sabato 19 maggio 2012

A fil de ciel - A fil de ciel

10 tracks - MP3 192 Kbps - RAR 60Mb

A warning, this is more folk rather than ancient
but it's worth a try, really.

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The pure air of the Occitanian valleys on the French border of Italy pervades the music of this new Piedmontese band. Their debut album blends traditional and modern sounds, making a new contribution to the native music from this strip of Europe tucked between Italy and France. Special guest Riccardo Tesi adds his two-row melodeon.


01 - Quand lo boier
02 - Oltre le mura
03 - Saltarello
04 - Nové grassenc / Strumentale I
05 - Marche du roi René
06 - L'estaca / Strumentale II
07 - Venetz embe ieu
08 - Sicut lupi / Strumentale III
09 - Lhi carn marinas / Coda
10 - L'estrange deluge / Strumentale IV

A fil de ciel

Davide Arneodo: Violino, mandolino turco, glockenspiel, djémbè, cajon, darbouka, doumbek
Gabriella Brun: Ghironda, flauti dolci (sopranino, soprano), tamburo del mare, coro in 4

Roberto Fresia: Tastiere (pianoforte, clavicembalo, hammond), organetto diatonico, coro in 4

Marco Lovera: Cornamusa in sol, cornamusa in re, galobet, tamborin, coro in 4, 7

Rosella Pellerino: Voce solista, coro in 4, 6, 7

Riccardo Tesi: Organetto diatonico on 'Sicut lupi' & 'Lhi carn marinas'

venerdì 18 maggio 2012

The Gothic Voices Collection

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26 CD - MP3 192 Kbps - 24 RAR 2.5Gb

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Folder index:

A Laurel for Landini - GotVoiALau.rar
A Song for Francesca - GotVoiASon.rar
Hildegard: A feather on the breath of God - GotVoiHild.rar
Jerusalem, Vision of Peace - GotVoiJeru..rar
La Rue: Missa De Feria & Missa Sancta Dei genitrix - GotVoiLaRu.rar
Lancaster and Valois - GotVoiLanc.rar
Machaut: The Mirror of Narcissus - GotVoiMach.rar
Masters of the Rolls - GotVoiMast.rar
Music for the Lion-Hearted King - GotVoiMusi.rar
The Castle of Fair Welcome - GotVoiTCas.rar
The Earliest Songbook in England - GotVoiTEar.rar
The Garden of Zephirus - GotVoiTGar.rar
The Marriage of Heaven & Hell - GotVoiTMar.rar
The Medieval Romantics - GotVoiTMed.rar
The Service of Venus & Mars - GotVoiTSer.rar
The Spirits of England & France, Vol. 1 - GotVoiTSp1.rar
The Spirits of England & France, Vol. 2 - GotVoiTSp2.rar
The Spirits of England & France, Vol. 3 - GotVoiTSp3.rar
The Spirits of England & France, Vol. 4 - GotVoiTSp4.rar
The Spirits of England & France, Vol. 5 - GotVoiTSp5.rar
The Study of Love - GotVoiTStu.rar
The Unknown Lover - GotVoiTUnk.rar
The Voice in the Garden - GotVoiTVoi.rar

Gramophone Award Winners Collection - GotVoiGrAwWi.rar
(The last one is a commemorative box containing three previously released CDs: A Feather on the Breath of God, The Service of Venus and Mars & A Song for Francesca)

A comprehensive web page with cronological discography, contents, performers etc....

giovedì 17 maggio 2012

Bernard de Bury - Premier Livre

21 tracks - MP3 192 Kbps - RAR 100Mb

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Bernard de Bury was born in Versailles in 1720 to a musical family. He studied with his father and with Colin de Blamont, to whom these four keyboard suites, written at age 15, are dedicated.

