sabato 28 giugno 2014

Psallat Ecclesia

15 tracks - MP3 192 Kbps - RAR 83 Mb

What we call Gregorian chant is old music. By the 13th century most of it was already composed. It is the church's oldest musical treasure, and is the word of God spoken, and prayers prayed, in a language where the word is lifted and born on wings of exquisite beauty. It is not just a language of words, but a meeting of words and melody in an expression of extraordinary power. Gregorian chant developed over a long period of oral transmission from generation to generation. If there is an evolutionary theory for artistic expression, a sort of "survival of the fittest", it can certainly be used about Gregorian chant. Many of these melodies are so unbelievably beautiful; it is as if we sense divine participation in their creation. There is an air of mysticism in this music, which more and more people are seeking as a setting for meditation and prayer.


1. Salus eterna
2. Congaudentes exultemus
3. Nato canunt omnia
4. Introitus, St. Agatha: Gaudeamus
5. Alleluia Letabitur iustus
6. Laudes debitas Deo
7. Victimae paschali laudes
8. Lux illuxit, St. Hallvard
9. Alleluia Quoniam Deus
10. Psallat ecclesia
11. Ecce pulcra
12. Martiris eximii
13. Probasti
14. Stola iucunditatis
15. Virgini Mariae

Schola Solensis
Halvor J. Østtveit, conductor
Ragnhild Hadland, soloist

venerdì 27 giugno 2014

J.M. Leclair - Le Tombeau

19 tracks - MP3 192 Kbps - RAR Mb

During his lifetime Leclair was renowned for the accuracy, clarity and brilliance of his playing. His sonatas show both the boldness and the technical ease of their composer. Leclair never indulged in excessive virtuosity: in his works we find not only impressive technical brilliance but also precision, nobility and charm in their composition. This recording is devoted to the sonatas and concertos of Jean-Marie Leclair - works that deserve much greater recognition.


Overture for 2 violins & continuo in A major, Op. 13 n° 3
Sonata for violin & continuo in A minor, Op. 5 n° 7
Sonata for violin & continuo in C minor, Op. 5 n° 6
Sonata for violin & continuo in B flat major, Op. 5 n° 4
Concerto for violin, strings & continuo in G minor, Op. 10 n° 6

Les Folies Francoises
Patrick Cohen-Akenine, violin
Lenor de Recodno, violin
Francois Poly, cello
Beatrice Martin, harpsichord

giovedì 26 giugno 2014

I viaggi di Faustina

14 tracks - MP3 192 Kbps - 110 RAR Mb

With 'I Viaggi di Faustina' Glossa launches a new collection focusing on famous Italian singers from the 17th and 18th centuries, whose travels bear witness to the intense level of artistic activity then taking place in the major cities of Europe. Faustina Bordoni, the brilliant diva with whom we begin this series, pursued her career mainly in Naples and Venice, but also in cities such as Bologna, Parma, Dresden and London. These were cities hosting, with great success, operas by Hasse (Bordoni's husband), Porpora, Vince, Mancini and Sarro; most of these composers are represented on this first selection of wonderful arias. In this repertoire, that fits like a glove, Roberta Invernizzi displays her renowned virtuosity along with a shared musical sensitivity with Antonio Florio and I Turchini.

BBC Music Magazine June 2013 Recording of the Month
Gramophone July 2013 Editor's Choice


01 Son prigionera d’amore
[Cleofide – Nicola Porpora, Poro. Turin, 1731]
02 Scendi da questo soglio
[Camilla – Leonardo Vinci, Il Trionfo di Camilla. Parma, 1725]
03 Canta e dì caro usignolo
[Giulia – Francesco Mancini, Traiano. Naples, 1723]
04 Sinfonia (Presto e staccato – Largo – Presto forte e staccato)
[Nicola Porpora, Agrippina. Naples, 1708]
05 Confusa, smarrita
[Marzia – Leonardo Vinci, Catone in Utica. Naples, 1732]
06 Un guardo solo ancor
[Camilla – Leonardo Vinci, Il Trionfo di Camilla. Parma, 1725]
07 Raggio amico di speranza
[Cleofide – Nicola Porpora, Poro. Turin, 1731]
08 Sinfonia (Allegro – Andante staccato – Allegro)
[Francesco Mancini, Traiano. Naples, 1723]
09 Tortora che il suo bene
[Rosmira – Domenico Sarro, Partenope. Turin, 1722/23]
10 Non ti minaccio sdegno
[Marzia – Leonardo Vinci, Catone in Utica. Naples, 1732]
11 Ecco mi parto / Qual rusceletto
[Leonardo Vinci, Cantata “Parto ma con qual core”. Naples, 1723]
12 Concerto per flauto e archi (Amoroso – Adagio – Allegro)
[Domenico Sarro]
13 Spera sì, mio caro bene
[Giulia – Francesco Mancini, Traiano. Naples, 1723]
14 Lasciami un sol momento
[Rosiclea – Antonio Maria Bononcini, Rosiclea in Dania. Naples, 1721]

Roberta Invernizzi, soprano

I Turchini
dir. Antonio Florio


14 tracks - MP3 192 Kbps - RAR 101 Mb

The title of this disc is taken from perhaps the finest aria from Mozart’s first opera buffa, La finta semplice , in which the cupids gambol to the accompaniment of a soft, lyrical bassoon line. Not to ignore such an attention-grabbing title, this disc is really meant to show off the talent of soprano Christiane Karg, not via the usual well-trodden paths of bravura arias from major operas, but rather through exploring some of the lesser performed works of Mozart’s youth. Thus it carves out a niche that provides for an interesting hour or so of listening. Moreover, Karg and conductor Jonathan Cohen have chosen complementary works from two contemporaries, Christoph Willibald von Gluck and André-Ernest-Modest Grétry, both of whom were influences on the young Mozart. It is a pity that more Grétry is not available on disc, for here is a composer who wrote music that is both colorful and imaginative (and whose works include the first ever Beauty and the Beast opera, Zémire et Azor ). Here, one finds arias from the operas La fausse magie, Silvain, and Lucille , all works that were popular at the time but which are hardly known today, even in textbooks. Gluck, of course, is better represented, and the performers have not eschewed excerpts from two standards, the aria “Soumis au silence” from the Paris version of Orphée and the final admonition of Iphigenie, “Adieu, conservez dans votre âme,” from Iphigénie en Aulide , both of which can be found elsewhere in recordings of the complete operas. His other arias, from Il parnaso confuso and Telemaco , however, take the listener back to Gluck’s early career as a composer of Italian opera, showing one of the sources for Mozart’s early inspiration.


