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Venice Classic Radio Italia

Genere: Classica musica
Venice Classic Radio Italia - Beautiful Classical Music - è una webradio digitale italiana di musica classica che propone ogni giorno un repertorio di musica antica, barocca, da camera, sinfonica, lirica e contemporanea. Ascolta Venice Classic Radio online in diretta streaming!
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Che ha giocato alla radio (Archivio):
11o. 35min. fa
Wolfgang Amadeus Mozart (1756-1791) - Concerto Per Pianoforte E Orchestra In Re Minore No.20 Kv466 (34:22) { Info:}
13o. 38min. fa
Johann Sebastian Bach (1685-1750) - Suite Orchestrale In Do Maggiore No.1 Bwv1066 (25:49) { Info:}
18o. 40min. fa
Frederic Chopin (1810-1849) - 'fugue' In La Minore Op. Postuma (03:04) { Info:}
20o. 42min. fa
Pietro Antonio Locatelli (1695-1764) - Sonata Per Flauto, Fagotto E Cembalo In Fa Maggiore No.8 Op.2 (12:09) { Info:}
22o. 55min. fa
Carl Philipp Emanuel Bach (1714-1788) - Concerto Per Clavicembalo E Archi In Si Minore Wq30 (25:01) { Info:}
1g. 58min. fa
Felix Mendelssohn Bartholdy (1809-1847) - 'lieder Ohne Worte' Per Pianoforte Vol.3 Op.38 (13:43) { Info:}
1g. 3o. 1min. fa
Georg Friedrich Haendel (1685-1759) - 'der Kuckuck Und Die Nachtigall' - Concerto Per Organo E Orchestra In Fa Maggiore N.13 Hwv295 (13:17) { Info:}
1g. 5o. 6min. fa
Mauro Giuliani (1781-1829) - Gran Duetto Concertante In La Maggiore Op.85 (19:42) { Info:}
1g. 7o. 8min. fa
Luigi Boccherini (1743-1805) - Sinfonia In Si Bemolle Maggiore G497 (16:10) { Info:}
1g. 9o. 24min. fa
Johann Christian Bach (1735-1782) - Concerto Per Clavicembalo In La Maggiore (16:16) { Info:}
1g. 11o. 27min. fa
Wolfgang Amadeus Mozart (1756-1791) - 'andante Fur Eine Orgelwalze' In Sol Maggiore Kv616 (06:51) { Info:}
1g. 13o. 32min. fa
Georg Friedrich Haendel (1685-1759) - Suite Per Pianoforte In Fa Maggiore Hwv427 (08:42) { Info:}
1g. 15o. 35min. fa
Gaetano Donizetti (1797-1848) - Introduzione Per Archi (05:54) { Info:}
1g. 19o. 32min. fa
Alessandro Stradella (1639-1682) - Sinfonia Per 2 Violini E Basso Continuo In Fa Maggiore N.6 (06:08) { Info:}
1g. 20o. 26min. fa
Ludwig Van Beethoven (1770-1827) - 'concerto Triplo' Per Violino, Violoncello, Pianoforte E Orchestra In Do Maggiore Op.56 (35:06) { Info:}
1g. 21o. 22min. fa
Johann Sebastian Bach (1685-1750) - Suite Per Violoncello Solo In Do Maggiore No.3 Bwv1009 (17:36) { Info:}
Girolamo Kapsberger (1580-1651) - Toccata Vii Per Arpa Doppia E Chitarrone (03:53) { Info:}
Nicola Porpora (1686-1768) - Sonata Per Violoncello Concertante, Violino E Basso Continuo In Sol N.3 (09:16) { Info:}
Franã§Ois Couperin (1668-1733) - 'les Fauvã©Tes Plaintives' Per Pianoforte In Re Minore L.iii Ord.14 (05:06) { Info:}
Johann Joachim Quantz (1697-1773) - Concerto Per Flauto In Re Maggiore No.70 (13:13) { Info:}
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  • Tenebrae presents Easter virtual choir performance on BBC Four Thursday, 9 April 2020 15:44:02


    Sacred Songs: The Secrets of our Hearts, a half-hour performance filmed and recorded remotely by Tenebrae, will be broadcast at 7pm on BBC Four on Easter Sunday. 