Jory Vinikour, harpsichord

Francois Couperin - Concert Royaux

Inserisci link25 tracks - MP3 256 Kbps - RAR 119Mb

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1. Second Concert : Prélude
2. Second Concert : Allemande, Fuguée
3. Second Concert : Air Tendre
4. Second Concert : Air Contre Fugué
5. Second Concert : Echos
6. Premier Concert : Prélude
7. Premier Concert : Allemande
8. Premier Concert : Sarabande
9. Premier Concert : Gavotte
10. Premier Concert : Gigue
11. Premier Concert : Menuet En Trio
12. Premier Concert : Le Charme
13. Premier Concert : L'enjouement
14. Premier Concert : Les Graces, Courante Françoise
15. Premier Concert : Le Je Ne Scay Quoy
16. Premier Concert : La Vivacité
17. Premier Concert : La Noble Fierté, Sarabande
18. Premier Concert : La Douceur
19. Premier Concert : L'et Caetera Ou Menuets
20. Septième Concert : Gravement Et Gracieusement
21. Septième Concert : Allemande
22. Septième Concert : Sarabande, Grave
23. Septième Concert : Fuguette
24. Septième Concert : Gavotte
25. Septième Concert : Sicilienne

Wieland Kuijken
Robert Kohnen
Barthold Kuijken

A.Caldara - Vaticini di Pace

36 tracks - Mp3 192 Kbps - RAR 93Mb

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Vaticini di pace (Christmas Cantata)
Sinfonia No. 5 "San Pietro in Cesarea"
Sinfonia No. 6 "Sant' Elena al Calvario"

Mary Enid Haines, soprano
Linda Dayantis-Straub, soprano
Jennifer Lane, mezzo-soprano
David Arnot, tenor

Aradia Baroque Ensemble
dir. Kevin Mallon

mercoledì 16 maggio 2012

J.S.Bach - Cantatas & Arias

20 tracks - MP3 192 Kbps - RAR 106 Mb

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In his excellent annotations to this release, Michel Roubinet notes that Bach tended to reserve the tenor voice for representations of abstract spiritual concepts and not for concrete expressions by individual members of the human race. The tenor stands aside, commenting on the action in the Passions from a raised vantage point, or speaking to and for all mankind about death, sin, forgiveness, and other core Christian issues.

Bostridge and Biondi take the listener on a kind of pilgrim's progress on this CD. It opens with Ich habe genug, an almost sensual embracing of death – "Death and the Maiden" for Baroque Lutherans. Bostridge sings, "I look forward to my death; How I wish it were already here" to music of the most joyful sweetness. It's music for unwrapping a Christmas present. (The present, of course, is redemption from sin.) From there, Biondi turns to a Sinfonia from Christ lag in Todesbanden as if to emphasize that even Christ had to die to pay sin's ransom. These sins are confronted head-on in Ich armer Mensch, ich Sündenknecht, the second full-length cantata on this CD, and the only cantata that Bach wrote for solo tenor. An aria from the so-called Trauer-Ode, written for a dead princess, again hints that the eternity heralded by death is a change to be welcomed after Earth's "dingy scene." The Easter Oratorio is represented by an aria stating that "Sweet shall my death agony be, Merely a falling asleep." Then the promise of God's forgiveness and comfort are given through arias from Christ unser Herr zum Jordan kam and Wohl dem, der sich auf seinem Gott. The disc ends with a jolly Sinfonia from the secular Peasant Cantata, which suggests the coming of an idealized Earth in Heaven to redeemed sinners. It brings this CD to a wonderfully naïve close. (Think of the vocal finale from Mahler's Fourth Symphony.)

There's clever programming here, then. Two complete cantatas and eight cantata movements might have caused chaos were it not for the underlying theme. Who would have thought that the sacred music of Bach could comprise a "concept album"?

The performances are outstanding. Bostridge sings with great expression and with an appreciation for Baroque style. He characterizes, but he doesn't overdo it. Try the aria from Wohl dem, der sich auf seinem Gott, where the word Spötter (mockery) launches his derisive laughter. Ich habe genug is sung tenderly, as one would sing to awaken a sleeping lover. Bostridge effectively varies his tone between recitatives and arias to point up the meaning of the texts. Biondi's Europa Galante is an effective, expressive foil for his vocalism. (The musicians performed these works together in July 2000 at the BBC Proms.) Biondi himself plays the solo violin parts in several of these works.