1. La finta giardiniera, K 196: Amoretti by Wolfgang Amadeus Mozart
2. Ascanio in Alba, K 111: Ferma aspetta by Wolfgang Amadeus Mozart
3. Ascanio in Alba, K 111: Infelice affetti miei by Wolfgang Amadeus Mozart
4. La fausse magie: Comme un éclair by André Modeste Grétry
5. Mitridate, rè di Ponto, K 87 (74a): Lungi da te, mio bene by Wolfgang Amadeus Mozart
6. Orfeo ed Euridice: Soumis au silence by Christoph W. Gluck
7. Il sogno di Scipione, K 126: Biancheggia by Wolfgang Amadeus Mozart
8. Silvain: Il va venir...Pardonne, o mon juge by André Modeste Grétry
9. Lucile: Au bien supreme by André Modeste Grétry
10. Il Parnaso confuso: Sacre piante by Christoph W. Gluck
11. Telemaco: In mezzo a un mar crudele by Christoph W. Gluck
12. Lucio Silla, K 135: Odo, o mi sembra udir by Wolfgang Amadeus Mozart
13. Lucio Silla, K 135: Fra i pensier più funesti di morte by Wolfgang Amadeus Mozart
14. Iphigénie en Aulide: Adieu by Christoph W. Gluck

 Christiane Karg, soprano

dir. Jonathan Cohen

mercoledì 25 giugno 2014

Bach Edition (Brilliant, 160CDs)

