MHS 824633
TOMASO.
ALBINONI
Susan Moses, Violoncello
Edoardo Farina, Harpsichord, Organ
Piero Toso, Violin
TOMASO
ALBINONI
(1671-1751)
MHS STEREO 824633
MORTON GREEN
MEMORIAL
RECORD LIBRARY
12 Sonatas for Violin and Basso Continuo, Op. 6
1717 or 1718, and the second, a premature “opus
posthumous,” appeared in Paris around 1742. The glar-
ing inaccuracies found in the musical texts of these edi-
tions cogently suggest that neither was prepared under
Albinoni's aegis.)
The violin sonatas, op. 6 were issued by the renown-
ed Amsterdam publisher Estienne Roger, who
numbered Corelli and Vivaldi among the composers
whose works he issued in authorized editions, between
1709 and 1712, most probably in 1711. They are thus
contemporary with Antonio Vivaldi's extraordinary,
famous, and influential set of concerti grossi, L’estro ar-
monico, op. 3 (MHS 834341F). Albinoni's op. 6 clearly
enjoyed a great vogue, for not only have a substantial
number of first edition copies survived, but also Rogers
successor in interest, Michel-Charles LeCène, issued a
second printing in 1722. A pirated edition, put out by
that rather unscrupulous London publisher John Walsh
and his partner John Hare, appeared, not once but
twice, under the title An Entertainment of Harmony,
which is as good a translation as any of Albinoni's
original, which reads in its entirety:
TRATTENIMENTI ARMONICI / Per Camera;
Divisi in / DODICI SONATE / a Violino, Violone e
Cembalo / CONSACRATI ALL’ILLmo & ECCmo
SIGNORE / GIO FRANco ZENO / Nobile Veneto /
Da / TOMASO ALBINONI / Musico di Violino /
OPERA SEXTA
Albinoni’s dedicatory letter to the noble Signore Zeno
is couched in the florid and obsequious language
customary at the time. It reads in part:
It has always been customary, throughout the
world, to beseech the support of a patron, at the
time of publication of deserving works. This is my
sole justification for my presumption in engraving
the revered name of Your Excellency on the title
page of this work....Who, better, than Your Ex-
cellency, could honor these pages of mine? You
may, with your violinists hand, enrich the or-
namentation of their harmony. By your protection
you may lend glory to my notes, even though in
themselves, they may not contain one drop of
merit.
DINE
UMILISSIMO DEVOTISSIMO
OBLIGATISSIMO SERVITORE
TOMASO ALBINONI
The 12 sonatas, op. 6 are each in four movements,
laid out in the slow— fast slow— fast arrangement that
is the hallmark of the baroque sonata da chiesa (“church
sonata”) form epitomized by the sonate da chiesa of Ar-
cangelo Corelli (1653-1713), which were written in the
1680s and 1690s. But, dating as they do from the early
part of the second decade of the 18th century,
Albinoni's sonatas, op. 6 may be said to be thoroughly
SIDE 1
SONATA NO. 1
1. Grave. Adagio 3. Adagio
2. Larghetto 4. Allegro
SONATA NO. 2
5. Grave. Adagio 7. Largo
6. Larghetto 8. Allegro
SONATA NO. 3
9. Grave. Adagio 11. Adagio
10. Allegro 12. Presto
SIDE 2
SONATA NO. 4
1. Grave. Adagio 3. Adagio
2. Larghetto 4. Allegro
SONATA NO. 5
5. Grave. Adagio 7. Adagio
6. Allegro 8. Allegro
SONATA NO. 6
9. Grave. Adagio 11. Adagio
10. Allegro 12. Allegro
SIDE 3
SONATA NO. 7
1. Grave. Adagio 3. Adagio
2. Allegro 4. Allegro
SONATA NO. 8
5. Grave 7. Adagio
6. Allegro 8. Allegro
SONATA NO. 9
9. Grave. Adagio 11. Adagio
10. Allegro 12. Allegro
SIDE 4
SONATA NO. 10
1. Grave 3. Adagio
2. Allegro 4. Allegro
SONATA NO. 11
5. Grave. Adagio 7. Adagio
6. Allegro 8. Allegro
SONATA NO. 12
9. Grave. Adagio 11. Adagio
10. Allegro assai 12. Allegro
C)
Piero Toso, Violin
Edoardo Farina, Harpsichord, Organ
Susan Moses, Violoncello
Manufactureò by
Musical Heritage Society, Inc.