1. Cantata No. 82, 'Ich habe genug' BWV82
Aria: Ich habe genug
Recit: Ich habe genug
Aria: Schlummert ein
Recit: Mein Gott! wann kommt das Schöne Nun!
Aria: Ich freue mich auf meinen Tod

2. Sinfonia from Cantata No. 4, 'Christ lag in Todesbanden' BWV4
3. Kantate am Feste der Himmelfahrt Christi BWV 43
Recitativo: Es will der Höchste sich ein Siegsgespräng bereiten
Aria: Ja tausendmal, tausend begleiten den Wagen

4. Cantata No. 55, 'Ich armer Mensch, ich Sündenknecht' BWV55
Aria: Ich armer Mensch, ich Sündenknecht (Tenor)
Recitativo: Ich habe wider Gott gehandelt (Tenor)
Aria: Erbarme dich (Tenor)
Recitativo: Erbarme dich! Jedoch nun tröst' ich mich (Tenor)
Choral: Bin ich gleich von dir gewichen (chorus)

5. Sinfonia from Cantata No. 18, 'Gleich wie der Regen und Schnee vom Himmel fällt' BWV18
6. Lass, Fürstin, lass noch einen Strahl : Trauer-Ode, BWV 198
Aria: Der Ewigkeit saphirnes Haus
7. Aria: Sanfte soll mein Todeskummer from Easter Oratorio BWV.249
8. Cantata No. 7, 'Christ unser Herr zum Jordan kam': BWV 7
Recitativo: Dies hat Gott klar mit Worten
Aria : Des Vaters Stimme liess sich hören

9. Aria: Gott ist mein Freund from Cantata BWV139
10. Sinfonia from 'Mer hahn en neue Oberkeet' (Peasant Cantata) BWV212

Ian Bostridge, tenor

Europa Galante
dir. Fabio Biondi

Telemann, Vivaldi, Graupner - Concerti d'amore

15 tracks - MP3 192 Kbps - RAR 95Mb

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Georg Philipp Telemann (1681-1767)
Concerto E major
for transverse flute, oboe d'amore, viola d'amore, strings and basso continuo TWV 53:E1

Georg Philipp Telemann
Concerto A major
for oboe d'amore, strings and basso continuo TWV 51 :A12

Antonio Vivaldi (1678-1741)
Concerto D major (RV 392)
for viola d'amore, strings and basso continuo RV 392

Johann Christoph Graupner (1683-1760)
Concerto G major
for flauto d'amore, oboe d'amore, viola d'amore, strings and basso continuo CWV 333

Il Gardellino
Jan De Winne, flauto d'amore
Marcel Ponseele, oboe d'amore
Ryo Terakado, violin & viola d'amore
François Fernandez
, viola d'amore & violin
dir. Marcel Ponseele

Johann Bernhard Bach - Die Orchestersuiten

28 tracks - MP3 192 Kbps - RAR 118Mb

You'll love this!

Johann Bernhard Bach (23 May 1676 – 11 June 1749) was a German composer, and second cousin of J. S. Bach. He was born in Erfurt, and his early musical education was by his father, Johann Aegidus Bach. He took up his position as organist in Erfurt in 1695, and then took a similar position in Magdeburg. He replaced Johann Christoph Friedrich Bach as organist in Eisenach, and also as harpsichordist in the court orchestra in 1703. Most of his musical output has been lost, but amongst his surviving music there are four orchestral suites. It is known that J.S. Bach had individual parts prepared for performance by his orchestra.
His musical style has been described as being similar to that of Telemann.
These Suites are thought to have been written before 1730. (more here)

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Suite No.1 in g minor
Suite No.2 in G major
Suite No.3 in e minor
Suite No.4 in D major

Freiburger Barockorchester
dir. Thomas Hengelbrock

martedì 15 maggio 2012

Bach - Goldberg Variations

32 tracks - MP3 192 Kbps - RAR 103 Mb

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Catrin Finch's debut on the venerable Yellow Label offers an accomplished performance of her own transcription for harp of Bach's timeless Goldberg Variations.

First published in 1741 as an aria with 30 variations and originally composed for a two-manual harpsichord, the ever-amenable Goldbergs have been much and often treated (and occasionally mistreated) to a dizzying array of arrangements for everything, it seems, from jazz trio to woodwind ensemble, from accordion to chamber orchestra and, of course, modern piano forte.

Finch's arrangement is the first to transcribe all 32 sections for the concert harp, although the framing Aria has had at least one previous incarnation for the instrument, courtesy of Andrew Lawrence-King in 1998.