160 CD - MP3 192 Kbps - 161 ZIP (13Gb)

Filefactory - Uploaded

Brilliant Classics embarked on a daring project in the year 2000, the year of the 250th anniversary of Johann Sebastian Bach's death: this budget label decided to release a complete set of Bach's works. They were not the only label to do so - Teldec and Haenssler both did as well - but the Brilliant Classics set stands out for several reasons. First, they attempted (though did not fully succeed) to create a complete set entirely recorded on period instruments, using historically informed performances. As their web site states, "The new recordings follow scrupulously the newest developments and insights offered by the leading Early Music scholars as regards the performance practice of Baroque music in general and the music of Bach in particular." Well, not all the instruments are truly period instruments, and one cannot say the that performances are 100% historically informed, but this is not much of a problem, and there is no reason for this to be seen as essentially negative.
This set stands out for one very important reason: some 65% of the 160 CDs in this set were newly recorded (the remainder was licensed from other labels), including Bach's almost 200 sacred cantatas. The scale of this project is such that one could call it folly. Recording 200 cantatas - or about 60 hours of music - in 15 months is as mad as building a cathedral or digging a tunnel across the English Channel. In fact, one could think that any conductor who would be willing to attempt such a feat is simple crazy.
Not at all. In fact, if one thing stands out in this set, it is the 60 CDs of sacred cantatas, recorded in unique conditions, by a man who had never recorded any such quantity of music before.
The Cantatas
In October 1999, the first boxes of these cantatas, each containing 5 CDs, appeared on the shelves of the Krudivat drug store chain in the Netherlands. Some 500 stores started selling Bach cantatas next to aspirin and film; on the surface, this can seem ridiculous. But, at the unprecedented price of DFL 14.95 per box - roughly $1.25 per CD - Dutch people became fans of Bach's cantatas. More than 100,000 copies of each box were sold in two years in the Netherlands alone, far more than most classical discs sell in the entire world. An amazing feat for such "obscure" music.
Pieter Jan Leusink, conductor of Holland Boys Choir and Netherlands Bach Collegium and artistic director of the Cantatas project, managed somehow, against all odds, to create a true best-seller out of what is arguably some of the finest music in the western world, but music which is generally considered to be "difficult".
The two other labels who released complete sets of Bach's works, Teldec and Haenssler, did indeed record new discs for their sets, but each of them already had the cantatas in the box. Teldec had the groundbreaking first complete recording of the cantatas by Gustav Leonhardt and Nicolas Harnoncourt, and Haenssler had the later set by Helmut Rilling. Yet the Brilliant Classics set is, oddly enough, the first complete digital recording of the cantatas. (It should be noted that two other complete sets are ongoing: one by Maasaki Suzuki, for Bis, and another by Ton Koopman, for Erato.)
The cantatas were initially panned by critics outside of the Netherlands, and some within, on their release. Of course, one just naturally assumes that such a quick recording schedule must lead to poor-quality work. In fact, I remember when I first heard about the set, on the Internet, and people were basically dismissing it as second-rate. But as time went on, more people discovered this set and found it to be not so bad; in fact, it really is quite good. Naturally, it has its weaknesses, but these weaknesses are no more apparent than in the other two complete sets, those by Rilling and Leonhardt/Harnoncourt. The former can be criticized for his hybrid approach between baroque music and modern forces and instruments; the latter is often criticized for the choice of boys to sing all the solo voices, leading to some very poor performances by boys whose voices are not up to the emotional intensity of the music.
But Leusink is not as dogmatic as Leonhardt/Harnoncourt, nor is he as free in his choices as Rilling. He manages to maintain a rare level of emotion and energy throughout the almost 200 cantatas; he used basically the same musicians, choir and soloists for each cantata. On the other hand, Leonhardt and Harnoncourt were unable to do so, because it took them nearly 20 years to record their set. While Leusink's cantatas may have some weaknesses due to the way they were recorded - they were not recorded in their entirety, for reasons of time; on certain days, only choral movements were recorded, on others arias, in order to not have the musicians sit around doing nothing. So, not one of the cantatas was actually performed completely for this set. There are occasional cantatas where this seems evident, where there is a lack of coherence among the different movements. Nevertheless, listening to the entire set, rather than focusing on individual cantatas, one is truly amazed by the quality of the music.
To choose just one cantata to look at more closely, I have selected one of the most moving cantatas, the Actus Tragicus (Gottes Zeit ist die allerbeste Zeit - God’s Time is the Best Time) BWV 106. This cantata opens with a slow, haunting sonatina, an instrumental movement played on two recorders against a lush background of viols and organ continuo. This is one of Bach’s most memorable instrumental movements among his cantatas, and is played well - the balance of the instruments is fine, though a bit rough. The second section of the cantata is a long vocal section opening with four soloists (soprano, alto, tenor and bass) singing together. Many recordings of this cantata use a choir for this section, but recent recordings have featured a one-voice-per-part strategy here, as does this one. The texture of this is excellent, although the balance between the voices wavers a bit. The tenor, bass and soprano each have ariosos within this section. Tenor Knut Schock enters a bit heavily, but his voice is quite appropriate for the melancholy tone of his section. Bass Bas Ramselarr has a slightly dark, yet clear voice. His section features a delightful accompaniment by the two recorders - in an interesting counterpoint with such a deep voice - and, again, the balance is slightly off, his voice sometimes drowning out the recorders just a bit. Soprano Marjon Strijk has an interesting voice - slightly airy, a bit weak, but very attractive in its naiveté. She sounds almost like a boy soprano, with a wispy voice that is nevertheless pure and even. While her tone wavers at times, she is very enjoyable. The third section uses the viols to their fullest, giving the unique texture this instrument brings to vocal music. Alto Syste Buwalda is a conundrum - at times excellent, at others weak, his diction is a problem. His voice does not always sound clear, although his tone is excellent. The final section of this cantata is a coro, with a lively, optimistic tone. Again, it is sung here in one-voice-per-part, giving a beautiful texture. All in all, this cantata is indicative of the entire series - with high points and low points, some singers are fine, others weak, it is a mixed bag, yet still maintains an excellent overall tone and feeling.
The secular cantatas included are a recording made by Peter Schreier in the 1970s. Schreier is perhaps the finest evangelist in Bach's sacred vocal works, and has proved to be a very competent conductor of these works as well. His secular cantatas are very well-performed, and feature excellent soloists, such as Schreier, sopranos Edith Mathis and Arleen Augér, bass Theo Adam among others. The choirs on these recordings is not, perhaps, the best, but the overall sound is quite good.
Sacred Vocal Works
Here, again, Brilliant Classics has licensed recordings of the passions, masses and other works. The St. Matthew and St. John passions are good recordings by the Brandenburg Consort and the King's College Choir; I find these two passions to be a bit weak, and this is a shame.
The B Minor Mass is a fine performance by The Sixteen and Harry Christophers, which is subtle and well-sung. The choir, which is fairly large at 26 singers (whereas some recordings in recent years have used much smaller groups) is nevertheless of a size that allows the individual voices to stand out in the choral melange. The instrumentalists also play in perfect balance with the choir - the obbligato instruments fit perfectly with the vocal texture, and the overall sound of the orchestra is excellent.
Among the other vocal works - a total of 37 CDs - are some interesting works which are not recorded often: a collection of chorales, based on hymns, and Bach's "sacred songs". Most Bach lovers are unfamiliar with these works, which, while not being masterpieces, are fine music.
Orchestral Works
Many of the works in this set were licensed from other labels; a total of about 35% of the 160 CDs were obtained in this manner. Naturally, Brilliant Classics could not afford to get the best baroque performers - this is a super budget set - but one thing that the listener discovers in this set is that there are many fine, even excellent "second tier" performers of Bach's music. Many of the instrumental ensembles whose recordings are in this set are excellent. The Consort of London, for example, is a pleasant surprise. They perform the Brandenburg Concertos and the Orchestral Suites. Their Brandenburg set is an excellent performance of these concertos; the tempi are excellent; this is no staid, boring performance, as is too often the case, where the concertos are played far too slowly as though they are monuments rather than living music. The musicians here have found the right rhythms and give these pieces energy and emotion. The Orchestral Suites come across with the same vigor and energy, and these two sets of orchestral music are, in my opinion, among the best available on disc.
Chamber Music
Bach's "chamber music" includes a variety of works, from sonatas for violin and harpsichord to trio sonatas, from flute pieces to sonatas for viola da gamba and harpsichord. One disc that stands out is the Trio Sonnerie’s recording of the violin sonatas BWV 1021 and 1023, on a CD that also includes trio sonatas BWV 1038 and 1039 performed by two other ensembles. The performance of the violin sonatas sparkles, with the musicians, Monica Huggett on violin, Sarah Cunningham on viol, and Mitze Meyerson on harpsichord, clearly enjoying every second of this music. The two trio sonatas on the same CD, played by the Ensemble Il Quadrifoglio and the Bach Ensemble Heidelberg, are good recordings, but nothing special.
Solo Instrumental Works
Some of Bach's finest music is for solo instruments (other than the keyboard). His suites for solo cello, his sonatas and partitas for solo violin, and his lute works are among the most poignant and moving music he wrote.
The recording of the cello suits, by Robert Cohen, is a magnificent version of these amazing works. He these suites at relatively slow tempi, and plays all repeats. His reading of these works is highly personal, and his flexibility concerning tempi can be a bit disturbing at first - in some movements he plays the repeats much slower than the first expositions. Nevertheless, this gives this version a unique individuality that many other cellists lack. Cohen plays the music without showing off; it is clear that he is interested in the inner music that lies under the surface of these works.
The lute works are an excellent recording by Jakob Lindberg, recorded for Bis. He is a fine performer, and his playing is crystal-clear, though occasionally lacking in emotion; at times, his playing is a bit hesitant - something often heard on this instrument - but this does not mar the overall tone of these recordings.
The solo violin works are one of the major weak points in this set. It is quite a shame, because these are some of Bach's finest compositions. Mark Lubotsky suffers from an overuse of vibrato, making some of the movements sound like Gypsy music, and from a very poor rhythmic feel for the pieces. In some of the faster movements, it sounds as if he is rushing so much that he totally loses the flow.
Organ Works
The 17 CDs of organ music included in this set are by Hans Fagius, a set that was originally released by Bis records in Sweden. This is a fine set, indeed one of the best complete recordings of Bach's organ music. Fagius demonstrates a magnificent understanding of Bach's organ music, and the instruments used are excellent. One work, however, is lacking: the Art of Fugue played on the organ. It is included here only in a harpsichord version, although it is often played on the organ. (There is also no orchestral version of the work, either; but, you can't have everything!)
One work that stands out is the huge Partite diverse sopra "Sei gugrüsset, Jesu gütig", BWV 768. This long work, at over 19 minutes, is a series of variations of a choral prelude. After an initial presentation of the chorale, Bach takes off in his most brilliant set of variations for the organ. Using every resource available for the organ, he displays an incredible variety of styles, from simple two-part sections to elaborate counterpoint. Fagius’ performance of this piece is excellent, and he uses a wide range of registrations.
Keyboard Works
One of the advantages and disadvantages of this set as compared to the Teldec and Haenssler sets is that all the keyboard music is recorded on the harpsichord. This is an advantage because Bach wrote most of his keyboard music for the harpsichord - the piano was only invented near the end of his life. Not that there is anything wrong with playing Bach's music on the piano; I am instrument-agnostic. But there is a certain coherence here that arises from the constant use of the harpsichord.
Yet, this is also a disadvantage. The Haenssler set, in particular, features some unique, little-recorded instruments - there is a magnificent disc of music for the lautenwerk, or lute-harpsichord; there is a fair amount of music recorded on the clavichord; and, Robert Hill's masterful recording of the Well-Tempered Clavier - one of the finest on disc - is recorded on several instruments: harpsichord, clavichord, fortepiano and organ.
In any case, the keyboard box in this set is excellent. On 23 CDs, some wonderful performers are present. Joseph Payne's French Suites (originally recorded for Bis) are among the finest recordings of these popular works. Payne's approach to these suites is intimate and reserved, yet he does not hesitate to play somewhat more freely in the repetitions of the various movements. His interpretation is clear and unambiguous; firm in, say the first suite, more delicate, almost dainty in the sixth suite. Under Joseph Payne's fingers, these works take on a new feeling.
Pieter-Jan Belder's Partitas are sensitive and moving, though they do not approach the excellent recording by Trevor Pinnock, which is part of the Haenssler set. Belder has a judicious approach to the Partitas, though it could be considered a bit conservative.
The Well-Tempered Clavier is arguably Bach’s greatest collection of keyboard pieces. The recording here by Leon Berben is a mixed bag. The sound of his harpsichord has both good and bad points - it is an attractive instrument, but it suffers from a bit too much reverb. His playing is adequate, but his interpretation of the works ranges from inspired, in some of the pieces, to confused in others. It sometimes sounds as if he is right at home with the music, but, at other times, he seems to be unfamiliar with it, playing hesitantly.
Pieter-Jan Belder’s Goldberg Variations are quite good. He has a light, delicate touch in the opening aria, which starts this work out in a very attractive tone. His harpsichord, a Ruckers copy, sounds magnificent - just the right level of presence and strength. It sounds as though the instrument was miked very closely, giving a crisp sound, with each string’s plucking being heard very clearly. Often, such recording leads to a bad sound, but here it works very well. His playing is lively in the faster variations, and sensitive in the slower ones. This is indeed a fine performance.

