venerdì 5 agosto 2011

Le Chansonnier Cordiforme

3 CD - MP3 192 Kbps - 3 RAR (260Mb)

CD 1 & Booklet
CD 2
CD 3

CD 1 & Booklet
CD 2
CD 3Inserisci link

Le Chansonnier Cordiforme is a ravishingly beautiful illuminated manuscript, shaped like a double heart, and assembled in the early 1470s, about the time of the death of Dufay, a generation after the deaths of Dunstable and Binchois, and just as men such as Ockeghem were becoming famous. According to annotator David Fallows, “The Chansonnier contains the most compact and representative surviving collection of the classic European courtly song repertory in those years. Most of the songs that achieved the widest popularity at the time are here.” The book looks sublime; its original owner, though, was evidently a scoundrel. Jean de Montchenu was described at the time as “a great scoundrel, shameful of conduct, highly unchaste, destestable, dissolute, and full of vices.” He became a monk and then a bishop, but was finally excommunicated. The book came about, it is thought, when he was connected with the Duchy of Savoy (since 1860 a part of France).Most of the music collected on these three CDs is anonymous or of uncertain provenance, but there are songs by Dufay, Ockeghem, Bedyngham, and Busnoys. Perhaps illustrating the ambivalent political stance of the House of Savoy, the first disc is in Italian; the others are in French. Some of these songs are sweetly plaintive; others, such as Ockeghem’s L’Autre d’antan l’autrier passa, energetic. The Ockeghem tells the story of a man who repeatedly is enticed by the looks or embraces of women who desert him; the first has a “look forged in Milan,” which is evidently particularly devastating. (Avoid women whose looks seem to have been “forged.”) While there are now readily available discs devoted to Ockeghem and Dufay, including excellent ones on Naxos, there’s no other song collection that I know of like this one: It’s an anthology of medieval music before things started to change. It’s a rich collection, beautifully played and sung, highly recommended for anyone with an interest in early music. Reproductions of the manuscript have evidently been made with infinite care. The notes tell you where you may find them, but warn the gentle reader that you also cannot afford them.



Anon: Hora gridar 'oimè (2 voices, fiddle, bass lute)
Anon (ballata): Ben lo sa Dio (voice, fiddle, harp)
Dufay (rondeau): Dona gentile (voice, harp, flute)
Bedyngham: Zentil madonna (soprano, harp, lute)
Anon: Chiara fontana (2 voices)
Anon: O pelegrina luce (voice, 2 fiddles, harp)
Bedyngham: O rosa bella (voice, 2 fiddles, harp)
Anon: La gracia de voi (2 voices, flute)
Anon: Perla mia cara (3 voices)
Cornago: Morte mercè (3 voices)
Anon: Finir voglio la mia vita (voice, flute, bass lute, harp)
Anon: O pelegrina luce (2 voices, harp, bass lute)
Anon: O meschin' inamorati (2 voices, bass lute)


Anon (rondeau): Comme ung homme desconforté (voice, harp, bass lute, flute)
Regis (rondeau): S'il vous plaist que vostre je soye (2 voices, bass lute)
Anon (ballade): L'aultre jour par ung matin (2 voices, lute, fiddle)
Anon (rondeau): J'ay pris amours (2 voices, bass lute)
Ockeghem (rondeau): L'autre d'antan l'autrier passa (2 voices, bass lute)
Hayne van Ghizeghem (rondeau): De tous bien plaine (voice, flute, lute, bass lute)
Busnoys (bergerette): J'ay moins de bien (voice, flute, lute, bass lute)
Dufay (rondeau): Vostre bruit et vostre grant (2 voices, flute)
Caron (rondeau): Cent mille escus (2 voices, harp, bass lute)
Morton (rondeau): Le souvenir de vous me tue (voice, harp, lute, bass lute)
Barbingant (rondeau): L'omme bany de sa plaisance (2 voices, harp, fiddle)
Morton (rondeau): N'aray je jamais mieulx (2 voices, harp, bass lute, fiddle)
Dufay (rondeau): Le serviteur hault guerdonné (2 voices, flute)
Vincenet (rondeau): Fortune, par ta cruaulté (2 voices, bass lute)
Busnoys (rondeau): Est il mercy de quoy l'on peust finer? (voice, harp, flute)