    All 19 of the choir’s singers filmed themselves singing from their various homes across the country, conducted by the ensemble's director Nigel Short via video link. The concert will feature various seasonal works, with Allegri’s Miserere at the centre of the programme. 


    The full programme is as follows:

    JS Bach: Wenn ich einmal so scheiden
    Lobo: Versa est in luctum
    Allegri: Miserere
    Purcell/Croft: Thou knowest, Lord, the secrets of our hearts
    Parry: My soul, there is a country
    JS Bach: Ach Herr, lass dein lieb Engelein

  • Six of the best: pieces of classical music for Easter Thursday, 9 April 2020 14:38:18


    1) Johann Sebastian Bach: St Matthew Passion

    The St Matthew Passion is a masterpiece that many people know well, but few tire of hearing. One of only two JS Bach passion settings still in existence (the St John is the only other to have survived), the piece was originally performed in Leipzig on Good Friday 1727, although the score as we know it dates from 1743-6.

    The work’s two halves were originally intended to be sung on either side of the Good Friday sermon - a test of the piety of the most ardent churchgoers (even performances without the sermon tend to last over two-and-a-half hours).

    So why do we love it so much? Could it be those intricate baroque figures that tug at the heartstrings? Or the effortless coupling of soli and chorus; of arioso with aria? Perhaps it’s simply the sheer number of terrific tunes that litter the work.

    John Eliot Gardiner's version with the Monteverdi Choir and English Baroque Soloists remains one of our all-time favourite recordings of the work.



    2) Thomas Tallis: Lamentations of Jeremiah the Prophet

    Tallis composed his Lamentations around 1565-70, when he was in his early sixties. Setting Holy Week bible lessons to music was a trend that had developed on the Catholic continent during the early 1400s. Nevertheless, by the mid-16th century England had gamely caught up and the practice was enjoying a brief flourish of popularity.

    Although the jury is still out on Tallis' religious affiliations (he may have been Catholic at a time when this was politically inadvisable), the pieces could well have formed part of the Maundy Thursday liturgy in his lifetime.

    These settings of verses from the Book of Jeremiah are among Tallis’s most expressive works. The composer used all the compositional techniques available to him to squeeze every last ounce of poignancy from the text.

    The five vocal lines imitate, suspend, clash and build towards the final section: 'Jerusalem, turn again to the Lord your God!'



    3) Nikolay Rimsky-Korsakov: Russian Easter Festival Overture

    This 1888 overture is named for the Svetlïy prazdnik or ‘Bright holiday’, as Easter is known in Russia.

    An avowed atheist, Rimsky-Korsakov wrote that he wanted to capture 'the transition from the solemnity and mystery of the evening of Passion Saturday to the unbridled pagan-religious celebrations of Easter Sunday morning’. The piece paints vividly the explosion of light and colour at the end of a long, hard Russian winter.

    Religious and pagan themes are entwined at the very heart of the work: Rimsky-Korsakov borrowed themes from the Obikhod, a collection of Orthodox chants that since 1848 had been a mandatory part of the liturgy for every church in Russia.

    These austere motifs shine through the wild textures of the orchestra, no more so than at 8’35 when a solo tenor trombone (‘a piena voce’) evokes the chanting of a priest.



    4) James MacMillan: Seven Last Words from the Cross

    MacMillan’s cantata for choir and string orchestra was commissioned by BBC Television and premiered in seven nightly episodes during Holy Week in 1994. The piece is a setting of the final sentences uttered by Jesus as he lay dying on the cross.

    The Aurora Orchestra’s Nicholas Collon recently described it as ‘one of the greatest sacred pieces written in the last 100 years’ - the writing is dramatic, emotionally-charged and extraordinarily moving.

    Mantra-like settings of the gospel texts are well ornamented like many of Macmillan’s vocal works. The first movement is particularly moving with the plainsong-like chant of the sopranos and altos underpinned by savagely discordant murmurings in the strings.

    Not one to listen to if you’re feeling fragile, though.



