sabato 14 giugno 2014

Concerto Italiano

12 tracks - MP3 192 Kbps - RAR 131 Mb

Recording after recording, Giuliano Carmignola, Andrea Marcon and the Venice Baroque Orchestra have proven themselves as a winning combination. After previously triumphing in the music of Vivaldi, Carmignola discovers the almost completely forgotten repertoire of the Italian violin concerto, bridging the gap between the Baroque and Classical styles in the mid-18th century. During this time period, violin virtuosi would travel across Europe giving concerts to great acclaim. It is their music that Carmignola performs. Concerto Italiano features a selection of violin concertos by Antonio Lolli, Domenico Dall'Oglio, Michele Stratico and Pietro Nardini - all selected and performed by Carmignola and all (except Lolli) world-premiere recordings.


Domenico Dall'Oglio (1700 - 1764)
Concerto for Violin in C Major

Michele Stratico (1728 - )
Concerto for Violin in G Minor

Pietro Nardini (1722 - 1793)
Concerto for Violin in G Major

Antonio Lolli (1725 - 1802)
Concerto for Violin in C Major Op.2a, No.2

Giuliano Carmignola, violin

Venice Baroque Orchestra
dir. Andrea Marcon

venerdì 13 giugno 2014

From Heaven Above

15 tracks - MP3 192 Kbps - RAR Mb


1 – Patapan 
2 – Good King Wenceslas
3 – The Sussex Carol
4 – There Is No Rose
5 – Ding Dong, Merry On Hill
6 – The Crib
7 – Psallite 
8 – Mary And The Thorn Bush
9 – The Coventry Carol
10 – From Heaven Above
11 – Silent Night
12 – Pastorale
13 – The Annunciation (Cantata)
14 – Pastorale
15 – In Dulci Jubilo

The Deller Consort 

giovedì 12 giugno 2014

Johann Sebastian Bach - The Cantatas (Suzuki)

59 CD - MP3 192 Kbps - 60 RAR - 7.17 Gb

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For those who are not familiar with the Bach Collegium Japan, it is an orchestra and choir founded in 1990 by their director and keyboard player Masaaki Suzuki. The orchestra is renowned as Japan’s leading period instrument players applying their historically informed knowledge of sacred baroque music and specialising in the work of J.S. Bach. The chosen venue for Suzuki’s cycle of recordings has been the Shoin Women’s University Chapel in Kobe, Japan.
Suzuki really is a master of his art directing impeccable vocal and instrumental performances.


Vol.1 (BWV 4, 150, 196)
Vol.2 (BWV 71, 131, 106)
Vol.3 (BWV 12, 54, 162, 182)
Vol.4 (BWV 163, 165, 185, 199)
Vol.5 (BWV 18, 143, 152, 155, 161)
Vol.6 (BWV 21, 31)
Vol.7 (BWV 61, 63, 132, 172)
Vol.8 (BWV 22, 23, 75)
Vol.9 (BWV 24, 76, 167)
Vol.10 (BWV 179, 105, 186)
Vol.11 (BWV 136, 138, 95, 46)
Vol.12 (BWV 147, 21)
Vol.13 (BWV 64, 25, 69a, 77, 50)
Vol.14 (BWV 148, 48, 89, 109)
Vol.15 (BWV 40, 60, 70, 90)
Vol.16 (BWV 194, 119)
Vol.17 (BWV 153, 154, 73, 144, 181)
Vol.18 (BWV 66, 134, 67)
Vol.19 (BWV 86, 37, 104, 166)
Vol.20 (BWV 184, 173, 59, 44)
Vol.21 (BWV 65, 81, 83, 190)
Vol.22 (BWV 20, 7, 94)
Vol.23 (BWV 10, 93, 178, 107)
Vol.24 (BWV 8, 33 and 113)
Vol.25 (BWV 78, 99 and 114)
Vol.26 (BWV 180,122 and 96)
Vol.27 (BWV 5, 80 and 115)
Vol.28 (BWV 26, 62, 116, and 129)
Vol.29 (BWV 2, 3, 38 and 135)
Vol.30 (Solo Cantatas (BWV 51 and 1127)
Vol.31 (BWV 91, 101, 121 and 133)
Vol.32 (BWV 111, 123, 124 and 125)
Vol.33 (BWV 41, 92, and 130)
Vol.34 (BWV 1, 126, and 127)
Vol.35 (BWV 74, 87, 128 and 176)
Vol.36 (BWV 42, 103, 108 and 6)
Vol.37 (BWV 169, 170, and 35)
Vol.38 (BWV 52, 82, 55 and 58)
Vol.39 (BWV 68, 175, 28, 183 and 85)
Vol.40 (BWV 137, 168, 79 and 164)
Vol.41 (BWV 56, 82, 158 and 84)
Vol.42 (BWV 72, 32, 13 and 16)
Vol.43 (BWV 110, 57 and151)
Vol.44 (BWV 146, 88 and 43)
Vol.45 (BWV 39, 187 and 129)
Vol.46 (BWV102 (BWV 102, 45, 17 and 19)
Vol.47 (BWV 36, 47 and 27)
Vol.48 (BWV 34, 117, 98 and 120)
Vol.49 (BWV 88, 156, 159 and 171)
Vol.50 (BWV 149, 145, 174 and 49)
Vol.51 (BWV 192, 157, 120a and 195)
Vol.52 (BWV 29, 140 and 112)
Vol.53 (BWV 97, 177 and 9)
Vol.54 (BWV 100, 14, 197, 197a)
Vol.55 (BWV 69, 30, 191)

