J.M. Leclair - Violin Concertos - Volume 3

12 tracks - MP3 192 Kbps - RAR 90 Mb

In 1757 Ancelet observed: It is certain that the violin is the most beautiful & and most perfect of instruments, owing to the quality of its sound, its clarity and its technical potential, which embraces all genres and characters of Music... The violin becomes increasingly à la mode, and thus gentlemen of taste are encouraged to play it. Le Clair, who travelled to Italy and other foreign countries, came back to France to instruct and teach: it is to this gifted musician that French Violinists have the greatest obligation. He showed them how to vanquish technical difficulties and has crowned this achievement by composing knowledgeable and correct Works for his instrument, which serve as a model and thereby instruct those who have the talent to compose themselves.

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contents:

Violin Concerto in D Minor, Op. 7, No. 1   
Violin Concerto in F Major, Op. 10, No. 4
Violin Concerto in D Major, Op. 10, No. 3
Violin Concerto in G Minor, Op. 10, No. 6

Simon Standage, violin & conductor
Collegium Musicum 90

Le Jardin de Monsieur Rameau

28 tracks - MP3 192 Kbps - RAR 127 Mb

The ‘Jardin desVoix’, Les Arts Florissants’ biennial academy for young singers, launched in 2002, offers the opportunity for artists from all over the world, at the beginning of their careers, to benefit from a 15-day course on which they are taught by William Christie and Paul Agnew as well as specialists in language and stage-craft, and to subsequently appear with Les Arts Florissants in some of the most important international venues. le Jardin de Monsieur Rameau created in March 2013 at the Théâtre de Caen, and first performed in the spring of the same year, thus introduced these 6 young soloists to the publics of Luçon, Besançon, Brussels, Paris,Metz and New York, before continuing with a tour the following autumn to Versailles, Madrid, Saragossa, Moscow, Amsterdam and Helsinki. Centred around Rameau, this programme was a part of the celebrations of the 250th anniversary of the death of the composer, in 2014.

Le Jardin des Voix is one of the numerous projects made possible thanks to the partnerships that Les Arts Florissants has formed with the town of Caen and its theatre as well as the region of Basse-Normandie. Indeed, since 1990, the ensemble has greatly benefitted from this support and participates in the cultural life of Caen and the surrounding region, from Cherbourg to Coutances and Montagne-au-Perche to Alençon, presenting concerts and new opera productions there and developing outreach projects for school children and non-professionals alike. It was with the common goal of providing access to music to the widest possible audience, that these special relationships were developed, Les Arts Florissants becoming at the same time, over the years, a real ambassador, working for the influence of the city of Caen and of the region of Basse-Normandie, in France and in the world.

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contents:

Excerpts of vocal works by

Monteclair - Jephté

Rameau - Hippolyte et Aricie

Grandval - Rien du tout

Dauvergne - La Vénitienne

Gluck - L'Ivrogne corrigé

Rameau - Canon

Campra - L'Europe galante

Rameau - Les Fetes d'Hébé

Rameau - Dardanus

Daniela Skorka, soprano

Emilie Renard, mezzo-soprano

Benedetta Mazzucato, mezzo-soprano

Zachary Wilder, ténor

Victor Sicard, baryton

Cyril Costanzo, basse

Les Arts Florissants

dir. William Christie

Non è tempo d'aspettare

21 tracks - MP3 192 Kbps - RAR 104Mb


Frottole dal primo libro
di Franciscus Bossinensis

Alberto Rasi's group has been producing some consistently worthwhile recordings in relative obscurity, and this is a particularly compelling example. The sound is warm and richly varied between tracks, and the phrasing is emphatic and convincing. [...] Both Cara and Tromboncino are first-rate song-writers, and should be better known, as should Rasi and his group.
This is the best frottola program available, and also the most richly nuanced performance... a superb overall recital. (Todd McComb)