How can one conclude such a review? With a simple yes or no recommendation? Well, if it were that simple, I would give a resounding "yes"; I do, indeed, highly recommend this set. I have recordings of all of Bach's works, and did before receiving this set - I have some 700 Bach CDs - yet I was delighted and surprised as I listened to the many pearls that I discovered in this set.
There are some drawbacks, though, mostly those inherent in buying any such complete set. While many of the recordings are excellent, there are some which are mediocre. Nevertheless, the good ones do outweigh the lemons, and, if you like Bach's music, you owe it to yourself to get this set - at its super-bargain price, even those recordings you don't like will not cause too much disappointment, but the quality of the excellent ones is such that you will certainly be delighted. (Note that the cost of some of the recordings in this set that have been licensed from other labels would far exceed the total cost of the entire set.) If only to have the 60 CDs of sacred cantatas, and to discover what is an incredible collection of moving and memorable music, this set is worth having. Treat yourself to 160 CDs of Bach, then, take a few weeks off to enjoy this music.

Kirk McElhearn

Read more: here



CD 1 e 2 - Concerti Brandeburghesi
Musica Amphion - Pieter-Jan Belder, direzione
Data di registrazione: giugno 2006

CD 3 e 4 - Suites orchestrali
Masahiro Arita, flauto traverso - Christoph Lehmann, ogano
La Stravaganza Köln - Direzione Andrew Manze
Luogo e data di registrazione : Maison de la Radio de Cologne, 1994

CD 5 – Concerti per violino
Emmy Verhey, violino – Camerata Antonio Luco
Concerto en re maggiore BWV 1064 (3 violini)
Rainer Kussmaul, Henk Rubingh, Thomas Hengelbrock, violini
Amsterdam Bach Soloists
Data di registrazione: 1992, 1988

CD 6 e 7 – Concerti per clavicembalo
Christine Schornsheim, Armin Thalheim, Mechtild Stark, Violetta Liebsch, clavicembalo
Neues Bachisches, Collegium Musicum - Burkhard Glaetzner, direzione
Data di registrazione: 1990, 1992

CD 8 – Concerti per 2 e 3 clavicembali
Musica Amphion - Pieter-Jan Belder, direzione
Data di registrazione: giugno 2006

CD 9 – Concerti doppi
Marieke Schneemann, flauto - Liz Perry, violino - Menno van Delft, clavicembalo - Daniëlle Kreeft, oboe - Juditha Heberlin, violino - Ensemble Bach des Pays-Bas
Rob Visser, oboe d’amore - Solistes Bach d'Amsterdam
Darius Polack e Kamil Drzyzgula, violino – Orchestra da Camera di Lodz
Zdzislav Szostak, direzione

CD 10 e 11 – Sonate e partite per violino
Mark Lubotsky, violino (J.B. Guadagnini 1728)
Registrazione originale Brilliant Classics
Luogo e data di registrazione : Utrecht, Chiesa Maria Minor - novembre 1987

CD 12 e 13 - Suites per violoncello da BWV 1007 a BWV 1012
Jaap Ter Linden, violoncello
Registrazione originale Brilliant Classics
Data di registrazione: giugno 2006

CD 14 e 15 - Sonate per flauto da BWV 1030 a BWV 1035
Stephen Preston, flauto traverso
Tevor Pinnock, calvicembalo
Jordi Savall, viola da gamba

CD 16 e 17 – Musica per liuto da BWV 995 a BWV 1000
Jakob Lindberg, liuto
Luogo e data di registrazione: Djursholm, Suède, 1992

CD 18 – Sonate per viola da gamba
John Dornenburg, viola da gamba
Malcom Proud, clavicembalo
Data di registrazione: 1991

CD 19 - L’Offerta musicale BWV 1079
Candy Thompson, violino
Marieke Schneedmann, flauto
Floris Mijnders, violoncello
David Jansen, clavicembalo
Krijn Koetsveld, organo e direzione
Luogo e data di registrazione: Utrecht, Pays-Bas -1999

CD 20 e 21 - Sonate per violino e clavicembalo da BWV 1014 a 1019
Luis Otavio Santos, violino
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 22 - Quaderno di Anna Magdalena Bach
Pieter-Jan Belder, clavicembalo e organo
Johannette Zomer, soprano
Luogo e data di registrazione: Utrecht, 1999

CD 23 – Sonate per violino e basso continuo BWV1022 e BWV 1023, Sonate in trio BWV 1038 e BWV 1039
Trio Sonnerie: Monica Huggett, violino – Sarah Cunningham, viola da gamba – Mitzi Meyerson, clavicembalo – Ensemble Il Quadrifoglio – Bach Ensemble Heildeberg
Data di registrazione: 1987