14 Park Roaò, Tinton Falls, NJ. 07724
post-Corellian in design and feeling.
Stylistically, they are a mélange of sonata da chiesa
characteristics and sonata da camera (“chamber
sonata”) attributes. From the sonata da camera Albinoni
took the binary form of the fast movements and the
rhythmic patterns characteristic of such dances as the
allemanda, the corrente, and the giga. Melodically,
various movements betray Albinoni’s great interest and
success in operatic and vocal composition. The
thematic material often has a strongly vocal flavor to it,
and some of the melodic formulae which Albinoni
employs in the op. 6 sonatas are closely linked to those
he used in his secular cantatas, 12 of which were
published in 1702 as his op. 4. The pervasive presence
of an operatic cantilena in the thematic material of the
op. 6 sonatas links them to the op. 2 sonatas by An-
tonio Vivaldi which date from the same period, having
been published in 1709.
One facet of the instrumentation of the op. 6 sonatas
is mildly unusual. In contemporary practice, the con-
tinuo part of an Italian sonata was played either by a
bass stringed instrument-cello or violone—or the
keyboard instrument, but not necessarily both. On the
title page of op. 6, Albinoni specifically calls for both.
That the use of both stringed and keyed instruments to
realize the basso continuo is obligatory and not op-
tional is proven by a brief division within the continuo
line in the third movement of the fifth sonata, but, even
were that passage not present to stress Albinoni’s clear
instructions, the dialogue that he frequently sets up bet-
ween the thematic and the bass lines. would
demonstrate incontrovertibly that a bowed instrument
is as essential to the continuo group as the keyboard in-
strument in the performance of these sonatas.
In sum, let it be said that, like the op. 2 sonatas by
Vivaldi and the op. 1 sonatas by Veracini (MHS
824293K), the Albinoni sonatas, op. 6 are the natural
outgrowth of the Corelli op. 5 sonatas (MHS 801690Y)
and the worthy, enjoyable, and rewarding precursors
of the sonatas by George Frideric Handel, Johann
Sebastian Bach, and Giuseppe Tartini.
Teri Noel Towe
Timings:
Side 1: 2:11, 1:34, 2:32, 1:24 (7:49), 2:46, 2:43, 3:02, 1:56 (10:35), 2:40, 1:55, 1:56, 1:21
(7:57)/26:35
Side 2: 2:53, 2:10, 2:33, 1:43 (9:30), 3:03, 2:01, 2:39, 1:41 (9:29), 3:02, 2:42, 2:01, 1:41
(9:36)/28:49
Side 3: 2:36, 2:09, 1:57, 1:42 (8:31), 2:28, 2:34, 1:53, 1:51 (8:57), 2:33, 2:11, 2:16, 2:30
(9:40)/27:22
Side 4: 2:39, 2:52, 2:02, 2:24 (10:07), 2:16, 2:10, 1:34, 2:00 (8:08), 3:03, 1:59, 3:00, 2:00
(10:11)/28:40
Harpsichord: Dowd after Taskin (18th-century
France)
Recorded June, 1979, in the German Evangelical
Church in Paris
Engineering: Pierre Lavoix
Mastering: Bill Kipper, Masterdisk Corp.
Cover Art: Drawing by Erik Must, 1982
Jacket Design: Sara Breslow X RATO
Library of Congress Catalog Card Number:
82-743306
Licensed from Erato 71300 Eta
® Editions Costallat 1982 © An Original
© Musical Heritage Society, Inc., 1982 Erato Recording
TOMASO
ALBINONI
(1671-1751)
12 Sonatas for Violin and Basso Continuo, Op. a.
It has only been within the last quarter of a century
that Tomaso Albinoni has begun to emerge from the
dark shadows cast by the more than two centuries that
have elapsed since his death. Initially, he was thought
of only as one of the myriad Italian composers who had
influenced Johann Sebastian Bach. Then, shortly after
the end of World War II, the Italian musicologist Remo
Giazotto published the first full-length biography of
Albinoni, who, it had become clear, was not only one
of the most important and influential of Vivaldi's Vene-
tian contemporaries, but also a composer whose works
were widely known and admired throughout Western
Europe during his lifetime.