    5) Gustav Mahler: Symphony No 2 ‘Resurrection’

    Mahler’s second symphony makes for great Passiontide listening. The journey from the tension of the first movements to the resolution of the finale mirrors Easter’s themes of destruction and redemption - hence the unofficial 'resurrection' title.

    The symphony took six years to complete and was first performed in 1895. Mahler always planned for the fifth movement to feature voices but lacked inspiration for a text until 1894, when he heard a setting of Friedrich Gottlieb Klopstock’s Die Aufersterhung (‘The Resurrection) performed at the funeral of his colleague and mentor, Hans von Bülow.

    Mahler was deeply moved. ‘It struck me like lightning, this thing,’ he wrote to a friend, ‘and everything was revealed to me clear and plain.’ He borrowed the first eight lines of Klopstock’s poem and supplied a further twenty or so himself.

    Halfway through the final movement, the choir comes in with the words: ‘Rise again! Yes, rise again will you, my dust, after a short rest!’



    6) Francis Poulenc: Quatre motets pour un temps de pénitence

    The critic Claude Rostand famously described Poulenc as ‘le moine et le voyou’ - half monk, half rascal. Though legendary in Parisian social circles as a bit of a dilettante, the death of a close friend in 1936 prompted Poulenc to make a religious pilgrimage that led to a dramatic personal transformation.

    While he retained something of the rascal throughout his career, much of the composer’s work after this time bears the hallmarks of a deep and abiding spirituality.

    This set of four Lenten songs, completed in 1939, are among his most popular choral works; notable for their sense of restraint, they display a beauty and subtlety appropriate to their somewhat gloomy subject matter. Yet the songs are as dramatic as they are devotional.


    Christina Kenny

  • How to join virtual orchestras, choirs and music masterclasses online Wednesday, 8 April 2020 14:21:07


    Jess Gillam Virtual Scratch Orchestra

    To participate in a virtual performance of Bowie's Where Are We Now?, visit Jess Gillam's websit to download the parts and video yourself playing your part or playing along to the click track (using headphones, so only you can be heard). Send the video to with a line saying 'I give Universal Music Group permission to use this video'. The deadline is Friday 10 April at 6pm. 


    Gareth's 'Home Malone' Choir Series

    Choirmaster Gareth Malone invites singers to join his national choir. You can watch previous rehearsals on Decca Records's YouTube page here



    Black Dress Code

    The clothing site for musicians will be acting as a platform musicians to upload digital performances and be paid by viewers. Send videos to


    The Self-Isolation Choir

    With a finale concert on 31 May, the Self-Isolation choir is open to all singers from across the world. There will be hourlong online weekly rehearsals for each part. Those who join after the start date (31 March) can catch up on previous rehearsals online. For more info, please visit



    Music lessons from Nicola Benedetti

    Every day at 12pm BST, The Benedetti Foundation hosts a lesson or workshop on its Instagram via IGTV and its Facebook page. It will be then be available to watch on Facebook afterwards. Sessions so far include violinist Elena Urioste discussing yoga, meditation and the role of wellbeing in performance; games and songs with cellist David Munn; and a live samba session from percussionist Patrick King. 

    On Tuesdays, Thursdays and Sundays, Nicola Benedetti will go live across all her social media channels to discuss music and share insights. 



    Please contact with any updates or events/ensembles to add to the list.

  • How to watch concerts from home: the concerts and operas available to stream online during the coronavirus pandemic Tuesday, 7 April 2020 16:15:51

  • Free Download: George Lepauw plays Bach's Well-Tempered Clavier Tuesday, 7 April 2020 16:00:00

    ‘Lepauw’s journey through these wonderful pieces is contemplative, commendably articulate and enhanced by unfailing linear clarity’

    This week’s free download is JS Bach’s Prelude in E flat minor from Book 1 of The Well-Tempered Clavier, performed by pianist George Lepauw and recorded by Orchid Classics. It was awarded four stars for performance and five for recording in the April issue of BBC Music Magazine.


    If you'd like to enjoy our free weekly download simply log in or sign up to our website.