CD 1-4 – Il clavicembalo ben temperato (Libro I e II)
Leon Berben, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 5-6 - Partite per clavicembalo da n° 1 a n° 6 da BWV 825 a BWV 830
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione : Rotterdam e Utrecht, 1999

CD 7-9 - Sonate, Suite, Preludi e Fughe (musica composta tra il 1700 e il 1710)
Christiane Wuyts, clavicembalo
Data di registrazione: Bruxelles, 1988

CD 10 - Concerto in stile italiano, Fantasia cromatica e Fughe, Ouverture alla francese
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Rotterdam, Utrecht, 1999

CD 11 – Variazioni Goldberg
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Rotterdam, Utrecht, 1999

CD 12 e 13 – Suites inglesi
Bob Van Asperen, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 14 e 15 – Trascrizioni di concerti
Pieter Dirksen, clavicembalo
Luogo e data di registrazione: Rotterdam, Utrecht, 1999

CD 16 e 17 – Suites francesi
Joseph Payne, clavicembalo
Luogo e data di registrazione : Boston, USA - 1992

CD 18 – Toccate
Menno Van Delft, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 19 e 20 – L’arte della Fuga
Menno Van Delft, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 21 22 e 23 - Sonate, Suites, Fantasie, Preludi e Fughe, Invenzioni e Sinfonie
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

(30 CD)

Ruth Holton e Marjon Strijk, soprani
Sytse Buwalda, controtenore
Nico van der Meel, Knut Schoch, Marcel Beekman, tenori
Bas Ramselaar, basso
Holland Boys Choir - Netherlands Bach Collegium - Direzione Pieter Jan Leusink
Luogo e data di registrazione Grote Kerk Elburg (Olanda), 1999/2000

Produzione originale Brilliant Classics

(30 CD)

Ruth Holton e Marjon Strijk, soprani
Sytse Buwalda, controtenore
Nico van der Meel, Knut Schoch, Marcel Beekman, tenori
Bas Ramselaar, basso
Holland Boys Choir - Netherlands Bach Collegium - Direzione Pieter Jan Leusink
Luogo e data di registrazione Grote Kerk Elburg (Olanda), 1999/2000

Produzione originale Brilliant Classics


CD 1 e 2 - Messa in si minore BWV 232
Catherine Dubosc, soprano I - Catherine Denley, soprano II – James Bowman, controtenore – John
Mark Ainsley, tenore – Michael George, basso
The Sixteen Choir & Orchestra - Direzione Harry Christophers
Luogo e data di registrazione: Londra, 1994

CD 3 e 4 – 4 Messe
Renate Krahmer, soprano – Annelies Burmeister, contralto – Peter Schreier, tenore – Theo Adam,
basso – Dresdner Kreuzchor
Dresdner Philharmonie - Direzione Martin Flämig
Luogo e data di registrazione : Dresda, 1972

CD 5 e 6 - Lieder spirituali
Georg Jelden, baritono
Heinz Schnauffer, organo
Luogo e data di registrazione: Monaco, 1974

CD 7 – Mottetti
Ensemble Vocale di Losanna - Direzione: Michel Corboz
Luogo e data di registrazione: Cevins (Svizzera), 1995

CD 8 - Oratorio di Pasqua BWV 249
Christine Brenk, soprano - Anne Greiling, contralto - Frank Bossert, tenore - Thomas Pfeiffer, basso - Ensemble di trombe Pfeiffer - Coro Motets de Pforzheim
Orchestra da Camera di Pforzheim - Direzione Professor Rolf Schweizer
Luogo e data di registrazione: Pforzheim (Germania), 1999

Da CD 9 a CD 16 – Cantate profane
Edith Mathis e Arleen Auger, soprani
Carolyn Watkinson, Julia Hamari e Astrid Pilzecker, contralti
Peter Schreier e Eberhard Büchner, tenori
Siegfried Lorenz e Theo Adam, bassi
Solisti di Berlino
Orchestra da Camera di Berlino - Direzione Peter Schreier
Su licenza di Edel Classics
Data di registrazione: tra il 1978 e il 1985

CD 17, 18 e 19 – Passione secondo Matteo BWV 244
Rogers Covey-Trump, tenore (Evangelista) - Michael George, basso (Gesù) - Emma Kirkby, soprano - Michael Chance, controtenore - Martyn Hill, tenore - David Thomas, basso
The Choir of King's College, Cambridge - The Choir of Jesus College, Cambridge
The Brandeburg Consort - Direzione Stephen Cleobury
Luogo e data di registrazione : Cappella del King’s College di Cambridge, 1994

CD 20 e 21 – Passione secondo Giovanni BWV 245
John Mark Ainsley, tenore (Evangelista) - Stephen Richardson, basso (Gesù), Catherine Bott,soprano - Michael Chance, contralto - Paul Agnew, tenore - Stephen Varcoe, basso - The Choir of King's College, Cambridge
The Brandeburg Consort - Direzione Stephen Cleobury
Luogo e data di registrazione : Cappella del King’s College di Cambridge, 1996

CD 22 e 23 – Passione secondo S.Marco BWV 247

CD 24 e 25 – Passione secondo S.Luca BWV 246

CD 26, 27 e 28 – Oratorio di Natale BWV 248
Lynda Russell, soprano – Catherine Wyn-Rogers, contralto – Mark Padmore, tenore – Michael George, basso
The Sixteen Choir & Orchestra - Direzione Harry Christophers

CD 29 – Oratorio dell’Ascensione BWV 11
Marjon Strijk, soprano – Sytse Buwalda, contralto – Knut Schoch, tenore – Bas Ramselaar, basse - Holland Boys Chor – Netherlands Bach Collegium - Direzione Pieter Jan Leusink

CD 30 - Tilge, Höchster, meine Sünden BWV 1083 e Mottetti
Marjon Strijk, soprano – Sytse Buwalda, contralto - Holland Boys Chor – Netherlands Bach Collegium - Direzione Pieter Jan Leusink

CD 31 - Magnificat BWV 243 e Corali
Lynda Russell, soprano I – Gillian Fisher, soprano II – Alison Browner, contralto – Caroline Trevor, contralto – Ian Partridge, tenore – Michael George, basso
The Sixteen Choir & Orchestra - Direzione Harry Christophers
Chamber Choir Of Europe – Solistes du Freiburger Barockorchester - Direzione Nicol Matt

Da CD 32 a CD 37 – Corali
Chamber Choir Of Europe - Solistes du Freiburger Barockorchester - Direzione Nicol Matt
Data di registrazione: 1999


