaking-point.
As another example of the composers ability to seize and convey the emotion of the moment we would cite the rising chromatic line and double-dotted rhythm of the final stretta (Ritorni al carcere), where the effect is hectic, headlong and excited. In all of these instances, Coccia infuses his music with immense energy and tension.
To all his we should add a word about the concertato themselves. In these ensembles the two major movements of the finale Coccia gives vent to his lyrical instincts. We may note, for example, the almost self-indulgent use and effect of appoggiature in both concertato: beneath the note at the end of each phrase of the second. The vocal plan or layout of the voices is also worthy of note. Maria and Elisabetta, both sopranos, very often sing in unison, giving the ensemble a strong carrying upper line; when they divide, sometimes it is one who has the upper line, sometimes the other. With three basses of equal prominence, Paoletto, Burleigh and Melvil, the lower end of the spectrum is equally strong, while in the centre we have two principal tenors, Leicester and Mortimero, as well as a second tenor, Seymour, and a contralto, Anna. With such forces the music moves forward in surgingly lyrical sequences, achieving the most gorgeously rich sonorities as it does so.
Auteur : Meyerbeer1
Tags: Classical Opera Carlo Coccia Maria Stuart Stuarda Finale Bruce Ford Alastair Miles King's Theatre
| | Fa l'alluorgio cammenare - 396 sec
Singers: Roberta Invernizzi (soprano) Daniela del Monaco (contralto) Giuseppe de Vittorio (tenor) Rosario Toraro (tenor) Giuseppe Naviglio (bass)
Composer: Leonardo Leo
Work: Concertato
Auteur : Crindoro
Tags: Leo concertato Invernizzi Del Monaco Totaro Naviglio de Vittorio
| | Gabrieli: O Sacrum Convivium - 289 sec
Stereo: http://br.youtube.com/watch?v=IideIZC9mUo&fmt=18
Andrea Gabrieli (1532 - 1585).
O Sacrum Convivium for 5 voices.
Gabrieli Consort & Players.
Dir: Paul McCreesh.
To manuriga.
Andrea Gabrieli was an Italian composer and organist of the late Renaissance. The uncle of the somewhat more famous Giovanni Gabrieli, he was the first internationally renowned member of the Venetian School of composers, and was extremely influential in spreading the Venetian style in Italy as well as in Germany.
He was probably a native of Venice, most likely the parish of S. Geremia. He may have been a pupil of Adrian Willaert at St. Mark's in Venice at an early age. There is some evidence that he may have spent some time in Verona in the early 1550s, due to a connection with Vincenzo Ruffo, who worked there as maestro di cappella -- Ruffo published one of Gabrieli's madrigals in 1554, and Gabrieli also wrote some music for a Veronese academy. Gabrieli is known to have been organist in Cannaregio between 1555 and 1557, at which time he competed unsuccessfully for the post of organist at St. Mark's.
In 1562 he went to Germany, where he visited Frankfurt am Main and Munich; while there he met and became friends with Orlande de Lassus, one of the most wide-ranging composers of the entire Renaissance, who wrote secular songs in French, Italian, and German, as well as abundant Latin sacred music. This musical relationship was immensely profitable for both composers: while Lassus certainly learned from the Venetian, Gabrieli took back to Venice numerous ideas he learned while visiting Lassus in Bavaria, and within a short time was composing in most of the current idioms, including one which Lassus entirely avoided: purely instrumental music.
In 1566 Gabrieli was chosen for the post of organist at St. Mark's, one of the most prestigious musical posts in northern Italy; he retained this position for the rest of his life. Around this time he acquired, and maintained, a reputation as one of the finest current composers. Working in the unique acoustical space of St. Mark's, he was able to develop his unique, grand ceremonial style, which was enormously influential in the development of the polychoral style and the concertato idiom, which partially defined the beginning of the Baroque era in music.
His duties at St. Mark's clearly included composition, for he wrote a great deal of music for ceremonial affairs, some of considerable historical interest. He provided the music for the festivities accompanying the celebration of the victory over the Turks in the Battle of Lepanto (1571); he also composed music for the visit of several princes from Japan (1586).
Late in his career he also became famous as a teacher. Prominent among his students were his nephew Giovanni Gabrieli; the music theorist Lodovico Zacconi; Hans Leo Hassler, who carried the concertato style to Germany; and many others.
The date and circumstances of his death were not known until the 1980s, when the register containing his death date was found. Dated August 30, 1585, it includes the notation that he was "about 52 years old"; his approximate birth date has been inferred from this. His position at St. Mark's was not filled until the end of 1586, and a large amount of his music was published posthumously in 1587.
Auteur : OedipusColoneus
Tags: Andrea Gabrieli Sacrum Convivium Consort and Players Paul McCreesh
| | Bach: Brandenburg Concerto No. 5 in D major (BWV 1050) - 583 sec
Stereo: http://br.youtube.com/watch?v=4X7N0wU2L8o&fmt=18
Johann Sebastian Bach (1685 - 1750).
Brandenburg Concerto No. 5 in D major (BWV 1050):
1st mov: Allegro.
Musica Antiqua Köln.
Reinhard Goebel (Violin).
Wilbert Hazelzet (Transverse flute).
Andreas Staier (Harpsichord).
Dir. Reinhard Goebel.
Title on autograph score: Concerto 5to d'une Traversiere, une Violino principale, une Violino è una Viola in ripieno, Violoncello, Violone è Cembalo concertato.
Movements:
1st: Allegro
2nd: Affettuoso
3rd: Allegro
Concertino: harpsichord, violin, flute.
Ripieno: violin, viola, cello, violone, (harpsichord).
The harpsichord is both a concertino and a ripieno instrument: in the concertino passages the part is obbligato; in the ripieno passages it has a figured bass part and plays continuo.
This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on their own for the middle movement. It is believed that it was written in 1719, to show off a new harpsichord by Michael Mietke which Bach had brought back from Berlin for the Cöthen court. It is also thought that Bach wrote it for a competition at Dresden with the French composer and organist Louis Marchand; in the central movement, Bach uses one of Marchand's themes. Marchand fled before the competition could take place, apparently scared off in the face of Bach's great reputation of virtuosity and improvisation.
The concerto is well suited throughout to showing off the qualities of a fine harpsichord and the virtuosity of its player, but especially in the lengthy solo 'cadenza' to the first movement. It seems almost certain that Bach, considered a great organ and harpsichord virtuoso, was the harpsichord soloist at the premiere. Scholars have seen in this work the origins of the solo keyboard concerto; indeed it is said to be the first-ever example.
An earlier version, BWV 1050a, has innumerable small differences from its later cousin, but only two main ones: there is no part for cello, and there is a shorter and less elaborate harpsichord cadenza in the first movement. (The cello part in BWV 1050, when it differs from the violone part, doubles the left hand of the harpsichord.)
Auteur : OedipusColoneus
Tags: Bach Brandenburg Concerto No.5 BWV 1050 Musica Antiqua Köln Reinhard Goebel
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