But Giazotto did more than just write the first full-
length biography of Albinoni; he also put him “on the
map” as a composer. This feat Giazotto accomplished
by publishing a composition entitled the Adagio in G
minor for strings and organ. In so doing, however,
Giazotto may have done Albinoni great harm, since it
was Giazotto, and not Albinoni, who wrote all but a
few measures of this marvelously evocative and
somber composition that has pleased so many and that
has made its real composer, who had toiled so ar-
duously for so many years in the musicological
vineyards, a rich man.
Yet, precisely because it appeals to our contem-
porary ears so much, the Giazotto Adagio in G minor in
the style of Albinoni—as the piece really ought to be
known, like its compadres, the “fake” baroque violin
masterpieces composed by Fritz Kreisler— does the real
Albinoni a terrible disservice. None of his own com-
positions has that certain neo-baroque yet thoroughly
20th-century aura that has made the Adagio so widely
loved. As a result, the average listener, disappointed by
his failure to encounter another Adagio among the
Venetian composer’'s many instrumental compositions,
will frequently dismiss Albinoni as yet another of those
baroque composers who was churning out wallpaper
music while Bach and Handel were creating their
masterpieces for the ages.
The fact remains, however, that Albinoni was one of
the most intriguing, popular, and important composers
of his time, and it has only been within the last several
years that the average music lover has been accorded
the opportunity to assess the broad range of Albinoni’s
prodigious output as a composer and to judge the man
and his career on the basis of something more than a
skeletal outline of his life.
Tomaso Giovanni Albinoni was born in Venice on
June 14, 1671. He was the eldest of the three sons of
Antonio Albinoni (1634-1709), a well-to-do merchant
who manufactured and sold paper. As a youth, Tomaso
studied the violin and singing, and also received a
thorough training in harmony and counterpoint.
Details on his early years are few, and it is not known
who his teachers were. It has been suggested that he
received instruction at the advanced level from
Giovanni Legrenzi (1625-1690), maestro di cappella of
St. Mark's Cathedral and director of the Conservatorio
dei Mendicanti.
Like the talented Marcello brothers, Alessandro
(1669-1747) and Benedetto (1686-1739), whose
politically powerful father compelled them both to
follow in the family tradition of serving the Venetian
Republic in governmental and diplomatic positions,
Albinoni was prevented by parental pressure from
seeking employment as a professional church or court
musician. The doctrine of primogeniture still held sway
in those days, and, even though Tomaso had two
younger brothers, Domenico and Giovanni, who could
be expected to continue to run the family enterprises,
Antonio naturally wanted his eldest son to assume that
role. In addition, both father and son may have had
their doubts about the chances of a truly successful
career in music.
Whatever the reason ultimately may have been,
Tomaso Albinoni styled himself a dilettante, and was
referred to as such on the title pages of all of the edi-
tions of his compositions that were published prior to
his father's death. The term dilettante, incidentally, did
not then carry with it the pejorative connotations that it
has nowadays. In Albinoni’s day a dilettante was an in-
dividual fortunate enough to be able to pursue his
creative and performing talents without having to earn
a living from them.
Albinoni's earliest compositions were sacred settings,
but he discovered quite quickly-and this in and of
itself is a cogent argument in favor of his not having
studied with Legrenzi—that his compositional talents
did not lie in that direction. As the distinguished
Albinoni authority Michael Talbot put it, Tomaso “had
an unsuccessful flirtation with church music. A Mass for
three unaccompanied male voices is the sole survivor
of this episode...; juvenile infelicities abound; yet it
clearly shows his penchant for contrapuntal pattern
weaving.”
Albinoni’'s career began to take off when he was in his
early twenties. During the Carnival of 1694, his first
opera, Zenobia, Regina de’ Palmireni, was staged with
great acclaim at the Teatro SS Giovanni e Paolo in
Venice. This opera, a complete score of which is to be
found in the Library of Congress, was the first of nearly
60 works for the stage that Albinoni is known to have
written during his long career. (Only six, however,
have been preserved in their entirety; all the rest have
been lost.) The year 1694 also saw the publication of
Albinoni’s op. 1, a collection of 12 Suonate a tre, which
was printed by Sala, one of the most prominent— if not
the most prominent— publishers of music in Italy at that
time.