CD 1 - BWV 651 - 661
CD 2 - BWV 645 - 650, 662 - 668
CD 3 - BWV 531, 532, 592, 730, 731, 733, 653b, 736, 737, 589, 588, 735
CD 4 - BWV 551, 535, 766, 525, 542, 690, 691, 131a
CD 5 - BWV 599 - 633
CD 6 - BWV 635 - 644, 561, 585, 553 - 560
CD 7 - BWV 536, 539, 705, 576, 563, 593, 587, 590, 696 - 704, 694, 695
CD 8 - BWV 767, 700, 702, 706, 707, 709, 710, 526, 541, 586, 564
CD 9 - BWV 1090 - 1107, 567, 569, 549, 570, 571, 594
CD 10 - BWV 1108 - 1120, 533, 550, 527, 582
CD 11 - BWV 562, 713, 575, 768, 537, 528, 544
CD 12 - BWV 565, 594, 579, 718, 1027a, 548
CD 13 - BWV 568, 943, 729, 545, 572, 597, 540
CD 14 - BWV 547, 595, 574, 577, 578, 583, 538
CD 15 - BWV 669 - 685
CD 16 - BWV 686 - 689, 802 - 805, 596, 529, 566
CD 17 - BWV 534, 543, 546, 770, 530, 580
Hans Fagius, organi (organo baroque della Chiesa Kristine di Falun - Organo Cahman del 1728 di Leufsta Bruk - Orguano Mats Arvidsson della chiesa Mariefred - Orguano Nils-Olof Berg della Chiesa della Missione di Uppsala – Organo Wahlberg del 1764 della Chiesa Fredrik di Karlskrona)
Date di registrazione: 1983, 1985, 1986, 1987, 1988, 1989

Fasch - Cantatas, Ouverture & Concerto

22 tracks - MP3 192 Kbps - RAR 111 Mb

Fasch wrote an astonishing 12 annual cantata cycles, four times as many as Bach, his contemporary. Time has dealt hard with them; only a scattered few individual cantatas remain, none listed in the current CD catalogue. They are most engaging: elegant, short-breathed motifs expressing breathless joy; elsewhere, purposefully walking harmony of quite Bachian logic. In a Pentecost cantata, Mertens negotiates fast figurations with almost instrumental clarity, complementing obbligato oboe with velvet-toned chalumeau, precursor of the clarinet, replacing second oboe – an inspired colouring. The final aria is a masterpiece, the Christian soul accepting death, rocked in the gentle rhythm of a siciliano. The D minor Overture – a full-scale suite: gestural French overture, two expansive airs and three pairs of sparkling galant dances – is played by this one-to-a-part ensemble with delightful spirit. The Concerto is strangely coloured with chalumeau, two oboes and strings. Recorded sound is superb in the cantatas, less so in the orchestral pieces. The Overture’s solo violin has an astringent edge and in the concerto, the only piece currently available elsewhere, I prefer Colin Lawson’s darkly seductive chalumeau tone (Archiv). But whether or not you tweak a tone-control, this reveals some unmissable repertoire, performed with verve and high polish. George Pratt


Overture In D Minor FWV K:D3
For Chalumeau, Two Oboes, Bassoon, Violine Concertato, Violin, Two Violas, And B.C.

«Jauchzet Dem Herrn» FWV D:J1
New Year's Cantata For Bass, Two Violins, Viola, And B.C.

«Laetatus Sum» FVW I:L1
Psalm 121 For Soprano, Bass, Two Violins, Viola, And B.C.

Concerto In B Flat Major FWV L:B1
For Chalumeau, Two Oboes, Two Violins, Viola, And B.C.

«Sanftes Brausen, Süßes Sausen» FWV D:S2
Pentecost Cantata For Bass, Chalumeau, Oboe, Bassoon, Two Violins, Viola, And B.C.

Klaus Mertens, baritone
Deborah York, soprano

Accademia Daniel
dir. Shalev Ad-El

martedì 24 giugno 2014

J.S.Bach – Johannes-Passion

2 CD – MP3 192Kbps – 3 RAR 192Mb

CD 1 – – CD 2

CD 1 – – CD 2

Evelyn Lear (Soprano)
Kieth Engen (Bass)
Hermann Prey (Baritone)
Ernst Haefliger (Tenor),
Hertha Töpper (Alto)

Munchener Bach-Orchester
Munchener Bach-Chor 
dir. Karl Richter

Concertos For 4 Violins

22 tracks - MP3 192 Kbps - RAR 100Mb

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Five composers are presented here in this Archiv Produktion collection of late baroque concertos for four violins. Concertos for 4 violins are fairly rare birds in the violin repertoire with only Vivaldi writing more than one. Three of the composers Mossi, Valentini and Locatelli were said to be pupils of the Rome-based Arcangelo Corelli. Corelli’s influence over his pupils and in the development of instrumental music of the late baroque era cannot be underestimated.
Corelli did not compose for the human voice - only for instruments. He was one of the first composers to write specifically for the violin rather than merely translating vocal styles to musical instruments and according to music writer David Ewen, "solidly established a concerto structure." In fact, Corelli succeeded in creating the concerto grosso style, which was valid and significant, remaining a model for his contemporaries and successors.
These concertos for four violins are really variants of concerto grosso where the main intention is the contrast between alternations of the string section of obbligato soloists called the concertino and the rest of the players called the ripieno. The traditional format of the concerto grosso is of several movements with dignified adagios, or largos, followed by lively allegros.
Corelli’s pupils Giovanni Mossi, Giuseppe Valentini and Pietro Locatelli each have a concerto for four violins featured on this disc. In the booklet notes ensemble director Reinhard Goebel writes that, "What Corelli’s students learnt was so perfect a technical mastery that they could even write for four obbligato violins … which is a surprisingly rare accomplishment … It is a possibility that these works, in a medium that sets unique problems of technique and timbre, were written to settle a matter of internal rivalry among Corelli’s students."
The first and final works on this recording are concertos for four violins by the Verona-born Giuseppe Torelli, who lived for many years in Bologna and Anspach, Germany and also the Neapolitan Leonardo Leo. Although no less worthy, Reinhard Goebel considers these concertos to be less demanding in content and style. "Torelli’s is a formally strict concerto and Leo’s makes a skilful balance between fugal and galant styles".
If the listener prefers his late baroque playing to be full of attack with plenty of high energy, panache and artistic licence then this recording is not for him. Musica Antiqua Köln use authentic baroque instruments and give a historically accurate performance.
Reinhard Goebel directs the ensemble with total control and precision. The playing is cool and refined, consistent and of an impeccably high standard. Furthermore in the concertino parts the four soloists play in perfect balance and with impressive bow control throughout.
The sound quality is vividly clear and is all one could ask for. All the groups of instruments can be heard individually. Listen out for the fine cello playing from Phoebe Carrai in the Mossi concerto.
This is an impressive Archiv Produktion release and I recommend it without hesitation.