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1. Marchetto Cara (c.1465-c.1525): Io non compro più speranza
(voice, 3 viols, lute, cornet, dulcian)
2. Francesco Varoter (c.1460-1502): Chi vi darà più luce
(voice, lute, 2 viols)
3. Cara: Oimè il cor oimè la testa
(voice, 3 viols, lute, dulcian, percussion)
4. Antoine Busnois (c.1430-1492): Fortuna desperata
(diminution; cornet, 2 viols)
5. Cara: Hor ho venduto la speranza
(voice, 3 viols, lute, dulcian, percussion)
6. Bartolomeo Tromboncino (c.1470-c.1535): Lacryme e vol sospir
(voice, 3 viols, lute, cornet, dulcian)
7. Cara: O mia ciecha e dura sorte
(voice, lute, 3 viols)
8. Joan Ambrosio Dalza (fl.1508): Poi che volse la mia stella
(lute)
9. Cara: Pietà cara signora
(voice, lute, 3 viols)
10. Tromboncino: Zephiro spira il bel tempo rimena
(voice, lute)
11. Anon, Codice di Trento, MS. 98, fol. 402: Fantasia
(3 viols)
12. Tromboncino: Deh sì deh no deh si
(voice, lute, 3 viols)
13. Tromboncino: Si è debil filo
(voice, lute, 3 viols, cornet)
14. Dalza: Calata

(lute)
15. Cara: Se de fede vengo a meno
(voice, cornet, lute, 3 viols, percussion)
16. Tromboncino: Che debbo far
(voice, lute, cornet, 3 viols)
17. Vincenzo Capirola (1474-c.1550): Padoana alla francese
(lute)
18. Tromboncino: Poi che volse la mia stella
(voice, lute)
19. Heinrich Isaac (c.1450-1517): Tartara
(3 viols)
20. Francesco Varoter: Voi che passate qui
(voice, lute, 2 viols)
21. Cara: Non è tempo d'aspettare
(voice, lute, 3 viols, percussion)


Roberta Invernizzi, soprano

Accademia Strumentale Italiana
Alberto Rasi (tenor viol)
Paolo Biordi (treble & bass viol)
Patxi Montero (bass viol)
Béatrice Pornon (lute)
Doron David Sherwin (cornet, percussion)
Alberto Grazzi (dulcian)

dir. Alberto Rasi

J.P.Sweelinck - The Keyboard Music

4 CD - MP3 192 Kbps - RAR 453 Mb

Jan Pieterszoon Sweelinck (1562-1621) is a well-known composer, and basically on the boundary between Renaissance and Baroque, as we've defined them for this list. Although the English influence is frequently neglected in any discussion of Sweelinck (as father of the North German organ school, for instance), this influence on his contrapuntal style was heavy and indeed easily audible after any acquaintance with both. Of course, Sweelinck also used German themes (treated in English style) as well as Italian forms and a general combination of Italian & English keyboard ideas. However, current thought views him as a natural extension of the English school, rather than as any sort of innovator -- in fact, Tilney includes works by Sweelinck in his English virginal recording, for example. Nonetheless, his compositions exhibit a high structural integrity.

contents:


SCANS

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Disc 1

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1 - More palatino
2 - Fantasia II
3 - Engelsche Fortuyn
4 - Toccata XXI
5 - Mein junges Leben hat ein End
6 - Ick voer al over Rhijn
7 - Toccata XXV
8 - Fantasia Chromatica I
9 - Toccata XXIV
10 - Toccata XV
11 - Onder een linde groen
12 - Est-ce Mars
13 - Hexachord Fantasia V
14 - Toccata XVI

Disc 2

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1 - Pavana Philippi
2 - Pavana hispanica
3 - Fantasia VI
4 - Toccata XIX
5 - Toccata XVIII
6 - Pavana Lachrimae
7 - Ballo del granduca
8 - Ich ruf zu dir, Herr Jesu Christ
9 - Echo Fantasia XIV
10 - Da pacem Domine in diebus nostris
11 - Erbarm dich mein, o Herre Gott

Disc 3

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1 - Psalm 116
2 - Psalm 140
3 - Echo Fantasia XI
4 - Toccata XXIII
5 - Ricercar VII
6 - Toccata XXII
7 - Fantasia IV
8 - Allein zu dir, Herr Jesu Christ
9 - Echo Fantasia XII
10 - Allein Gott in der Höh' sei Ehr
11 - Praeludium XXVII

