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CACCINI AVE MARIA ORGAN REGISTRATION
CACCINI AVE MARIA ORGAN DOWNLOAD

CACCINI AVE MARIA ORGAN DOWNLOAD

Organ, Voice, Medium voice, Organ - Intermediate - Digital Download Composed by Giulio Caccini (1545-1618). We recommend that you contact your local customs or import office for further information. We do not refund customers who refuse shipments or return items because they do not want to pay customs or import taxes.

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Note: Budget Air/Ground takes a little longer than our other shipping options, but it's a great value if you're not in a rush. A slightly tremulous quality sometimes enters on high notes, but for the most part her tone and style manage to combine warmth with a shining clarity so that she impresses as a singer of memorable individuality and one who induces a thirst for more.Enjoy our Budget Air/Ground Shipping - starting as low as $2.99! Simply choose Budget Air/Ground as your shipping method during checkout. Inessa Galante, known to most of us first through a disc praised by AB as “one of the most exciting debut recitals from any opera singer for a long time” (Campion, 11/95), is recorded live, in a way that brings a vivid and exciting sense of contact. Still, there is the beautiful voice, and just as well too, for without it the entertainment would be barren indeed.

CACCINI AVE MARIA ORGAN REGISTRATION

Dull registration and stodgily coupled pedals create the kind of impression an imaginative player would hope to avoid on an average parish church two-manual. The various Ave Marias are not such as to invite instant replay, and Puccini’s Salve regina seems just about to get beyond the first page of the Intermezzo from Cavalleria rusticana (which it antedates) when it stops.Īll items are performed to accompaniments played on the organ of Riga Cathedral, which one might conclude to be an instrument of limited resources till reading the note which tells of its “4 manuals, 124 registers and 6718 pipes”. The three ‘cantatas’ by Jazeps Vitols are said to date from 1935 and the years immediately following, but if a typographical error had substituted an 8 for the 9 little about the sound of the pieces would have made it seem unlikely they have perhaps the dignity of a sincere plainness. Otherwise it can hardly be said that the music excites curiosity of any kind. It might be interesting to inspect the composer’s (“ c1600”) manuscript. The last is listed as Caccini’s Ave Maria and will assuredly achieve fame as the theme music for an airline or pizza commercial before long: it carries a strong suggestion of Jerome Kern (“You are the honeyed breath of evening”) while shimmering in candlelight and voluptuous piety. The music itself, by Paula Licite, offers a choice of idioms, none of them requiring too much by way of concentration but combining an accustomed pleasure with a sense of something new. In the first, women’s voices add an ethereal but by no means sexless element to the religious associations of the organ, and the solo soprano’s voice enters, rather like Tosca’s in the cantata, thrillingly the star. Both are settings of the Ave Maria (as, indeed, are most of the other tracks).

The first track and the last are just the sort of thing it likes. The market may have something to say about this.