    Once you've done that, return to this page and you'll be able to see a 'Download Now' button on the picture above – simply click on it to download your free track.

    If you experience any technical problems please email Please reference 'Classical Music Free Download', and include details of the system you are using and your location. If you are unsure of what details to include please take a screenshot of this page.

    read more

  • How did Beethoven cope with going deaf? Monday, 6 April 2020 16:00:00


  • The best recordings of Beethoven's symphonies


The secret, it appears, was in the touch. The Broadwood was constructed so the sounding board connected directly to the instrument’s outer frame, conveying powerful vibrations where Beethoven needed them most: at the keyboard and through the floor at his feet.

With the hearing machine in place to amplify the sound and vibrations even further, the instrument became a physical extension of his body. He could feel its resonance to his core. Given this, it seems unlikely that the loud dynamics in Beethoven’s music were a response to deafness, as is often suggested. It seems even less likely when you also consider that in his thirties Beethoven suffered from loudness recruitment.

This condition, in which some sounds register as much louder than they actually are, is familiar to people with hearing loss. As a result, Beethoven plugged his ears with cotton to make playing the piano bearable. So if anything, loudness recruitment would have made loud music painful for him to listen to.



And it was the instruments at his disposal, rather than the frequencies he could or couldn’t hear, which affected the pitch range of Beethoven’s music. The mighty Hammerklavier Sonata (1818) provides a striking example of this. The first three movements were written for a six-octave Viennese piano, extending from the F two and a half octaves below middle C to the F three and half octaves above. Beethoven used this full range in the Hammerklavier.

But just before he began the final movement, he received the Broadwood. The range of the music shifted to fit the new instrument’s lower six-octave range, which instead extended to the Cs three octaves either side of middle C. So the entire sonata could not be played on either of the instruments Beethoven had available while he was writing it. A more modern piano would be needed for that.

Despite the remarkable lengths Beethoven went to in order to feel the music, there was a period during which he composed in near total deafness. It is probably safe to say that it includes only the relatively small number of late works from about 1815. That includes public works like Symphony No. 9 and the Missa Solemnis, but is dominated by the intimate last five string quartets and last five piano sonatas. These have long been considered among his most challenging and rewarding works.



From the outset they provoked extraordinary responses. In the five years after its premiere in 1824, more was written about the Ninth Symphony than had been written about any of his previous compositions. Unprecedented effort was put into trying to understand his music. Many of the quartets and sonatas received unusually extensive reviews that helped readers come to terms with compositions many of them found baffling.

Those reviews have helped to establish some of the very beliefs now in question. In particular, Joseph Fröhlich’s long review of the Ninth, published in 1828, the year after Beethoven died, suggested for the first time that the tragedy-joy narrative of the symphony was Beethoven’s musical autobiography.

It showed that Beethoven had triumphed over deafness. Works that follow a similar outline (like the Fifth Symphony), or that glorify heroism (the Eroica), were understood in the same way, even though Beethoven wrote those two pieces when he could still hear music quite well. It’s even suggested that the works in which Beethoven does not present this titanic battle are less important.



The most significant thing to be learned from studying the history of Beethoven’s deafness, however, may be that his music has a much broader emotional range than he is often given credit for.  His oeuvre includes the Pastoral Symphony with its relaxed evocations of the countryside; beautiful and lyrical songs from the cycle An die ferne Geliebte, and delightful and impish small piano pieces like the late Bagatelles, most of which Beethoven wrote when he was using the Broadwood and the hearing machine.

These works, written in successive decades as his deafness grew more advanced, show a composer whose technique and emotional range continually broadened even as his hearing failed. Beethoven did not triumph over deafness. He learned to work with it and around it. 


Words by Robin Wallace, author of 'Hearing Beethoven: A Story of Musical Loss and Discovery. This article first appeared in the September 2018 issue of BBC Music Magazine.

  • The best classical music for working from home Monday, 6 April 2020 14:14:26


    Oliver Condy, Editor

    There are times in the month when the magazine team really needs to get its collective heads down to get pages to the printer – for that slightly manic week or so, I tend to reach for Tudor choral music.