Disc 4

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1 - Nun freut euch, liebenn Christen gemein
2 - Toccata XVII
3 - Fantasia III
4 - Ons is gheboren een kindekijn (Puer nobis nascitur)
5 - Psalm 36
6 - Fantasia IX
7 - Christe qui lux est et dies
8 - Fantasia VIII
9 - Onse Vader in Hemelrijck
10 - Echo Fantasia XIII
11 - Toccata XX
12 - Wir glauben all an einen Gott


Ton Koopman,
virginals, harpsichords, organs

F.Cavalli - Artemisia

3 CD - MP3 192 Kbps - RAR 210Mb


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Booklet (JPGs, 123Mb)

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Where next for Claudio Cavina and La Venexiana after their exhilarating run of recordings of Monteverdi madrigals, operas and much more? One route is proving to be in the direction of Francesco Cavalli, the 17th century composer who spent much of his working life in Venice, starting off as a chorister in St Mark's Basilica when Monteverdi himself was in charge. Although Cavalli has been known as a composer of Venetian seicento sacred music, it is his prolific contribution in the field of opera where he became one of the leading figures involved in the development of commercial opera companies from the 1640s onwards - that has been receiving greater attention from artists in more recent times. And it is with a dramma per musica in Artemisia from the mid 1650s, with its tale of love, deceit and honour and the upholding of the virtues of the Venetian Republic (all this richly captured by the expressive style of Cavalli), that Cavina has chosen to contribute to that fresh look at Cavalli's music on this new recording from Glossa.

Singers in the established style of La Venexiana, including the vocal star of 'Round M, Roberta Mameli and, recent finalist in the Handel Singing Competition, Francesca Lombardi Mazzulli (who takes the role of the love-torn Queen Artemisia, a character strong enough to drink her dead husband's ashes...) give vent to this glorious display of Venetian operatic splendour.

ARTEMISIA

Music by Francesco Cavalli
Libretto by Nicolò Minato
Premiered in Venice in 1657

CD 1
Atto I

01 Sinfonia. Artemisia, Eurillo, Indamoro: Dure selci
02 Artemisia, Meraspe: Ecco il mio vago
03 Meraspe, Ramiro, Artemia: Dubbia m’appar
04 Oronta, Niso: Che saetti ed incateni
05 Alindo, Oronta, Niso: Son le luci ch’adoro
06 Ramiro, Artemia, Meraspe: Quando il cor
07 Artemisia, Artemia, Meraspe: Amori, eh?
08 Indamoro, Artemisia, Meraspe: Pur andò l’importuno
09 Meraspe, Artemisia, Eurillo, Ramiro: Gl’artefici o Regina
10 Erisbe, Niso: Su l’April
11 Artemia, Ramiro: Zeffiretti placidetti
12 Artemisia, Meraspe: Hor che soli restiamo
13 Artemisia, Meraspe, Alindo: Clitarco prenditi un fior
14 Oronta, Alindo, Niso: Gran favor! Gran mercede!
15 Artemia, Ramiro: Ardo, sospiro, e piango
16 Alindo, Artemisia, Meraspe: Già del vostro Nettuno
17 Niso, Erisbe: Cari, cari vegetabili

CD 2
Atto II

01 Oronta, Alindo: S’Amor vuol così
02 Artemisia, Meraspe, Indamoro: Che sospiri Clitarco?
03 Artemia, Ramiro: Ver me un sol fiato
04 Niso, Erisbe, Eurillo: Perdon ti chiedo
05 Indamoro, Artemisia, Eurillo, Niso, Erisbe: Di trombe guerriere
06 Erisbe, Niso: Niso, Niso!
07 Meraspe, Artemisia: Cara, cara de gl’occhi miei
08 Artemisia, Alindo, Artemia, Meraspe: Ella è quì
09 Erisbe, Niso, Eurillo: Hor vieni ad abbellirmi
10 Artemia: Se Meraspe crudel
11 Meraspe, Artemisia: Altri è gradito
12 Meraspe, Artemisia, Alindo: Che gratie!
13 Artemia, Ramiro: Dir, ch’io v’amo
14 Artemisia, Indamoro: Indamoro!
15 Erisbe, Eurillo, Niso: Se tu vuoi ch’io t’ami