Using Canadian maverick Glenn Gould's recordings of the work as an initial point of reference – a controversial choice in itself – Finch approaches the work with an appreciable sensitivity for its cut-crystal brittleness and deceptively delicate simplicity.

Dividing the work into three sections – the first culminating with the first minor key variation, No. 15; the third beginning with the bright two-part toccata of No. 26 – Finch offers a moderately paced account that comes in at just under 64 minutes.

She adroitly side-steps what would seem to be the harp's principal shortcomings compared to a keyboard – the absence of a sustaining pedal and the lack of a damping device – with a nimbleness that quietly cossets and coaxes with its straightforward hand-for-hand transcription.

The work's several hurdles are cleared with clean, crisply articulated playing that eschews showy effect and strives for colour and tone. Which may be where some are inclined to step away from this performance. If the harp is an acquired taste for you, there is much here that might entice and encourage you to stay, but the relatively limited tonal palette will not be one of them.

Finch proves a dexterous negotiator of the fifth variation's hand-crossing gymnastics (partly by choosing to measurably slow down its rapid pace) and, most conspicuously, the teemingly chromatic, darkly lustrous texture of the Black Pearl variation (No. 25). The two renditions of the Aria are sublimely pristine and intimate affairs.

Finch proves a dexterous negotiator of the fifth variation's hand-crossing gymnastics.

Michael Quinn 2009-01-23

BBC Review


1. Aria
2. Var. 1 a 1 Clav.
3. Var. 2 a 1 Clav.
4. Var. 3 Canone all'Unisono a 1 Clav.
5. Var. 4 a 1 Clav.
6. Var. 5 a 1 ovvero 2 Clav.
7. Var. 6 Canone alla Seconda a 1 Clav.
8. Var. 7 a 1 ovvero 2 Clav.
9. Var. 8 a 2 Clav.
10. Var. 9 Canone alla Terza a 1 Clav.
11. Var. 10 Fughetta a 1 Clav.
12. Var. 11 a 2 Clav.
13. Var. 12 Canone alla Quarta
14. Var. 13 a 2 Clav.
15. Var. 14 a 2 Clav.
16. Var. 15 Canone alla Quinta in moto contrario
17. Var. 16 Ouverture a 1 Clav.
18. Var. 17 a 2 Clav.
19. Var. 18 Canone alla Sesta a 1 Clav.
20. Var. 19 a 1 Clav.
21. Var. 20 a 2 Clav.
22. Var. 21 Canone alla Settima
23. Var. 22 Alla breve a 1 Clav.
24. Var. 23 a 2 Clav.
25. Var. 24 Canone all'Ottava a 1 Clav.
26. Var. 25 a 2 Clav.
27. Var. 26 a 2 Clav.
28. Var. 27 Canone alla Nona
29. Var. 28 a 2 Clav.
30. Var. 29 a 1 ovvero 2 Clav.
31. Var. 30 Quodlibet a 1 Clav.
32. Aria

Catrin Finch, harp

Autour de Vivaldi

19 tracks - MP3 192 Kbps - RAR 113Mb

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The principal form of the Italian solo concerto was the Ritornello movement which proceeds in successive brief musical events, alternating tutti ritornelli and soli, which contrast one another thematically and texturally. Its increasing popularity went hand in hand with the heydey of te violin as a virtuoso instrument and the activity of the greatest violin builders - Amati, Guarneri et Stradivari.

Ensemble Guidantus is a small chamber group formed in 1995 out of the homonymous orchestra and it plays a lively part in the Italian music scene. The sparkling and polished performances combine mastery of the score with a clear and individual interpretation, the result of a decade of aesthetic and philological study.

Continuously seeking new musical suggestions, Ensemble's repertoire covers all of the works of Vivaldi, particularly unpublished or rarely performed pieces, as well as other celebrated 17th and 18th centuries composers such as Arcangelo Corelli, Benedetto Marcello, Giovanni Battista Pergolesi, Domenico Scarlatti, Domenico Cimarosa.