    Byrd’s Ave Verum, Tallis’s O Nata Lux, a spot of Gibbons, perhaps some Tomkins. It never fails to bring the blood pressure down and focus the mind.



    Michael Beek, Reviews Editor

    Listening to music is part of the job for me, but if I’m in need of background music to keep the brain ticking over I will always go to solo piano music.

    So if I had to choose one piece to play on a loop, it would be Clair de lune by Debussy. It has an instantly calming effect on me and inspires utter stillness. Of course, there is the risk of becoming so relaxed I might slump at the desk and have a sleep. Perhaps it should be alternated with something a bit more lively to achieve maximum productivity…



    Jeremy Pound, Deputy Editor

    For me, finding suitable classical music to work to can be a tricky business. Anything with peaks and troughs of volume have to be avoided, as does gloomy introspection or pieces that demand my concentration so much that I simply have to stop and listen – for the last of these reasons, a recent attempt to work to Schubert’s two Piano Trios ended in failure.

    However, I am going to stick with the Austrian composer, in the form of his youthful Third Symphony. Don’t be put off by the ominous-sounding opening D, played in unison – this soon turns into a symphony of matchless effervescence, with one high-spirited movement leading onto the next. Carried along by Franz’s good humour, my sub-editing and writing tasks simply fly by.



    Freya Parr, Editorial Assistant

    For me, a cursory album selection on Spotify or Apple Music can become an hourlong trip down a musical rabbit hole. Therefore, in the hope of getting any work done, I steer clear of streaming platforms and pop on one of John Luther Adams’s almighty 40-minute soundscapes: Become Ocean and Become Desert. 

    For the duration of each piece, I am utterly transported. If you’re someone that’s easily distracted by melody, these orchestral works are the perfect solution. Evoking sounds of the sea and of vast desert plains, these spacious, powerful pieces of music are the answer if you’ve ever reached for the whale music or ‘sounds of rain’ and found yourself immensely disappointed. 

    I save my evenings for musical discoveries, which often delivers the goods, like this self-isolation playlist I whipped up on Friday night. 



  • The best classical music to discover during self-isolation Friday, 3 April 2020 17:05:01


    Oliver Condy, Editor

    When not at my desk, the music I reach for most is by Mendelssohn – in recent weeks I’ve been rediscovering his string quartets which for me are the most perfect balance of poise, sophistication and indulgence.

    Only the other day, I returned to a recording of No. 4 in E minor by the Elias String Quartet, the winner of the 2010 BBC Music Magazine Newcomer award. The Ebène Quartet’s recording of Nos 2 and 6 are well worth discovering too. Now – back to my spare room for some editing!




    Michael Beek, Reviews Editor

    Call of the Champions (titled An American Journey in the US) came out in 2002 and is an album I return to often. Topping out the programme of celebratory and commemorative works by John Williams is his epic Call of the Champions – the official anthem of that year’s winter games in Salt Lake City – and it never fails to thrill.

    Williams uses the Latin words for ‘Faster, Higher, Stronger’ (the Olympic motto), sung by Salt Lake City’s world-famous choir. The rest of the programme gathers together some of the composers of other great works for American celebrations, each of which never fail to surprise me each time I listen. 

    Williams’s gift for melody and orchestral detail shines through in works such as the Hymn to New England, Celebrate Discovery and the brilliant American Journey – a six-part suite written to accompany Steven Spielberg’s visual love letter to America at the millennium. Spirit-lifting music!



    Jeremy Pound, Deputy Editor

    With 2020 rapidly turning into the year of gloom, my thoughts naturally turn back to happier times. Such as, say, the summer of 1997. My first year in full-time employment as editorial assistant on Classic CD magazine, this was a time of making new friends, exploring my new home city of Bath (and its many pubs) and, of course, immersing myself in the magical world of classical music. 

    Part of my soundtrack to that summer was In a Nutshell, the CBSO and Simon Rattle’s glorious disc of orchestral works by Percy Grainger. It’s a wonderfully intoxicating listen, in which the Australian beguiles you with his exotic soundworld both in his own music and in his extravagantly orchestrated arrangements of piano works by Ravel and Debussy. There’s plenty of jollity in there too, mind. I loved it then and, as I sit here with a cheering glass of Sancerre, I love it just as much today.