Michael Cookson


Giuseppe Torelli - Concerto in A minor
Giovanni Mossi - Concerto in G minor op.4 No.12
Giuseppe Valentini - Concerto
in A minor op.7 No.11
Pietro Antonio Locatelli - Concerto
in F major op.4 No.12
Leonardo Leo - Concerto in D major

Musica Antiqua Koln
dir. Reinhard Goebel

J.S.Bach – Matthaus-Passion

3 CD – MP3 192 Kbps – 3 RAR (100+100+87Mb)

part 1 – – part 2 – – part 3

part 1 – – part 2 – – part 3

Tenor [Evangelist, Arias]: Ernst Haefliger
Bass [Jesus]: Kieth Engen
Soprano [Arias]: Irmgard Seefried
Soprano [1st Maid, Pilate's Wife]: Antonia Fahberg
Contralto [Arias, 2nd Maid]: Hertha Töpper
Bass [Arias]: Dietrich Fischer-Dieskau
Bass [Judas, Petrus, Pilatus, High Priest]: Max Proebstl

Münchener Bach-Chor & Münchener Chorknaben
(Chorus Master: Fritz Rothschuh)
Münchener Bach-Orchester
dir. Karl Richter

June-Aug 1958

El Nuevo Mundo. Folias Criollas

20 tracks - MP3 192 Kbps - RAR Mb

El Nuevo Mundo, Jordi Savall s latest fascinating project, is an exploration of the music of the Americas that illuminates the extraordinary blending of musical cultures that occurred with the arrival of European explorers and conquerors. The album s goal is to introduce the listener to extraordinary music that has been kept alive for centuries, often in regions remote from major towns and cities. Jordi Savall and his groups Hespèrion XXI and La Capella Reial de Catalunya are your guides on this musical journey from Spain to Peru to Mexico, joined by special guest artists Tembembe Ensamble Continuo.


1. Follias Criollas: Gallarda Napolitana
2. Cachua a Duo y a Cuatro "Nino Il Mijor"
3. Jacaras
4. El Pajarillo
5. Cumbes
6. El Cielito Lindo
7. Tono Humano: Trompicavalas Amor
8. Balaju Jarocho
9. Seguidillas "De Tu Vista Celoso"
10. Fandango
11. Guineo a 5 "Eso Rigor e' Repente"
12. Canarios
13. Guabina de Velez
14. Tono Humano "Nina Como en Tus Mudanzas"
15. Jota / Maria Chuchena
16. Xicochi Conetzintle
17. Danza de Moctezuma
18. Cachua a Voz y Bajo "Dennos Lecencia Senores"
19. Los Chiles Verdes
20. Guaracha "Ay Que Me Abraso"

Montserrat Figueras
Tembembe Ensamble Continuo
La Capella Reial de Catalunya
Hesperion XXI

dir. Jordi Savall

Matteo da Perugia - Hélas Avril - Chansons

11 tracks - MP3 192 Kbps - RAR file 91Mb

FileFactory - Uploaded

Matteo de Perugia (or Perusio) was closely involved in the compilation of the famous Modena manuscript which serves as one of the finest sources of Ars Subtilior music. The one clear detail of his life, besides the manuscript which is his legacy, is that he took up a leading musical post in Milan in 1402. Here Memelsdorff takes the position that he was fully worthy of status as a leading composer in the style, and not someone whose retrospective position came largely from having been close to the copyist. Both positions have certainly been advocated over the years. In any case, Perugia's approach to music was fairly unique, representing something of an (unfollowed) transition between the "Ars Subtilior" and the generation of Dufay.


1. Rondeau: A qui Fortune
2. Rondeau: Pour Dieu vous pri
3. Virelai: Plus onques dame
4. Rondeau: Pour Bel Accueil
5. Canon: (instr.) Andray soulet
6. Virelai: Puisque je sui
7. Rondau: Dame de honour plesant
8. Ballata: Già de rete d'Amor
9. Rondeau: FPn 568 (instr.) Dame playsans
10. Virelai: Hélas Avril
11. Rondeau: Trover ne puis

Mala Punica
Jill Feldman (soprano), Pascal Bertin (counter-tenor), Gianluca Ferrarini (tenor), Amandine Beyer (fiddle), Jane Achtman (fiddle), Kees Boeke (fiddle), Mara Galassi (harp), Arianna Savall (harp), Edin Karamazov (chitarrino), Pedro Memelsdorff (recorder) - Pedro Memelsdorff, dir.

lunedì 23 giugno 2014

Chinese Ancient Music

8CD - MP3 320 Kbps - RAR 1,1Gb

FileWe - FileFactory - Uploaded

Chinese ancient music developed within a long history of profound Chinese culture, which is considered as sounds of nature. Preciously selected from a large number of classical music in its music library by China Record Corporation, the largest record company in China, these beautiful music are constituted to eight ancient music CDs of  Pre-Qin, Han, Wei and Six Dynasties, Tang Dynasty, Song Dynasty, Yuan Dynasty, Ming Dynasty and Qing Dynasty. They are now called “General History” of Chinese music industry.

Every single music in this works represents the musical soul of the dynasty it belongs to, they are all played by domestic famous artists. Therefore, regardless of the purpose of classical music professional research, or as a general appreciation of music lovers, these eight fantastic CDs can be collected as treasures.