Carlo Alezio Razetti: Concerto in G minor
Giuseppe Matteo Alberti: Concerto in F minor
Carlo Tessarini: Concerto in F major
Andrea Zani: Concerto in D major
Giovanni Baptista Somis: Concerto in G major
Silvestro Rotondi: Concerto in F minor

Ensemble Guidantus

Marco Pedrona (principal violin)
Francesca Copelli (1st violin)
Carlotta Arata (2nd violin)
Ciro Chiapponi (viola)
Antonio Braidi (cello)
Giovanna Fornari (harpischord)
Massimo Marchese (theorbo)


Anthoine Boesset - Je meurs sans mourir

20 tracks - MP3 192 Kbps - RAR 111Mb

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Anthoine Boësset (1587-1643)
ou Boyesset, Sieur de Villedieu


Una musica
Départ que le devoir me fait précipiter
3. Ballet des fous & des estropiés de la cervelle (Instrumental)
(Entrée de líEmbabouinée - Entrée des demy-fous - Entrée des Fantasques)
Ballet des vaillans combattans (Instrumental)
Récit des Syrènes : Quel soleil
Récit díAmphion et des Syrènes : Quels doux supplices
Récit du Dieu des Songes : Quelle merveilleuse advanture
Récit de Mnémosyne : Quelles beautés, Ô mortels
Récit du temps : Bien que je vole toutes choses & Aux voleurs, au secours, accourez tous
Je meurs sans mourir
A la fin cette bergère
Entrée des Laquais (Instrumental)
Dove ne vai, crudele
Frescos ayres del prado
La gran chacona (Luis de Briceño)
La Pacifique (Louis Constantin) (Instrumental) Ô Dieu !
Nos esprits libres et contents (Anonyme)

Le Poème Harmonique
dir. Vincent Dumestre

Claire Lefilliâtre (dessus),
Bruno Le Levreur (haute-contre),
Jean-François Novelli (taille),
Arnaud Marzorati (basse-contre)

Kaori Uemura, Sylvie Moquet (dessus de viole)
Sylvia Abramowicz, Anne-Marie Lasla (basse de viole)
Françoise Enock (violone)
Joël Grare (percussions)
Massimo Moscardo (archiluth, guitare baroque)
Benjamin Perrot (luth, théorbe)
Vincent Dumestre (guitare baroque, théorbe)

La Sublime Porte: Voix d'Istanbul

16 tracks - MP3 192 Kbps - RAR 121 Mb

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Jordi Savall is a fearless performer who is fascinated with facilitating musical dialogues between Eastern and Western traditions. --Npr

The Sublime Porte (Sublime Gate) was the name of the open court of the sultan, led by the Grand Vizier. It got its name from the gate to the headquarters of the Grand Vizier in Topkapi Palace in Istanbul, where the sultan held the greeting ceremony for foreign ambassadors. It was an ancient Ottoman practice to make the gates of cities and kings palaces places of assembly. Later the name came to refer to the Empire s position as gateway between Europe and Asia. Following the success of the album Istanbul, Jordi Savall crosses new boundaries between Orient and Occident. This time, the vocal traditions of the Ottoman Empire, Armenia and the Jewish Diaspora are brilliantly resuscitated. Instrumental interludes enable us to enjoy this journey through time and space. In addition to Hespèrion XXI, this album features the elite of Turkish traditional musicians under the inspired direction of Maestro Savall.

Gürsoy Dinçer: chant
Montserrat Figueras: chant
Lior Elmaleh: chant

Pierre Hamon: ney
Pedro Estevan: percussion
Jordi Savall: lira, vielle, rebab & direction

Et musiciens de

Georgi Minassyan: duduk
Haïg Sarikouyoumdjian: duduk
Gaguik Mouradian: kemençe

Derya Türkan: kemençe
Yurdal Tokcan: oud
Murat Salim Tokaç: tanbur
Hakan Güngör: kanun
Fahrettin Yarkın: percussion

Nedyalko Nedyalkov: kaval

Yair Dalal: oud

Dimitri Psonis: santur et morisca

Driss El Maloumi: oud

lunedì 14 maggio 2012

Sonatas & Trio Sonatas for Oboe & BC

29 tracks - MP3 192 Kbps - RAR 80Mb

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Vivaldi - Sonata C minor RV 53
Vivaldi - Trio Sonata in G minor RV 81
Handel - Sonata in C minor Op.1 n°8 HWV 366
Handel - Minuet in G minor (HWV 540b) for harpsichord
Handel - Sonata in B flat major n°2 (Fitzwilliam) HWV 357
Handel - Suite in D minor for harpsichord HWV 437
Handel - Sonata in F major Op.1 n°4a HWV 363a
Handel - Air in F major from 'Water Music' (HWV 464) for harpsichord
Handel - Trio Sonata in B flat major HWV 380