From 1694 onwards, Albinoni composed operas at a
rate of better than one a year until the early 1730s. In
his native Venice, his stage works were produced at no
fewer than four of the city's major theaters in addition
to the Teatro SS Giovanni de Paolo: S Cassiano, S
Moise, S Samuele, and S Angelo, this last the house
with which Albinoni's most eminent Venetian contem-
porary, Antonio Vivaldi (1678-1741) was. closely
associated.
Albinoni’s renown and success as an opera composer
were not limited to the Venetian Republic. In 1702 his
opera Rodrigo in Algeri was produced in Naples, and in
1703 Albinoni was summoned to Florence to supervise
the staging of his opera Griselda. Albinoni conducted
the performance himself, leading from the concert-
master's desk, and, because another of his operas,
Aminta, was also produced in Florence later the same
year, it is believed that he stayed in the Tuscan city for
several months. By 1707 Albinoni's music had even
reached England, where an interest in Italian opera
seria was just taking root. Several of his arias are known
to have been included in the pasticci Thomyris (1707)
and Clotilda (1709).
In 1705 Albinoni married the well-known opera
singer Margherita Rimondi (ca. 1685-1721), whose
nickname, “La Salarina,” indicates that she came from
the town of Salara, near Verona. A soprano of quality,
she made her debut in 1699, while in her mid-teens, at
the Teatro S Salvatore in Venice, in Amor per vita by
Giovanni Battista Draghi (ca. 1640-?), a rather mediocre
composer who is generally rememberedì, if at all, as
one of Henry Purcell's colleagues and competitors in
London during the 1680s and 1690s.
Albinoni surely met his wife during the course of pur-
suing his career as an opera composer. It is easy to im-
agine a scenario worthy of a Hollywood film
biography: an aspiring young composer meets, falls in
love with, courts, and marries the prima donna in one
of his operas. Margherita did not give up her career as a
singer after her marriage. In between giving birth to
and rearing six children, she continued to sing in
public. In 1720, the year before her death in her mid-
thirties, she traveled to Munich, where she appeared in
a production of the opera Lucio Vero by Pietro Torri
(1655-1737), organist and later music director for Max-
imilian Emanuel II, the electot of Bavaria.
The year 1709 was a turning point in Tomaso
Albinoni’s career. His father died at the age of 75, and
the terms of his will, which he had signed some four
years before, show quite clearly that Antonio Albinoni
had accepted the fact that his eldest son’s success as a
musician and composer was so great that it would be
unreasonable to expect him to abandon it to assume
the management of the family firm. After leaving one of
the family stores to Tomaso as a token gift, Antonio be-
queathed the rest of the business to his two younger
sons, in equal shares, but he required them to pay one-
third of the profits to Tomaso.
From that point onward, Tomaso no longer referred
to himself as a dilettante; he now called himself musico
di violino, thus making clear that he was officially what
he had been in everything but name for more than a
decade—a professional musician. Between 1709 and
1718 he produced at least 11 operas that we know
about, and that same decade also saw the publication
of three collections of instrumental music, the concerti
grossi, op. 5 (MHS 803224T); the violin sonatas, op. 6;
and the concerti for oboe, op. 7 (MHS 8037402), which
are the first of their kind to be circulated in printed
form.
No compositions, either vocal or instrumental, are
known to date from the years 1718-1721. Why
Albinoni was not actively producing operas or compos-
ing during this period is unclear. A possible explana-
tion, however, is suggested by the events of 1721. Dur-
ing that year, in which Tomaso's wife died, the Albinoni
brothers lost the family paper business and were com-
pelled, because of a judgment against them in a pro-
tracted lawsuit, to turn the firm and its assets over to an
old creditor of their father. It is entirely plausible that
Tomaso had to take a hand in the running of the firm
shortly before 1720 and to join what was an unsuc-
cessful attempt to rescue the business from the un-
favorable consequences of a decade of mismanage-
ment by his two younger brothers.
It may also be that these were the years during which
he founded the singing school that he is known to have
operated for a number of years. Perhaps he saw the
handwriting on the wall, and, eager to assure that he,
his wife, and their children had a regular source of in-
come, he established the school.