CD 3
Atto III

01 Artemia: Ch’io peni così
02 Artemisia, Artemia, Meraspe: Artemia?
03 Oronta, Alindo: Dammi morte
04 Artemisia, Meraspe: Ecco il mio bene
05 Artemisia, Indamoro, Meraspe, Artemia: Servi, ò là
06 Erisbe, Niso, Eurillo: Dite il vero, son nera?
07 Artemisia, Eurillo: Cor mio che sarà
08 Alindo, Artemisia: E che fia mai quel foglio?
09 Artemisia, Meraspe: Veggio venir Clitarco
10 Ramiro, Alindo, Artemia: Hor siate à preghi miei
11 Artemisia, Meraspe: Al fin vuole il mio Fato
12 Erisbe, Niso, Eurillo: Non oso alzar le ciglia
13 Meraspe, Oronta: Respiri, chiudete
14 Oronta, Indamoro, Artemisia, Meraspe: Ma’ sen viene Artemisia
15 Alindo, Artemisia, Eurillo: Regina?
16 Oronta, Meraspe, Artemisia, Alindo, Artemia, Ramiro, Eurillo: Ecco Alindo


Francesca Lombardi Mazzulli (Soprano), Artemisia
Roberta Mameli (Soprano), Artemia
Valentina Coladonato (Soprano), Oronta
Maarten Engeltjes (Countertenor), Meraspe
Andrea Arrivabene (Countertenor), Alindo
Marina Bartoli (Soprano), Ramiro
Silvia Frigato (Soprano), Eurillo
Salvo Vitale (Bass), Indamoro
Alberto Allegrezza (Tenor), Erisbe
Alessandro Giangrande (Countertenor), Niso



La Venexiana
dir. Claudio Cavina

J.S.Bach - 4 Overtures (DVD Rip)

27 tracks* - MP3 192 Kbps - RAR 163Mb

 
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contents:

Suite I in C Major BWV 1066
Suite II in b-flat Minor BWV 1067
Suite III in D Major BWV 1068
Suite IV in D Major BWV 1069


The Amsterdam Baroque Orchestra
dir. Ton Koopman


* tracks 8, 16, 22, 27 are blank (written credits on DVD, I suppose)

J.S.Bach - Sechs Sonaten BWV 525-530

18 tracks - MP3 192 Kbps - RAR 117Mb

 
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(...) It seems likely that Bach composed his six Trio Sonatas for organ (BWV 525-530) as practice pieces for his son Wilhelm Friedemann, c. 1730, when the youngster was studying at Leipzig University. The need to appeal to a teenager's youthful tastes may explain certain of the sonatas' formal aspects, such as Bach's use of the three-movement (fast-slow- fast) structure associated with fashionable Italian musics. There are intimations too of the new galant style, and echoes in some of the movements of the operatic arias that Wilhelm Friedemann reportedly enjoyed. (...)
(...) Schweitzer mantains that the two manuscripts of these sonatas that were in ownership of Wilhelm Friedemann and Carl Philipp Emanuel are written for a harpsichord with two keyboards and a pedal (=pedal harpsichord). Apparently this instrument was very popular at that time and is particularly suitable for pieces composed of three obligatory voices. (...)

contents:

Sonate I Es-Dur
Sonate II c-Moll
Sonate III d-Moll
Sonate IV e-Moll
Sonate V C-Dur
Sonate VI G-Dur

Stefan Palm, Pedalcembalo

Carlo Farina - Le Sonate

 

10 tracks - MP3 192 Kbps - RAR 110Mb

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"Farina had great influence upon violin playing in Germany. Johann Vierdanck already met him as music scholar at Dresden. David Cramer and Johann Schop carried the Italian violin style to Hamburg, and even after two generations the music of Heinrich Schmelzer, Heinrich Ignaz Franz Biber, Johann Jakob Paul Westhoff and Johann Walther still shows the impact of Farina."