Marcel Ponseele, oboe
Ann Vanlancker, oboe (trio Sonatas)
Ewald Demeyere, hapsichord
Richte Van Der Meer, violoncello

Intervalli con l'arpa

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Caldara In Vienna, Forgotten Castrato Arias

15 tracks - MP3 192 Kbps - RAR 95Mb

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Philippe Jaroussky continues his rediscovery of long-forgotten arias for high male voice with this collection of music by Antonio Caldara, a contemporary of Bach, Handel and Vivaldi, who was the first composer to set many librettos by the great Metastasio and Zeno. (continue)


01 - Lo seguitai felice: L'Olimpiade - Aria
02 - Misero pargoletto: Demofoonte - Aria
03 - Numi assistenza: La clemenza di Tito - Recitativo
04 - Opprimete i contumaci: La clemenza di Tito - Aria
05 - Mentre dormi amor fomenti (Licida): L'Olimpiade
- Aria
06 - Non tremar vassallo indegno: Temistocle -Aria
07 - Se mai senti spirarti sul volto: La clemenza di Tito
- Aria
08 - Se mai senti spirarti sul volto: Scipione nelle Spagne - Aria
09 - Tutto fa nocchiero: Ifigenia in Aulide - Aria
10 - Tutti nemici e rei: Adriano in Siria - Aria
11 - Son io Fabio?: Lucio Papirio dittatore - Recitativo
12 - Troppo è insoffribile fiero martir: Lucio Pairio dittatore
- Aria
13 - Contrasto assai più degno: Temistocle - Aria
14 - Vado, o sposa: Enone - Aria
15 - Achille in Sciro

Philippe Jaroussky

Concerto Koln
dir. Emmanuelle Haim

Viaggio a Venezia

34 tracks - MP3 192 Kbps - RAR 169Mb

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Georg F. Handel
Sinfonia HWV 338 in B major
Aria HWV 355 in do minore (hornpipe)
Suite HWV 354 B major: 3 movements

Tommaso Albinoni
Sinfonia in G minor
Concerto a 5 Op. IV n. 5 G major

Nicola Porpora
Concerto V E minor
Concerto I G Major

Antonio Caldara
From "Passione di Gesú Cristo Signor Nostro"
Introduzione (Grave) & Andante

Benedetto Marcello
From "Il Pianto e il Riso delle quattro Stagioni"
Sinfonia in G major

Francesco Gasparini
Ouverture "L'Oracolo del Fato"

Johann Adolph Hasse
Ouverture from the Opera "Cleofide"