China Record Corp - 2001/2003
 Booklet in English and Chinese

 CD 1 - Shadows of Apricot Blossoms
01. Shadows of apricot blossoms (Song with title of ci tune) 3'05"
02. Xiaoxiang's waters and clouds (Qin solo) 7'56"
03. Love for the red dress (Ensemble) 2'29"
04. Plums by the Ge River (Ensemble) 2'45"
05. Short drinking music in shang Mode (Song with title of ci tune) 2'36"
06. Delicate fragrance (Ensemble) 3'30"
07. Song of Yangzhou in andante (Song with title of ci tune) 3'22"
08. Jade plum blossoms (Ensemble) 2'14"
09. Scattered shadows (Ensemble) 3'15"
10. Oriole singing (Qin, Xiao and Pipa) 2'29"
11. Jiao shao (Ensemble) 3'36"
12. Ritual songs for Yue: Chu tune on Emperor Shun (Song with title of ci tune) 2'45"
13. The immortal of stone lake (Ensemble) 2'46"
14. Floating across waters (Ensemble) 5'48"
15. Ancient lament (Ensemble) 2'53"

CD 2 - Remembering of the Xiao on the Phoenix Platform
01. Yearn for love (Pipa solo) 5:02
02. Concubines Xiang sorrow (Qin solo) 2:21
03. An autumn moon shines on the Han Palace (Pipa solo) 5:37
04. Green pavilion chant (Song with title of ci tune) 3:02
05. Noisy birds (Ancient tune) 7:59
06. Song of the Western Chamber (Zheng) 3:01
07. Lighttower 11:24
08. Autumn night (Qin, Xiao and Erhu) 5:26
09. The grievance of Zhaojun (A collection music) 3:22
10. The moon rises 7:28
11. Remembering Of The Xiao On The Phoenix Platform (Qin song) 2:27

 CD 3 - Picture of Primitive Hunting
01. Chu Shang (Chime bells from Marquis Yi's tomb and orchestra) 4'16"
02. Clouds 3'40"
03. For those fallen for their country (Xun and Qin) 2'50"
04. Cods and men rejoice (Chime bells) 2'44"
05. A grieved life in Changmen spirit (Xun and Qin-zither) 5'42"
06. Chu song (Xun and orchestra) 5'29"
07. Mount spirit (orchestra) 10'25"
08. Wine frolic (Qin solo) 2'14"
09. Guangling tune (Qin solo) 13'32"
10. Picture of primitive hunting (Bone-Whistle and orchestra) 7'09"

 CD 4 - High Mountains and Flowing Water
01. Running waters (Bianqing) 2'16"
02. High mountains flowing water (Zheng) 5'20"
03. Running waters (Qin) 4'12"
04. Offering sacrifices (orchestra) 5'52"
05. Calling back the spirit of the dead (Pan-pipes) 3'40"
06. The silent moon mirrored in the fish pond (Se) 2'26"
07. The elegant orchid in jieshi tune (Qin and Chime bells) 7'29"
08. Three variations on the plum (Qin song) 8'04"
09. Dragon Boat (Pipa solo) 4'15"
10. Gufengcao (Qin) 5'12"
11. The peacocks fly to the southeast 7'46"

 CD 5 - Wang Zhaojun
01. Wang Zhaojun (Sheng and orchestra) 13'10"
02. Qu Yuan asking way at the ferry crossing (Chine bells from Marquis Yi's tomb and orchestra) 5'51"
03. Conqueror Xiang Yu's triumphant return (Pipa solo) 7'56"
04. Beats on the Hujia (Qin song) 4'48"
05. Su Wu tending sheep (Erhu) 4'26"
06. The injustice done to Dou E (Qin, Xiao and Pipa) 4'34"
07. Lady Wenji returned to Han dynasty (Zheng) 12'42"
08. Listening to the soughing winds in the pines (Erhu) 3'55"

 CD 6 - Wild Goose on the Peaceful Beach
01. Lyrics on autumn wind (Double-Pipe solo) 5'35"
02. Wild goose on the peaceful beach (Qin solo) 7'26"
03. Qinglian's collected songs (Pipa solo) 6'44"
04. Sunny spring (Qin solo) 6'53"
05. Walking on the street (Silk and bamboo ensemble) 5'11"
06. The Yinhua mountain 2'22"
07. Deep night (Jinghu and orchestra) 4'08"
08. Tune of happy evening (Qin solo) 2'08"
09. Fallen petals scattered on green meadow (Pipa solo) 6'28"
10. Dragon chanting in the vast sea (Ensemble) 7'01"

 CD 7 - Dance Music of Imperial Palace
01. Mooring at night on the Qiu River (Xiao) 7'10"
02. Flowers and jade trees at back countyard (Song) 1'55"
03. Li Sao (Qin solo) 10'16"
04. Prelude of dance music of imperial palace (Ensemble) 2'28"
05. Three variations at Yangguan pass (Qin solo) 5'29"
06. Three Tang melodies - Yipinnong/Xijiangyue/Changshanvyin (Xun and orchestra) 7'36"
07. Fishermen's song at dusk (Zheng solo) 3'02"
08. Birds singing in spring (Ensemble) 7'18"
09. Vast desert (Bili and orchestra) 7'52"
10. Battle music for king Qin's army (Chime bells and chorus) 2'40"

 CD 8 - Autumn Meditation at Dongting Lake
01. Autumn meditation at Dongting Lake 4'05"
02. Remembering an old friend (Qin and orchestra) 7'38"
03. The spring snow (Pipa solo) 3'27"
04. Chao Yuan Song (Qin, Xiao and Pipa) 4'08"
05. Crow croaking at night (Qin solo) 5'47"
06. Vulture catches swan (Pipa solo) 9'11"
07. Dressing table (Xiao and orchestra) 4'26"
08. Recalling the past at Tongguan pass (Scattered tune of Yuan) 1'50"
09. Ancient music of the Naxi Nationality - Suite of Baisha Xiyue (Ensemble of Chinese musical instruments) 10'22" 

Landini Consort - A Commodo De Virtuosi

28 tracks - MP3 192 Kbps - RAR 104Mb

FileFactory - FileWe - Uploaded


Una Panthera (Johannes Ciconia)
La gamba in tenor (Vicenzo Ruffo)
Si come sete bella (Constanzo Festa)
O felici (V. R.)
Ogni belta, madonna (C. F.)
Madonna, io son un medico (C. F.)
La rousé du moys de May (Adrian Willaert)
T`Andernaken (Tyling)
T`Andernaken (Anoniem)
T`Andernaken (Jacob Obrecht)
La danza (V. R.)
Content desir (Thomas Crecquillon)
La gamba in Basso e Soprano (V. R.)
Voste rigueur (T. C.)
Hastes vous (T. C.)
Ligiarda donna (J. C.)
El pietoso (V. R.)
La disperata (V. R.)
Moduli duarum vocum I (Roland de Lassus)
Moduli duarum vocum II (Roland de Lassus)
Espérant d`avoir quelque bien (Geert van Turnhout)
Craint` et espoir (Geert van Turnhout)
O rosa bella (J. C.)
Dormendo un giorno (V. R.)
Martin minoit son portiau au marche (V. R.)
Fantasia 10 (Giovanni Bassano)
La Brava (V. R.)
Fantasia 3 (G. B.)

Landini Consort
Consort de flutes a bec

Clemence Comte
Isabel Lehmann
Lara Morris