contents:
Sonata detta la Polaca a 3 voce
Sonata detta la Capriola a 3 voce
Sonata detta la Moretta a 3 voce
Sonata detta la Franzosina a 2 voce
Sonata detta la Farina a 2 voce
Sonata detta la Greca a 3 voce
onata detta la Cingara a 3 voce
Sonata detta la Fiama a 2 voce
Sonata detta la Semplisa a 3 voce
Sonata detta la Desperata a 2 voce
Lukas Friedrich & Christine Busch, violin Barbara Noeldeke, violoncello Hubert Hoffmann, archlute Joerg Hannes Hahn, harpsichord & organ

J.S.Bach - Johannes Passion BWV 245

 

2 CD - MP3 192 Kbps - 2 RAR (76+82Mb)

1724 version, Recorded 1987


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 CD 2
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Tenor [Evangelist]: Howard Crook
Bass [Jesus]: Peter Lika
Bass [Pilate, Arias]: Peter Kooy
Soprano: Barbara Schlick
Alto: Catherine Patriasz
Tenor [Arias]: William Kendall
Bass: Peter Kooy

Collegium Vocale Gent
La Chapelle Royale
dir. Philippe Herreweghe

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2 CD - MP3 192 Kbps - 2 RAR (54+99Mb)

1725 version, Recorded 2001


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Tenor [Evangelist, Arias]: Mark Padmore
Bass [Jesus]: Michael Volle
Soprano: Sibylla Rubens
Counter-tenor: Andreas Scholl
Bass [Arias, Pilatus]: Sebastian Noack
Bass [Petrus]: Dominik Wörner;
Tenor [Servus]: Malcolm Bennett
Soprano [Ancilla]: Cecile Kempenaers

Collegium Vocale Gent
dir. Philippe Herreweghe

J.B.Lully - Alceste

3 CD - MP3 192 Kbps - 4 RAR (260Mb)

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Alceste (ou le triomphe d'Alcide), LWV50

Libretto by Philippe Quinault after Euripides.

Jean-Philippe Lafont [Bt] (Alcide)

Colette Alliot-Lugaz [S] (Alceste)

Howard Crook [T] (Admète)

Claudine Le Coz (Thétis; Nymphe de la Mer)

Douglas Nasrawi (Alecton; Apollon)

François Loup (Lycomède; Pluton)

Gilles Ragon (Lychas)

Gregory Reinhart (Caron)

Jean-François Gardeil (Straton)

Michel Dens (Phérès)

Miriam Ruggeri (Nymphe de la Seine)

Olivier Lallouette (Eole; Clénte; Homme désolé)

Sophie Marin-Degor (Céphise; La Gloire)

Véronique Gens (Prosperine; Femme affligée; Nymphe de la Marn)

La Grande Ecurie et La Chambre du Roy

Ensemble Vocal Sagittarius

dir. Jean-Claude Malgoire

Synopsis

Score

W.F.Bach - Keyboard Works (I & II)

16 tracks - MP3 192 Kbps - RAR 91Mb

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contents:

12 Polonaises F.12

No 1 In C Major
No 2 In C Minor
No 3 In D Major
No 4 In d Minor
No 5 In E Flat Major
No 6 In e Flat Minor
No 7 In E Major
No 8 In e Minor
No 9 In F Major
No 10 In f Minor
No 11 In G Major
No 12 In g Minor

Keyboard Sonata In D Major F.3

Fantasia In A Minor F.23

Robert Hill, fortepiano

14 tracks - MP3 192 Kbps - RAR 117Mb


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contents:

Fantasia in C minor, FK 15
Fugue No.1 in C major, Fk 31/1
Fugue No.2 in C minor, Fk 31/2
Fantasia in E minor, Fk 21
Fugue No.3 in D major, Fk 31/3
Fugue No.4 in D minor, Fk 31/4
Fantasia in D minor, Fk 19
Fugue No.5 in E flat major, Fk 31/5
Fugue No.6 in E minor, Fk 31/6
Fantasia in C minor, Fk nv2
Fugue No.7 in B flat major, Fk 31/7
Fugue No.8 in F minor, Fk 31/8
Fantasia in A minor, Fk 23
Fantasia in D minor, Fk 18