Secular Cantatas 1 (BWV 210 and 49)
Secular Cantatas 2 (BWV 208 and 134a)
Secular Cantatas 3 (BWV 173a, 202, 36c and 524)
Secular Cantatas 4 (BWV 205 and 207)

Bach Collegium Japan
dir. Masaaki Suzuki

mercoledì 11 giugno 2014

René Jacobs Edition - Secular & Sacred Music

10 CD - MP3 192 Kbps - RAR 941 Mb

This 10 CD Limited Edition was released in preparation for René Jacobs’ 65th birthday on 30th October 2011 and features complete recordings for Sony Classical and DHM combined for the first time in a truly unique edition.
René Jacobs came to fame as a countertenor and in recent years has become renowned as a conductor of Baroque and early Classical opera. The Kuijken brothers, Gustav Leonhardt and Alfred Deller all encouraged him to pursue a career as a countertenor, and he quickly became known as one of the best of his time. He recorded a large amount of Baroque music by such composers as Antonio Cesti, d'India, Ferrari, Marenzio, Lambert, Guédron, William Lawes and others. He also sang in much-acclaimed recordings of Bach’s major works such as the St Matthew Passion led by Gustav Leonhardt, which is also included in this set.
More recently, as a conductor, Jacobs has recorded numerous operas and sacred and secular works of the 16th, 17th and 18th centuries. His recordings have won numerous awards, including a Grammy Award, Gramophone’s "Record of the Year", the “III Premio Traetta”, and numerous European awards.
Jacobs regularly conducts such orchestras and ensembles as Concerto Köln, the Orchestra of the Age of Enlightenment, Akademie für Alte Musik Berlin, the Freiburger Barockorchester, Nederlands Kamerkoor and RIAS Kammerchor for recordings and concert tours. In 1992, Jacobs was invited to conduct the Berlin State Opera.

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CD 1

Claudio Monteverdi • Madrigali
Girolamo Frescobaldi • Arie Musicali

CD 2

Luigi Rossi • Canzonette Amorose

CD 3

John Blow • An Ode, On The Death Of Mr Henry Purcell
John Blow • Songs from Amphion Anglicus
William Lawes • Songs

CD 4

Italian Sacred Music
Grandi, Carissimi, Bassani, Viadana, ecc.

CD 5

Alessandro Scarlatti • Passio Secundum Ioannem (St John Passion)

CD 6

Jan Dismas Zelenka • Lamentationes Jeremiae Prophetae
Jan Dismas Zelenka • Magnificat

CD 7

Benedetto Marcello • The 50th Psalm from:
Estro Poetico-Armonico

CD 8

Cantata da Camera
Porpora, Caldara, Handel

CD 9

George Frideric Handel • Excerpts from:
Alessandro • Partenope • Tamerlano

CD 10

Johann Sebastian Bach • Excerpts from:
St.John's Passion
Mass in B minor
St.Matthew's Passion

René Jacobs, Rosmarie Hofmann, Kurt Widmer, Krisztina Láki,
Helga Müller-Molinari, John York Skinner, Stephen Varcoe,
Henri Ledroit, John Elwes, Mieke Van der Sluis, Isabelle Poulenard,
Gregory Reinhart, David Cordier, Max van Egmond, Christian Fliegner,
Maximilian Kiener, Peter Lika, Klaus Mertens, Christoph Prégardien,
Markus Schäfer, Harry van der Kamp, Nico Van der Meel,
Barbara Schlick, Gustav Leonhardt, Ricardo Kanji,
James Bowman, Marion Verbruggen, Anner Bylsma,
Nelly Van Der Speek, Nobuko Yamamoto, Max van Egmond,
Marie Leonhardt, Antoinette Van den Hombergh,
Marius Van Altena, Louis Devos, Ludovic de San