I Virtuosi delle Muse
dir. Stefano Molardi

domenica 13 maggio 2012

Palestrina e Dowland

15 tracks - MP3 192 Kbps - RAR 77 Mb

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The impact of a score, the revelation of a certain music can set off an unexpected story. Such was the case of Lachrimae or Seven Tears by John Dowland which suggested to violist Sanda Crăciun the creation of a viola ensemble. Her wish came true : the ensemble, called Consortium violae, includes a small number or violas such as are used today, as well as instruments of an older type : viola da gambas (alto and tenor). To them have occasionally been added a solo voice and other Renaissance instruments such as the lute, the spinet, the harpsichord, the Block-flöte, and a few adequate percussion instruments.
Its repertoire comprises pieces ranging from the Middle Ages to the baroque, with stress on world and Romanian Renaissance music.
The programme on this disc has been selected from Renaissance music : Ricercari sopra li tuoni a quattro by Giovanni Pierluigi da Palestrina — (?) 1525—1594 — in fact, ascribed to him (as no autographic copy or original edition has been found so far) on the basis of a copy discovered among the papers of Baini (1775—1844), a researcher of Palestrina's life and work, an 18th century phenomenon who conceived musical style as in the 16th century and composed accordingly.
Ricercare (It.== to search out, meaning to elaborate) was the term adopted in 16th century Italy to designate those polyphonic instrumental pieces similar to the vocal motet. In these pieces the composer also aimed at a succesive presentation of the eight modes used at that time, and devoted a Ricercare to each.
Their writing is not different from that of vocal motets, being deployed over the comfortable range of the human voice and using the generally gentle melodic lines of Renaisance compositions. However, 16th century tradition permitted the addition of fioriture, particularly to a melodic passage performed by two (or more) instrumentalists, one of whom ornaments it, while the other(s) ensures its continuity.
As a rule, the scores of the time did not specify a piece's orchestration. Sanda Crăciun has chosen an instrumental formula using two violas for the first voice (the first viola executes the fioriture) and, for the remaining three parts, an alto and two tenor viola da gambas, the whole score being also played by the spinet. The embellishments are achieved by the leader of the ensemble, in the spirit of the respective style.
This is the first ornamented performance of these Ricercari in our country.
Lachrimae by John Dowland — 1562—1625 (6 ?) — the score that inspired the setting up of the ensemble — takes us into the Elizabethan and post-Elizabethan period, when its author was one of the best lute players and composers of England's Royal Chapel.
The seven Lachrimae are in fact seven pavans from a collection published in 1685 which also included galliards and allemandes. The polyphonic movement of the violas is paralleled by the lute (or the spinet, on this recording). In his cycle of pavans, John Dowland set out from a melodic formula which remains constant at the beginning of the Lachrimae but which, each time, generates a new, variational type of evolution, ensuring variety in unity.
MYRIAM MARBE (English version by Magda Morait)


Giovanni Pierluigi da Palestrina: 8 Ricercari Sopra li Tuoni
1. Ricercar del Primo Tuono
2. Ricercar del Secondo Tuono
3. Ricercar del Terzo Tuono
4. Ricercar del quarto tuono
5. Ricercar del quinto tuono
6. Ricercar del sesto tuono
7. Ricercar del settimo tuono
8. Ricercar Ottavo del tuono

John Dowland: Lachrimae
1. Lachrimae Antiquae
2. Lachrimae Antiquae novae
3. Lachrimae Gementes
4. Lachrimae Tristes
5. Lachrimae Coactae
6. Lachrimae Amantis
7. Lachrimae Verae

Consortium Violae

Sanda Crăciun, Viola
Eugenia Deaconu, Viola
Emilia Nădejde, Viola Da Gamba Alto
Anca Iarosevici, Viola da gamba tenore
Robert Dumitrescu, Viola da gamba tenore
Marta Joja, Spinetta

Musik am Dresdner Hof

8 CD - MP3 192 Kbps - 9 RAR (678Mb)

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The Elector and ruler of Saxony Frederick Augustus I (1670-1733) was King August the Strong of Poland in personal union. He gathered many of the best musicians, architects and painters from all over Europe to Dresden. His reign marked the beginning of Dresden's emergence as a leading European city for technology and art. This is a 8 cd box-set which tributes the music composed and performed during this era.


Vivaldi - Concerto in G minor, RV 577, "per l'orchestra di Dresda"
Telemann - Concerto in D major, TWV 53:D5
Fasch - Konzert in D-dur
Graun - Konzert in G-dur
Pisendel - Sinfonia B-Dur
Pisendel - Concerto D-Dur
Pisendel - Concerto Es-Dur
Telemann - Concerto F-Dur
Vivaldi - Concerto C-dur RV 558
Vivaldi - Concerto F-dur RV 455
Vivaldi - Concerto d-moll RV 540
Vivaldi - Concerto A-dur RV 551
Vivaldi - Sinfonia G-dur RV 149
Vivaldi - Concerto g-moll RV 576
Telemann - Konzert in D-dur
Quantz - Konzert in g-moll
Vivaldi - Konzert in D-dur
Zelenka - Capriccio A-dur
Zelenka - Capriccio ZWV 183
Zelenka - Laudate pueri - ZWV 81
Zelenka - Capriccio ZWV 190
Zelenka - Confitebor tibi Domine - ZWV 71
Zelenka - Capriccio ZWV 185
Zelenka - Missa Dei Patris
Hasse - Messe g-moll
Zelenka - Laudate pueri
Ariosti - O quam suavis est
Scarlatti - Su le sponde del Tebro
Heinichen - Lamentatio 1
Fux - Plaudite sonat tuba

Virtuosi Saxoniae
Ludwig Guttler