Binchois (rondeau): Comme femme desconfortee (voice, 2 fiddles)
Frye (rondeau): Tout a par moy (voice, flute, lute, bass lute)
Ockeghem (bergerette): Ma bouche rit (2 voices, harp, fiddle)
Bedyngham (rondeau): Mon seul plaisir, ma doulce joye (voice, lute, fiddle)
Anon: Ma bouche plaint (2 voices, fiddle)
Anon (rondeau): Vray dieu d'amours (voice, 2 fiddles)
Anon: Hélas! je n'ay pas osé dire (3 voices, harp, lute, bass lute)
Anon (rondeau): Or ay je perdu (voice, lute, bass lute)
Anon (rondeau): Adieu vous dy (2 voices, flute)
Anon (bergerette): Terriblement suis fortunee (voice, 2 fiddles)
Anon (rondeau): De mon povoir vous veul complaire (2 voices, bass lute)
Anon (bergerette): Hélas! n'aray je jamais mieulx (2 voices, lute, bass lute, 2 fiddles)
Anon (bergerette): Quant du dire adieu (2 voices, bass lute, 2 fiddles)
Binchois (rondeau): Je ne veis onques la pareille (3 voices)
Anon (rondeau): Faites moy sçavoir de la belle (voice, 2 fiddles)

The Consort of Musicke
Emma Kirkby (soprano)
Margaret Philpot (alto)
John York Skinner (countertenor)
John Elwes (tenor)
David Thomas (bass)

Lewis Jones (flute)
Frances Kelly (harp)
Christopher Page (lute)
Anthony Rooley (bass lute)
Trevor Jones (fiddle)
Alison Crum (fiddle)

mercoledì 3 agosto 2011

G.B.Pescetti - Sonate per Gravicembalo

2 CD - MP3 192 Kbps - RAR 126Mb

Uploaded - FileFactory

Secondo gli studiosi, nell'ambito di tutta la produzione musicale di Giovanni Battista, l'opera clavicembalistica risulterebbe quella di maggior pregio, soprattutto dal punto di vista dell'innovazione stilistica. Oltre a sei Sonate per Clavicembalo conservate ancora manoscritte, sono arrivate fino ai giorni nostri le Sonate per Gravicembalo, pubblicate a Londra nel 1739, oggetto di questa registrazione.
Si tratta di composizioni che possono collocarsi in area di transizione tra stile barocco e stile galante, generalmente concepite in numero variabile di movimenti che, dal carattere contrastante, variano da due a quattro. Tra i tratti salienti che contraddistinguono felicemente la musica di Pescetti, possiamo sicuramente sottolineare la chiarezza espositiva, l'eleganza, l'essenzialità, l'ispirazione di breve gittata ma incisiva, oltre alla non comune spontaneità e fluidità di linguaggio.
Queste Sonate per Gravicembalo rappresentano, quindi, un fulgido esempio della Musica italiana del Settecento, sotto l'aspetto significativo dell'arte intesa come momento di comunicazione di suoni, di immagini, di sensazioni e sentimenti.
La musica di Pescetti richiede un tipo clavicembalo dal colore sonoro pieno e scuro, dalle note che abbiano una lunga tenuta ma anche un attacco definito e penetrante. Per questa incisione è stato utilizzato un ottimo strumento storico a due manuali, copia di Pascal Taskin (Parigi 1769), il cui originale è conservato presso la prestigiosa Russell Collection di Edimburgo.

Giovanni Battista Pescetti (1704–66) came from the same Venetian milieu as Legrenzi, Vivaldi, Platti, and Galuppi; the latter was in fact Pescetti’s classmate and collaborator in Venice. In 1737 Pescetti moved to London, where he took over the directorship of the King’s Theatre from Porpora (not Covent Garden, as stated in the liner notes). Thus, Pescetti was for a time a direct competitor to Handel, until the latter abandoned Italian opera in favor of oratorios. Naturally for any musician active in London at the time, Pescetti’s keyboard music owes a great deal to Handel, although there is nary a trace of the French element that permeates Handel’s music. The nine sonatas recorded here, all cast in a traditional three- or four-movement format, are thoroughly Italian in style, although there are indications that Pescetti was influenced by German keyboard music as well. Pescetti alternates between simple melody-with-bass, in the style of a Handelian allemande or gavotte, and more complex textures, as in the fugal opening of the A tempo giusto of Sonata 3, although he does not follow through with an unadulterated fugue à la Bach. Elsewhere, Pescetti is fond of introducing the opening theme(s) of a movement in imitative fashion, which lends a degree of interest to otherwise mediocre material. Much of the music is written in the grand style of Handel—the best example being the eight-minute Minuet of Sonata 1, which is a theme-and-variations in the spirit of Handel’s variations on “The Harmonious Blacksmith.”
FANFARE: Christopher Brodersen


Sonata I
Sonata II
Sonata III
Sonata IV

Sonata V
Sonata VI
Sonata VII
Sonata VIII
Sonata IX

Filippo Emanuele Ravizza, harpsichord