Schola Cantorum Basiliensis, La Petite Bande,
La Grande Ecurie et la Chambre du Roy, Tölzer Knabenchor

Sigiswald Kuijken, Jean-Claude Malgoire,
Gustav Leonhardt, Louis Devos

Gothic Music in Bohemia 13th-15th century

31 tracks - MP3 192 Kbps - RAR 96 Mb

In the 13th century the last of the Přemyslide rulers strengthened the political position of the Czech lands within the framework of Europe. This was also a time when music flowered, particularly at the Prague courts. Several prominent minnesingers resided there, notably Neidhart von Reuenthal (1190-1240) and Tannhäuser (1200-1266). Medieval musicians, minstrels and joculators included not only love songs (#1, 2, 3) but also dance music in their repertoires. Ductia (#4) is one of the oldest preserved polyphonic dances of that time. Czech music was influenced by the love songs of the troubadours, and by that of trovères, as transmitted eastward by minnesingers. The love song Dřievo sie listem odievá (#5) and the song Otep myry mieť moj milý (#7) show these influences. At the same time Otep myry mieť moj milý combines in a remarkable way the themes of earthly and spiritual love by paraphrasing extracts from the biblical Song of Song. Two similar dance tunes of the joculatores, one of them is called "czaldy waldy" (#6) in manuscript, have also been preserved in Czech sources. Several polyphonic compositions with sacred texts (#8, 9, 10, 11) show clearly that the influence of the European "ars antiqua" could also be seen in the music of Bohemia. 

Even though renowned French composer Guillaume de Machaut (1300-1377) spent many years in the service of the Czech King John of Luxembourg (until the year 1346), we do not find any influences of his compositional style on Czech music of that period. Nevertheless Machaut's music, as well as that by other composers of the French "ars nova", was known in Bohemia during the second half of the 14th century. Ars nova influences can be traced in the motet Ave coronata (#14) and in the song Que est ista (#15), as well as in the student song Compangant omnes iubilose (#16) and the bi-textual Christmas carol More festi querimus (#17). 

No Czech secular music from the late 14th or early 15th century has been preserved. But we know that world music was cultivated in the university milieu and in educated society generally. The richness of this repertoire is represented by several works (#18–25). Delight was taken in musical puns and complexity of all types. The roundeau Vaer rouve in dander (#18) has a canon in its lower voices (tenor and contratenor). The virelai Je porte mie blemant by Donato da Firenze (#20) is preserved in three different sources, performed in succession here. A rondeau Amis tout dous (#24) by the Parisian composer Pierre de Molins exists also in two instrumental paraphrases, both known as Amis douls vis (#23 and 25), but each in a different metre. Two virelais (#21 and 22) also offer an interesting comparison, a three-voiced and four-voiced version of the same tune. Tne passionate italian temperament is evident in the ballata Poche partir (#19) by the blind Florentine organist Francesco Landini (1325-1397). 

One of the towering musical figures of the 15th century was Guillaume Dufay (1400-1474), whose music represents the summation of medieval practice (L'alta bellezza tua #26) and the incipient renaissance style (Vergene bella #27). His influence is especially evident when one compares the Gloria "ad modum tubae" (#28) and the Gloria "amore dei" (#29). Both works imitate the blowing of trumpets, imitation of musical instruments as well as other sounds (e.g. Palmiger a vernulis #31) was a popular programatic device at that time. The song Modulisemus omnes (#30) reflects the style of Dufay and his contemporaries and shows characteristics of the transition to the new incipient style — Renaissance.


