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Subject: Re: "Celeste Aida" High Note Compilation
From: Alain Letort <[log in to unmask]>
Reply-To:Alain Letort <[log in to unmask]>
Date:Sat, 21 Oct 2017 19:39:10 -0400

text/plain (49 lines)

Dear Listers,

While I agree with the general consensus about the beauty of Corelli’s “morendo” in the last 
four measures of “Celeste Aida” in the mix to which Max Winter so kindly sent us a link, and 
agree that it the best of all the renditions in the mix, I am surprised that no one commented 
on the first of Helge Rosvænge’s two renditions in the same mix, “Helge Rosvænge singt 
Arien aus seinen berühmten Partien.”

I, for one, find it absolutely exquisite and thrilling, marred only by the ugly German words 
(“so sanfte möcht’ ihn erhöhn” if I make them out correctly) that somebody substituted for 
Ghislanzoni’s lovely Italian lyrics (“un trono vicino al sol”).  (I know, I know, that’s how 
things were done in those days.)   Rosvænge’s interpretation may not be “morendo,” “come 
scritto,” but it *is* <pp> and the effect is ravishing, at least to my ear.

Oddly enough, in his second interpretation (immediately following the first), Rosvænge 
reverts to the traditional <ff>.  Very well done, but not “come scritto.”

Am I alone in finding Rosvænge’s first interpretation exquisite? 

Cheers and all the best,


Alain Letort
Washington, D.C.
Des Ungeheuers Höhle 


On Fri, 20 Oct 2017 19:09:58 -0400, Max D. Winter <[log in to unmask]> wrote:

>This is fun:
>IMO Corelli wins, hands down, with his stunning trademark diminuendo.  

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