    Freya Parr, Editorial Assistant

    When I’m feeling overwhelmed with the state of the world, which, at the moment, is most of the time, there are certain albums I always find myself reaching for. Víkingur Ólafsson’s 2018 recording of Bach keyboard works - which went on to win BBC Music Magazine's Recording of the Year in 2019 - is one such album.

    It’s almost slightly hackneyed to talk about Bach as the great ‘de-stresser’, but it’s true. His music is a soothing balm in times of great worry, and always brings you back to neutral when your mind has been straying to stressful places, like, for example, the 5 o’clock news briefing. Ólafsson brings such depth and power to his music – he gives it some serious welly and doesn’t pussyfoot around it.

    If you’re feeling slightly paralysed by anxiety, I’d recommend switching on track five: the Andante from Bach’s Organ Sonata No. 4. From a place of utter serenity, it slowly bubbles its way through various expansions of the theme, until it finally reaches a place of absolute strength and power. It’s the perfect journey of a piece to give you the get-up-and-go spirit we all need at the moment.  


  • Five of the best recordings of Beethoven's sonata cycles Friday, 3 April 2020 16:00:00


    Artur Schnabel

    Warner Classics 9029597507

    Recorded between 1932 and 1938, this first-ever recording of the complete sonatas has remained a classic account.



    Wilhelm Kempff

    DG 477 7958

    The German pianist recorded the cycle several times; DG’s remastered stereo version was released in 2008. 



    Friedrich Gulda

    Orfeo C808109L

    The Austrian pianist made three recordings of beethoven’s sonatas. This is the first, recorded for Austrian radio.



    Ronald Brautigam

    BIS BIS2000

    Dutch keyboardist Ronald Brautigam’s fortepiano recordings of the Beethoven sonatas for BIS made between 2004 and 2010 are now gathered together in one box. Brautigam plays on Paul McNulty’s replicas of original instruments dating from 1788 to 1819.



    Stephen Kovacevich

    Warner 9029586922

    Kovacevich gets to the heart of Beethoven’s sonatas with playing that teeters on the edge of sanity, roars with ferocious power and frequently moves the listener to tears. The finest to date.

  • BBC announces classical music programme for Culture in Quarantine Thursday, 2 April 2020 00:06:44


    As part of its Culture in Quarantine initiative, BBC Arts has announced a series of classical music broadcasts across its radio, TV and online platforms. 

    Max Richter’s Sleep – an eight-hour orchestral work designed to be listened to as you sleep – will be broadcast through the night on BBC Radio 3 on Saturday 11 April, from 11pm to 7am the next morning. 

    Also on Radio 3, artists will host performances from their homes. Artists include harpsichordist Mahan Esfahani, guitarist Craig Ogden and pianist and cellist Sheku and Isata Kanneh-Mason.



    Joining them, composers will be contributing by the writing short musical ‘postcards’ for Radio 3.

    The Afternoon Concert series will showcase musicians from the BBC orchestras, who will perform short works of their choice at home. Radio 3 in Concert, usually held in the evenings, will now be broadcasting repeats of earlier broadcasts, as chosen by the ensembles who were set to be featured on the programme in the coming months. 



    Over on BBC TV, all 19 of the choir members from Tenebrae are coming together online for a virtual choir performance on BBC Four. The singers will come together via video link, under the direction of Nigel Short, to perform an Easter Sunday concert.  

    BBC Young Musician is also set to return in May with the category finals, hosted – for the first time – by organist Anna Lapwood. Highlights programmes will be broadcast on BBC Four, with full episodes available on BBC iPlayer. The finals have been postponed to autumn. 

    As part of Beethoven Unleashed, the BBC’s yearlong celebration of the 250th anniversary of Beethoven, the Royal Opera’s recent performance of Fidelio – the great composer’s only opera – will be broadcast on BBC Four. 

    Radio 3 is also launching the Classical Companion Collection online: a set of articles, quizzes, symphony guides and podcasts based on materials from the BBC archives. 


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