1 - Maienzit by Neidhart von Reuental
2 - Owe dirre not by Neidhart von Reuental
3 - Ez ist hiute eyn wunnychlicher tâc by Anonymous
4 - Ductia by Anonymous
5 - Drievo sie listem odievá by Anonymous
6 - Czaldy waldy by Anonymous
7 - Otep myrrhy by Anonymous
8 - Magnificemus Dominum by Anonymous
9 - Ave lumen, O premium by Anonymous
10 - Divo flagrans numine by Anonymous
11 - O quam pulchra by Anonymous
12 - Fons tocius superbie/O livoris feritas/Fera pessima, motet for 3 voices
by Guillaume de Machaut
13 - Douce dame jolie, virelai for voice by Guillaume de Machaut
14 - Ave Coronata/Alma Parens, motet by Anonymous
15 - Que est ista, antiphon - Plainchant
16 - Compangant omnes iubilose by Anonymous
17 - More Festi Quaerimus, song by Anonymous
18 - Vaer Rouwe in Dander Huys by Anonymous
19 - Po che partir convienmi, ballata for 3 voices, S. 118 by Francesco Landini
20 - Je porte mie blemant (virelai) by Donato da Firenze
21 - Sois tart, tempre, main ou soir by Anonymous
22 - Sorta tenpre maint soir (virelai) by Anonymous
23 - Amis douls vis by Molendinum de Paris
24 - Amis tout dous vis (Rondeau) by Pierre des Molin
25 - Amis douls vis by Molendinum de Paris
26 - L'alta belleza tua virtute valore, ballata for 3 voices by Guillaume Dufay
27 - Vergene bella, cantilena motet for 3 voices by Guillaume Dufay
28 - Gloria ad modum tube, for 4 voices by Guillaume Dufay
29 - Gloria "amore Dei" by Anonymous
30 - Modulisemus omnes by Anonymous
31 - Palmiger a vernulis by Anonymous

Ars Cameralis
dir. Lukás Matousek

martedì 10 giugno 2014

J.C. Pepusch - Concertos & Ouvertures for London

26 tracks - MP3 192 Kbps - RAR 90 Mb

Johann Christoph Pepusch (1667-1752) was probably something of a child prodigy and Ernst Ludwig Gerber records that he received an appointment as harpsichordist to the Prussian Court at Berlin by the age of 14. Regardless of this and other successes in the theatre, Pepusch was most highly esteemed in his own lifetime as a composer of concertos. Georg Philipp Telemann considered him as one of the best six German composers. As with Handel, later Germans and Britons both claimed Pepusch as their own. Pepusch is best remembered today for his contribution to The Beggar’s Opera (1728), for which he composed a fine overture. Apart from that overture, none of his other pieces had received commercial recordings until today. It is our hope that this CD goes some distance to remind audiences why Pepusch was once so highly regarded across Europe as a fine composer of inventive and dramatic concertos.


The Beggar’s Opera: Overture
Venus and Adonis: Overture
Concerto á 6
Kinga Gáborjáni (cello) & Sally Holman (bassoon)
Concerto Grosso á 6
Crispian Steele-Perkins (trumpet)
Concerto Grosso in B flat
Tassilo Erhardt (solo violin)
Concerto á 5
Mark Baigent (oboe)
Concerto in A minor
Tassilo Erhardt (solo violin)
Concerto in A major
Tassilo Erhardt (solo violin)

The Harmonious Society Of Tickle-Fiddle Gentlemen

Tassilo Erhardt, violin
Kinga Gáborjáni, cello
Mark Baigent, oboe
Sally Holman, bassoon
Crispian Steele-Perkins, trumpet

Ben Sansom, Felicity Broome-Skelton, Eleanor Harrison, violins
Alexandria Lawrence, Dan Shilladay, Joanne Miller, violas
David Wright, harpsichord
Belinda Paul, oboe
Robert Rawson, double bass & direction

lunedì 9 giugno 2014

J.M.Leclair - Trosieme Livre de Sonates Vol. I

21 tracks - MP3 192 Kbps - RAR 106 Mb

Jean-Marie Leclair is hardly the most typical composer from the late French Baroque: born and raised in Lyons rather than Paris, he was a professional dancer (and, indeed, lacemaker) before reaching his prime as a violinist; he spent much time out of France (including protracted stays in Turin and appointments in Holland and Spain); he became estranged from his second wife in his later years; and, most tantalizing of all, he was murdered in strange circumstances in his late sixties.

However, despite all these unusual factors he enjoyed an extremely successful career both as a performer and as a composer, with thirteen opuses printed before his death and two more posthumously. He found favour with the court of Louis XV and also worked for noble houses in The Netherlands and Spain.

It is clear from his music that Leclair was well acquainted with the remarkable violin writing of Locatelli, and the two had a celebrated contest in Germany. Certainly, there was no one else in France who matched both Leclair's virtuoso, idiomatic violin writing and his subtlety of compositional organization.


Sonata Op. 5 No.6 in C major "Le Tombeau"
Sonata Op. 5 No.10 in C major
Sonata Op. 5 No.3 in E minor
Sonata Op. 5 No.11 in G minor
Sonata Op. 5 No.4 in B flat major


Elizabeth Wallfisch (Violin)
Paul Nicholson (Harpsichord)
Richard Tunnicliffe (Cello)