In any event, by 1722 Albinoni had reached the
apogee of his career. In that year he published his 12
Concerti a cinque, op. 9 (MHS 1074Z, 1075X), which
many consider his finest essays in the genre of con-
certed instrumental music. He dedicated these works
to the Elector Maximilian Emanuel Il of Bavaria, at
whose court his wife had sung with great success in
1720. The elector responded to the dedication in a
manner appropriate to Albinoni’s international
renown; he invited the composer to come to Munich to
participate in the celebrations held in conjunction with
the marriage of the elector's son, Karl Albert, to Maria
Amalia, the daughter of the Hapsburg emperor, Joseph
i
Albinoni supervised the production at the court
theater of his opera | veri amici and his dramatic
serenade, ll trionfo dell'amore. These performances
were widely publicized, and the Hamburg musician
and critic Johann Mattheson (1681-1764), in his Critica
musica, relays a laudatory account of the performances
that he had received from someone who had attended
them. In this article Mattheson reports that his infor-
mant had gone to great lengths to explain that the
Albinoni he had heard was not the bogus Albinoni who
had been panning himself off as the Venetian violinist
and composer in a number of German cities and who
eventually disappeared into Scandinavia.
Albinoni's creative output began to taper off during
the early 1730s. His penultimate opera, Candalide, was
premiered in Venice in 1734. Two years later he releas-
ed for publication the last of his collections of in-
strumental compositions, the 12 Concerti a cinque, op.
O (MHS 824361F), which he dedicated to a certain
Don José Patifio, a Spanish general apparently residing
in Italy during the 1730s, when the Spanish royal family
assumed the government of the Duchy of Parma and of
the Kingdom of the Two Sicilies. Albinoni wrote his last
opera, Artamene, in 1741, and he seems to have retired
in that year.
Three years later, however, he was proposed as suc-
cessor to Antonio Pollarolo (1680-1746) as maestro di
musica of the Ospedaletto, which was one of the four
conservatories for homeless, orphaned, or illegitimate
girls that had been established by the Venetian
Republic. (Antonio Vivaldi was associated with one of
the others, L'Ospedale della Pietà, throughout much of
his career.) Ultimately, the appointment went to the
opera composer Nicola Porpora (1686-1768), the un-
successful rival of Handel who later was to give har-
mony and counterpoint lessons to the young Joseph
Haydn in exchange for his services as a valet. Un-
doubtedly, Albinoni was not appointed to the position
because of his advanced age, but the episode indicates
that he was still active in his early seventies and that he
continued to be held in high regard in Venetian
musical circles.
Albinoni's health began to fail during the late 1740,
and according to a statement on his death certificate,
he was bedridden for the last two years of his life. The
cause of his death, on January 17, 1751, is listed on the
certificate as “catarrhal diabetic fever,” a term meaning
nothing to a modern physician; in all likelihood it was
an infectious disease of some kind that was the prox-
imate cause of Albinoni's death.
In view of how limited our knowledge about him is,
what can be said about Albinoni, the man? He appears
to have been an unusual personality, a man best
described as insular and nonsocial, as opposed to an-
tisocial. As highly respected as he was by his colleagues
and rivals alike, he evidently did not actively seek the
friendship of his professional confreres, nor does he ap-
pear to have socialized with musicians to any great ex-
tent. His wife was a prominent soprano, it is true, and
what evidence we do have indicates that he worked
easily and effectively with his colleagues, both in
Venice and elsewhere. His evident standoffishness
from his fellow musicians may in part have reflected his
background. Like Handel, Albinoni came from the
ranks of the successful and affluent bourgeoisie, and he
probably was more comfortable, therefore, with those
who came from the same social milieu as he.
Surely he knew his distinguished colleagues, in-
cluding Vivaldi, but there is absolutely no evidence that
Albinoni cultivated anything more than a cordial pro-
fessional acquaintance with il prete rosso. Both men,
though, were friendly with the excellent German
violinist, Johann Georg Pisendel (1687-1755), who was
also a friend of Bach. Pisendel got to know both Vivaldi
and Albinoni in 1716, while in Venice with Crown
Prince Friedrich August, the son of his employer,
August II, “The Strong,” the elector of Saxony and king
of Poland. Both Vivaldi and Albinoni wrote violin
sonatas especially for Pisendel (The two by Vivaldi are
included in MHS 804218W). That Albinoni went to the
trouble of writing a sonata expressly for the German
virtuoso is ample testimony of his high regard and
friendship for Pisendel as well as a curious anomaly in
view of the composer's apparent attitude towards his
fellow musicians. The only other musical friend of
Albinoni of whom we have any evidence was the
primo maestro at St. Mark's Cathedral, Antonio Biffi,
who was one of the attesting witnesses at Albinoni's
wedding. The collaborations with other composers on
operatic projects probably were purely business rela-
tionships that were arranged by the managements of
the theaters in which these jointly-composed operas
were produced.