Julia Brown, harpsichord

J.S.Bach - Johannes-Passion

2 CD - MP3 192 Kbps - RAR 194Mb


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Christoph Prégardien (tenor) Evangelist
Harry van der Kamp (bass) Jesus
Barbara Schlick (soprano)
Nico van der Meel (tenor)
René Jacobs (altus)
Max van Egmond (bass)


Choir & Orchestra of
Petite Bande
dir. Sigiswald Kuijken

Laudario di Cortona: A Medieval Mystery

12 tracks - MP3 192 Kbps - RAR 176Mb

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One of the best recording of the Laudario.


contents:


 1 - Annonciation: Lauda VI:
Dal ciel venne messo novello
2 - Annonciation: Motet:
Ave Regina / Mater innocencie / Ite missa est
3 - Nativité: Lauda XVIII:
Christo è nato et humanato
4 - Les Rois Mages: Lauda XX:
Stella nova 'n fra la gente
5 - Les Rois Mages: Hymne:
Puer natus
6 - Annonce des souffrances du Christ: Lauda XXII:
Ben è crudele e spïetoso
7 - La passion et la mise en croix: Lauda XXIII:
De la crudel morte de cristo on'hom pianga amaramente
8 - La passion et la mise en croix: Lauda XXV:
Onne homo ad alta voce laudi la vera croce
9 - Déposition de la Croix: Répons: Media vita
10 - Adoration du tombeau: Motet:
Ortorum virentium / Virga Jesse / Victime paschali laudes
11 - Résurrection: Lauda XXVI:
Iesú cristo glorïoso
12 - Résurrection: Litanie:
Crucifixum in carne


Ensemble Organum
dir.Marcel Pérès

J.J.Froberger - The Strasbourg Manuscript - 14 Suites

2 CD - MP3 192 Kbps - 2 RAR (94+93Mb)


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Johann Jakob Froberger (baptized May 19, 1616 – May 7, 1667) was a German Baroque composer, keyboard virtuoso, and organist. He was among the most famous composers of the era and influenced practically every major composer in Europe by developing the genre of keyboard suite and contributing greatly to the exchange of musical traditions through his many travels. He is also remembered for his highly idiomatic and personal descriptive harpsichord pieces, which are among the earliest known examples of program music.

Only two of Froberger's many compositions were published during his lifetime, but his music was very widely spread in manuscript copies and he was one of the very few 17th century composers who were never entirely forgotten. His works were studied in the 18th century (although perhaps not very extensively, and certainly without influence on the emerging Classical style) by Handel, Bach and, extraordinarily, even Mozart and Beethoven.

Contents:


Suite No.12 in A minor
Suite No.3 in E minor
Suite No.2 in D minor
Suite No.5 in G minor
Suite No.11 in A minor
Suite No.4 in F major
Suite No.6 in A minor
Suite No.9 in D major
Suite No.1 in C minor
Suite No.8 in D minor
Suite No.7 in G minor
Suite No.13 in G major
Suite No.10 in E minor
Suite No.14 (doubtful) in A major


Ludger Rémy, harpsichord

Codex Reina Ballades, Virelais et Rondeaux, 14ème siècle

tracks - MP3 192 Kbps - RAR Mb

The Codex Reina is a large source copied in either Padua or Venice from the later 14th century to the early 15th century, and containing more than 200 secular songs in Italian, French and Flemish. The present recital focuses on the French Ars Nova pieces from the first part of the manuscript. The second part of the manuscript contains Renaissance-style pieces in the style of Dufay, and is not represented here.

