Rosana Lanzelotte (cravo)
Johann Sebastian Rio
Regência; Felipe Prazeres
Gravado na Sala Cecília Meireles, 20/10/2020

This concerto, composed during Johann Sebastian Bach's Cöthen period, is thought to be based on a lost violin concerto. It is clear from the manuscript notation that the concerto was composed for the two manuals of the harpsichord, but it is frequently performed on the single keyboard of the modern piano. The piece is composed in three movements; the first one was later used by Bach as an organ prelude, and the slow movement became the first chorus of his Cantata No. 146, "Wir müssen durch viel Trübsal."

Like most of Bach's instrumental concertos, this work employs the Italian ritornello form. The ritornello of the first movement is a driving six-bar unison theme whose opening five notes form the foundation for the majority of the movement. The theme's power stems from its ever-expanding leaps and its emphatic closing cadence. Most of the soloist's passages are derived from this theme, but Bach later introduces a chromatic, toccata-like secondary theme for effect. The ritornello immediately gives way to a carefully mapped progression through the neighboring keys, using the dominant minor, the relative major, the relative major of the dominant minor, and so forth. The soloist leads the concerto through sections of contrapuntal and harmonic exploration, interspersed with several varied restatements of the ritornello by the strings. Following an elaborate cadenza by the soloist, the first movement closes with a unison restatement of the ritornello. The slow second movement is in G minor, which is unusual in that most of Bach's concertos and sonatas that begin in a minor key have a second movement in a major key, and vice-versa. Like Bach's two violin concertos, the movement is built on a foundation of a solemn basso ostinato which also serves as the ritornello. The movement's structure is symmetrical, with the first half progressing from G minor to C minor, and then to a B flat major cadence; the progression then retraces its steps, through C minor and again back to G minor. Similarly, the opening and closing statements of the ritornello are both in unison. Throughout the piece, the soloist weaves an increasingly florid melody over the ground bass, adding a lyrical quality to the somber character of the movement. The Allegro finale movement is constructed in a similar manner to the opening movement. In 3/4 time, its opening 12-bar ritornello begins with a downward scale and has a recurring rhythmic figure consisting of two sixteenth notes and an eighth note. In parts of the ritornello, the melody is traded between the bass and treble. The first solo section is a toccata-like figure. The final statement of the ritornello is preceded by a short but elaborate cadenza, as in the first movement.

Source: AllMusic (http://www.allmusic.com/composition/concerto-for-harpsichord-strings-continuo-no-1-in-d-minor-bwv-1052-mc0002 385772).

Gravado ao vivo no Museu Imperial por ocasião da inauguração da exposição em homenagem aos 200 anos de nascimento de D. Maria II

Franz Joseph Haydn (1732 - 1809)
Sonata op. 93 (Hob. VI, 1) (1777)
Allegro - Adagio - Tempo di Minuetto

Antonio Meneses (cello), Rosana Lanzelotte (cravo) e Alberto Kanji (cello)
Gravado ao vivo em 10/7/2009 – Auditório Cláudio Santoro
Festival de Campos de Jordão

Link para Spotify:
https://open.spotify.com/track/5sOBCuXISLmxGObjLxHBqw?si=nizXtnOUSmq5dqWEV549-w

Auditório da Academia Brasileira de Letras - 9 de julho de 1997

W.A. Mozart (1756 - 1791) - “Ridente la calma”
Henry Purcell (1659 - 1695) - “Music for a while”
Domenico Scarlatti (1685-1757) - Sonata K. 56
Sonata K. 141
José Maurício N. Garcia (1767 - 1830) - Domine Deus
Modinhas Imperiais (recolhidas por Mário de Andrade) - O Coração perdido
Escuta, formosa Marcia
Anon. séc XIX - Lundum
J.S. Arvellos Modinha
Ernesto Nazareth (1863 - 1934) - Escorregando
Odeon
T. A. Pereira & M.A. Ferreira - É a ti, Flor dos Cëus
Edmundo Villani Côrtes (1930) - Modinha da Moça de Antes (1994)

Rosana Lanzelotte (cravo)
Animação da partitura realizada por Stephen Malinowski

Rosana Lanzelotte - cravo
Tomaz Soares - violino
Jean Gualberto - contrabaixo

As seis sonatas de Wolfgang Amadeus Mozart para teclado com acompanhamento de violino (ou flauta) e violoncelo, K. 10–15 foram compostas no final de 1764 em Londres durante a turnê européia da família Mozart. O pequeno Mozart tinha apenas 8 anos na ocasião e talvez tenha sido acompanhado pelo pai Leopold ao violino.

Gravado ao vivo no SESC Firjan Macaé em 1/6/2019

Escrita no Rio de Janeiro em 10 de setembro de 1819, esta sonata é um dos primeiros exemplos da "forma sonata", típica do estilo clássico vienense, trazido ao Brasil pelo compositor Sigismund Neukomm, o aluno preferido de Joseph Haydn.
A sonata é dedicada a D. Maria Teresa, Princesa da Beira, filha primogênita de D. João e de D. Carlota Joaquina.
O pianoforte solista pode ser acompanhado opcionalmente pelo violino, uma prática frequente do período clássico.
O instrumento utilizado na gravação é uma cópia do de Anton Walter (Viena, 1805), realizada pelo construtor Paul McNulty.
A gravação foi realizada ao vivo no Museu Imperial, em dezembro de 2019.

Gravado ao vivo na Ermida de São Sebastião, Almada, Portugal
Festival Sons da Almada Velha (1/10/2016)

Solistas: Rosana Lanzelotte e Marcelo Fagerlande
Violinos: Julien Chauvin, Felipe Prazeres
Viola: Marco Catto
Cello: Marcus Ribeiro
Contrabaixo: Rodrigo Favaro

Gravado ao vivo - Sala Cecília Meireles - 30/8/2019 - festival Baroque in Rio

Rosana Lanzelotte e Olivier Baumont