Albinoni's attitude towards noble patrons was
somewhat different. Like all truly successful composer-
musicians of the period, he moved easily and gracefully
in aristocratic circles—yet another reflection of his af-
fluent background— and he included among his noble
connections Cardinal Pietro Ottoboni, who was the
patron of both Corelli and the young Handel; two
members of the de’ Medici family; and the Holy Roman
Emperor, Charles VI, the father of the Empress Maria
Theresa.
As stated before, Albinoni enjoyed an extraordinary
international reputation during his own lifetime. Most
of his earlier published collections of instrumental
music were republished frequently, and only the in-
strumental compositions of Vivaldi and Corelli enjoyed
the same wide popularity throughout Europe during
the first three decades of the 18th century.
In those days, before the formulation of the copyright
laws that now protect creative artists against the
unauthorized exploitation of their works, a composer's
popularity could to some extent be gauged by the
number of unauthorized arrangements and pirated edi-
tions that appeared. In Albinoni's case such printings
were myriad. Excerpts from many of his earlier publica-
tions appeared in numerous violin primers. The Sin-
fonie e concerti a cinque, op. 2 (MHS 824242Y) appear
to have been particularly popular. For example, por-
tions of the sixth concerto in op. 2 were included in
Select Preludes and Voluntarys for the Violin, printed in
London in 1705, and transcriptions for organ solo of the
fourth and fifth concerti were made by the German
musician and lexicographer Johann Gottfried Walther
(1684-1748). His kinsman and close friend Johann
Sebastian Bach wrote no less than four fugues on
themes taken from Albinoni’s op. 1 (S. 946, 950, 951,
951a), and he also frequently gave his students com-
positions by Albinoni to study.
Albinoni's official publications, ten opus numbers in
all, appeared over a period of more than 40 years,
beginning in 1694 and ending in 1735 or 1736. (Two
additional printed collections, both containing sonatas
for violin and continuo, are known. The first dates from
MHS 4633
io] =
12 SONAT
9. Grave. Adagio; 10
PIERO
EDOARDO FAR
SEZ
Lic
(28:49)
33 1/3 RPM
1. Grave. Ac
; Sonata No. 5
5. Grave. Adagio; 6. Allegro; 7. Adagio; 8. Allegro
Sonata No. 6
9. Grave. Adagio; 10. Allegro; 11. Adagio; 12. Allegro
PIERO TOSO, Violin
EDOARDO FARINA, Har c
SUSAN M
"STEREO
TOMASO ALBINONI
MHS 4634 (
SIDE 3
12 SONATAS FOR VIOLIN AND
leto) \'ug{\'[U[®ya(0]-28(%
Sonata No. 7
1. Grave. Adagio; 2. Allegro; 3. Adagio; 4. Allegro
Sonata No. 8
5. Grave; 6. Allegro; 7. Adagio; 8. Allegro
Sonata No. 9
9. Grave. Adagio; 10. Allegro; 11. Adagio; 12. Allegro
[= OTOMAVIGIIA
EDOARDO FARINA, Harpsichord, Organ
SUSAN MOSES, Violoncello
[ANTPr-TaISI-Te Migolss]i=ig:\CRWAKC:0)0)
® Editions Costallat 1982 ©
SIDE 4 33 1/3 RPM
12 SONATAS FOR VIOLIN AND BASSO
Note} \'ugi\{U[oKe]-M:)
1, Grave; 2. Allegro; 3. Adagio; 4. Allegro
Sonata No. 11
5. Grave. Adagio; 6. Allegro; 7. Adagio; 8. Allegro
Sonata No. 12
. Grave. Adagio; 10. Allegro assai; 11. Adagio; 12. Allegro
[3111310] (OSTOMAVITO ITA)
EDOARDO FARINA, Harpsichord, Organ
SUSAN MOSES, Violoncello
Licensed from Erato 71300
® Editions Costallat 1982 ©
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