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contents:

Soit tart, tempre (virelai; 2 voices, lute, shawm, 2 vielles)

Contre le temps (virelai; 2 voices, lute, shawm, vielle)

S'en moy est foi (rondeau refrain; lute, 2 vielles, percussion)

La cornailhe (virelai; voice, lute)

Machaut: De toutes flours (ballade; voice, lute, rebec, vielle)

Dolour me tient (ballade; rebec, vielle)

Machaut: De Fortune (ballade; 2 voices, shawm)

Dame qui fust (ballade; shawm, lute, vielle)

Machaut: Gais et jolis (ballade; voice, 2 vielles)

Combienz qu'il soyt (isorythmic rondeau; rebec, lute, vielle, percussion)

J'ay grant desespoir (ballade; voice, 2 vielles)

Caserta: Beauté Parfaite (ballade; shawm, 2 vielles)

Senleches: En ce gracieux tamps (virelai; voice, lute, vielle)

Rescoés, rescoés (virelai; shawm, rebec, vielle)

Puis qu'autrement (virelai; voice, shawm, lute, vielle)

Jour a jour (rondeau refrain; voice, 2 vielles, shawm, lute)

E Dieus commant (virelai; 2 voices)

Mercy ou mort (ballade; voice, shawm, 2 vielles)

Je voy le bon tens venir (virelai; 2 voices, rebec, lute, vielle, percussion)

Continens Paradisi

Witte Weber (voice)

Rogério Gonçalves (shawm, percussion)

Thais Ohara (vielle, rebec)

Marcelo Ohara (vielle, rebec),

Agileu Motta (lute)

Eric Mentzel (voice)

J.M. Leclair - Violin Concertos - Volume 2

12 tracks - MP3 192 Kbps - RAR 99 Mb

In 1757 Ancelet observed: It is certain that the violin is the most beautiful & and most perfect of instruments, owing to the quality of its sound, its clarity and its technical potential, which embraces all genres and characters of Music... The violin becomes increasingly à la mode, and thus gentlemen of taste are encouraged to play it. Le Clair, who travelled to Italy and other foreign countries, came back to France to instruct and teach: it is to this gifted musician that French Violinists have the greatest obligation. He showed them how to vanquish technical difficulties and has crowned this achievement by composing knowledgeable and correct Works for his instrument, which serve as a model and thereby instruct those who have the talent to compose themselves.

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contents:

Violin Concerto in F major, Op. 7 No. 4
Violin Concerto in A major, Op. 10 No. 2
Flute Concerto in C major, Op. 7 No. 3
Violin Concerto in A major, Op. 7 No. 6

Simon Standage, violin & conductor

Rachel Brown, flute

Collegium Musicum 90

Guardian Angel

20 tracks - MP3 192 Kbps - RAR 124 Mb

Given that the aim of this recording, announced in the booklet notes, is to "[demonstrate] how composers in Germany, Italy, Austria, and England responded to the challenges of writing for the violin senza basso, it's a bit odd to begin the proceedings with a work that's not for violin at all. However, the transcription for solo violin of Bach's underplayed Partita for flute in A minor, BWV 1013, by violinist Rachel Podger herself, is quite idiomatic to the violin, and Podger's performance is lively and attractive. From Bach, Podger looks outward to other solo violin works rather than back to the tradition immediately preceding Bach's unaccompanied sonatas and partitas. The works don't have anything directly to do with one another, but they are united in part by being Podger's favorites, and there are some fascinating offbeat pieces that do indeed seem to have counterparts in Bach's magisterial compendia. Consider the very nice pair of solo sonatas by Giuseppe Tartini. In the Giga movement of the first one, the violin takes its solo and is answered by itself in the role not only of harmonic accompaniment but of orchestral figure. The pieces by Nicola Matteis, who inaugurated the entire migration of Italian musicians to Britain, have a fantastic spirit, while the sonata by Pisendel, which may have preceded or followed Bach's pieces, is at least similar to them in language, although less deep. A selection from Biber's Rosary Sonatas works well as a finale.

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contents:

Bach - Partita for Flute in A minor BWV 1013

Matteis - Passagio rotto, Fantasia, Movimento incognito

Tartini - Sonata in A minor, B:a3

Tartini - Sonata in B minor, NO. 13, B:h1

Pisendel - Sonata per violino solo

Biber - Passacaglia in G minor for solo violin, senza scordatura

Rachel Podger, violin

C. Graupner - Orchestral Suites

18 tracks - MP3 192 Kbps - RAR 124 Mb

Here’s another composer we would care more about if not for the existence of Bach and Telemann. Although the writer of the disc’s liner notes focuses on the overshadowing influence of his abovementioned contemporaries, Christoph Graupner’s music on this program could most closely be compared with that of Handel’s works in the genre–and still we are left with this Saxon composer’s more workmanlike, less visionary, but always imaginative treatments of melody and attention to the coloristic possibilities of instruments such as viola d’amore, chalumeau, horn, and flute. This is not great or revelatory music–but it is certainly eminently listenable, whether as a pleasant background or as a focus of scrutiny regarding baroque compositional practice.

The beauty of this recording is in the performances, in which the individual musicians, regardless of their attraction to Graupner’s conceptions, play with knowing appreciation of the beauty of the ensemble sonorities and the idiomatic writing for individual instruments. And to be sure, Graupner was not an imitator: these suites reveal much individuality, not only in unusual instrumental combinations, but in the way these instruments are employed, using (sometimes unconventional) rhythmic effects, fugal techniques, and the formal structures of various dances to create works that are agreeably sonorous and thematically rich and satisfying. As an aside, the “Air en Polonese” from the F major suite GWV 450, is one of the more unusual movements in all of these works, something you could imagine as a “Divertissement” from Tchaikovsky’s Nutcracker ballet. In fact, one of the delights of these suites is that you can actually imagine dancers performing the gavottes, sarabandes, menuets, and bourrées.

For whatever reason the Finnish Baroque Orchestra has adopted and embraced these Graupner suites, and we are lucky for that–and Ondine has provided a first-rate sonic environment, from a Finnish church, that captures the individual instrumental timbres and the unique color-world of the various combinations of baroque horn and chalumeau and viola d’amore and strings. Strongly recommended.

-- David Hurwitz, ClassicsToday.com

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contents:

Suite for Flute, Viola d'Amore and Chalumeau in F Major, GWV 450

Suite for Viola d'Amore and Bassoon in G Major, GWV 458

Suite for Flute, Viola d'Amore, 2 Chalumeaux and Horn in F Major, GWV 451

Finnish Baroque Orchestra

dir.Sirkka-Liisa Kaakinen-Pilch

Gustav Leonhardt Edition

21 CD - MP3 192 Kbps - 22 RAR - 1.73 Gb


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GLE-sc.rar = Booklet
vol.01-03 - J.S.Bach - Harpsichord Concertos
vol.04 - J.S.Bach - Goldberg Variations
vol.05 - J.S.Bach - Works For Harpsichord
vol.06-07 - J.S.Bach - Violin Sonatas
vol.08 - J.S.Bach - Quodlibet, Canons, Songs, Chorales and Keyboard Works
vol.09 - J.C.de Mondonville - Pièces de Clavecins en Sonates
vol.10 - Pièces de Clavecin
(Couperin, Poglietti, Le Grigni, Rameau)
vol.11 - J.P.Rameau - Pièces de Cavecins en Concerts
vol.12-13 - H.Purcell - Anthems - Instrumental Music
vol.14-15 - English Consort and Keyboard Music
(Dowland, Lawes, Coprario, Byrd, Simpson, Lupo,
Morley, Bull, Randall, Tomkins Gibbons, Farnaby, Tisdale)
vol.16 - Consort Music by Biber, Muffat, Rosenmuller, Scheidt, Schmelzer
vol.17 - Froberger Keyboard Works
vol.18-19 - Kuhnau - Musicalische Vorstellung
vol.20 - Keyboard Music
(Reincken, Scheidemann, J.S.Bach, Bohm, Handel, J.C.Bach)
vol.21 - Harpsichord & Consort Music
(Frescobaldi, Turini, Caccini, Marini, Scarlatti)


with:

Agnes Giebel
Marie Luise Gilles
Bert van t’Hoff
Peter Christoph Runge
James Bowman
Nigel Rogers
Brüggen-Consort
Choir of King’s College Cambridge
Leonhardt-Consort


30 May 1928 – 16 January 2012




First Posted 22/09/09