sabato 5 luglio 2014

Marin Marais - Suites pour Viole de Gambe (Jordi Savall)

7 CD - MP3 192 Kbps - 6 RAR 1.02 Gb

French composer Marin Marais (1656-1728) was remarkably prolific, writing nearly 600 compositions for viola da gamba, as well as many operas. One of his major collections of music for the gamba is Suitte d'un Gôut Etranger, a collection of 33 short works written, according to the composer, "to stretch the skill of those who do not like easy pieces.". Between 1975 and 1983, Jordi Savall recorded five albums including the most beautiful pieces from each of the five Books of Pieces for the Viol composed by Marin Marais between 1686 and 1725. A silence of nearly 250 years came to an end. A repertoire - and even better, an instrument - returned from oblivion. The memory of a composer had never been so closely linked to the performing art of a musician.


Disc 1

Suite for 2 violas da gamba & continuo in D minor
Chaconne, for 2 violas da gamba & continuo in G major
Suite for 2 violas da gamba & continuo in G major

Disc 2

Couplets de folies (Les folies d'Espagne),
for viola da gamba & continuo in D minor
Les Voix Humaines, for viola da gamba & continuo in D major
Suite for viola da gamba & continuo in B minor

Disc 3

Suite for viola da gamba & continuo in A minor
Suite for viola da gamba & continuo in D major
Suite for viola da gamba & continuo in G major

Disc 4

Suitte d'un gout etranger, for viola da gamba & continuo (excerpts)

Disc 5

Suite for viola da gamba & continuo in G minor
Suite for viola da gamba & continuo in E minor/major

Jordi Savall (viole de gambe basse)
Ton Koopman (clavecin)
Hopkinson Smith (theorbe et guitare)
Christophe Coin (viole de gambe basse)
Anne Gallet (clavecin)
Jean-Michel Damian (récitant)

Disc 6 (Double CD)

Suitte d'un Gôut Etranger (full and new recording)

Jordi Savall (viole de gambe basse)
Pierre Hantaï (clavecin)
Xavier Díaz-Latorre, Rolf Lislevand (théorbes et guitares)
Philippe Pierlot (viole de gambe basse)
Andrew Lawrence-King (harpe double)
Pedro Estevan (percussion)

Telemann - Oeuvres pout Flute et Violes

25 tracks - MP3 192 Kbps - 110 RAR Mb

Finally together on disc, here are the expressive gambists of Les Voix Humaines and the eloquent breath of Baroque flutist Barthold Kuijken, accompanied by the harpsichordist Eric Milnes. In an array of works by Telemann exploring the French and Italian "mixed style" adopted by the Germans, and the galant style, these artists perform in turn fantaisies for solo traverso, duets for two gambas, a sonata for traverso and continuo, a sonata for traverso, gamba, and continuo, and the rare instrumental combination of the two quadros for traverso, two gambas, and continuo.

"(This Telemann CD) is splendid for several reasons. First of all, for the stature of the performers. Barthold Kuijken and les Voix Humaines form a refined matching of subtle musicians."

Christophe Huss, Le Devoir, Montreal, March 2004


Quadro en sol majeur, TWV 43: G 12 
Sonate duo en ré majeur, TWV 40: 124 
Sonata en la mineur, TWV 42: A 7 
Fantaisie en ré majeur, TWV 40: 8 
Fantaisie en si mineur, TWV 40: 4 
Sonate duo canonique, TWV 40: 118 
Sonate en mi mineur, TWV 41: E 11
Quadro en sol majeur, TWV 43: G 10

Barthold Kuijken, Transverse Flute

Les Voix Humaines

Margaret Little, Viola da Gamba
Susan Napper, Viola da Gamba
Eric Milnes, Harpsichord

venerdì 4 luglio 2014

J.S.Bach - Matthaeus-Passion BWV 244

3 CD - MP3 192 Kbps - 3 RAR (223Mb)

CD 1 - - CD 2 - - CD 3

CD 1 - - CD 2 - - CD 3

This wonderful recording couples two of the most exciting early music talents currently performing, Ian Bostridge and Andreas Scholl, and is worth buying for their contributions alone. Bostridge rivals a former great Evangelist, Peter Schreier, in the fierce intelligence of his approach and the perfect clarity of his diction, but brings a different, more quicksilver, sense of drama to the proceedings. Unsurprisingly, considering the importance of the Evangelist's role, this sets the tone for the whole recording--unshowy, pure; even cool. Andreas Scholl confirms his status as one of the truly great voices with a performance of "Ebarme dich" almost painful in its beauty, and the other soloists too all have clear, attractive voices. The downside is the lack of visceral savagery in the choral interjections: everything is precise, clean and accurate, but, when they cry out for Barabbas to be released and then Christ to be crucified, it does not match the shocking intensity of some other performances. This distanced, more serene sense of drama has its attractions too, and overall this is an excellent addition to the canon of Matthew Passion recordings. 
Warwick Thompson


Ian Bostridge (Tenor)
Franz-Joseph Selig (Bass)
Sibylla Rubens (Soprano)
Andreas Scholl (Countertenor)
Werner Güra (Tenor)
Dietrich Henschel (Tenor)

Collegium Vocale Ghent
dir. Philippe Herreweghe

Boy choristers from the
Schola Cantorum Cantate Domino

Torelli - Concertos

31 tracks - MP3 192 Kbps - RAR 117 Mb

The concertos of Giuseppe Torelli’s op. 8, which his brother Felice brought to the printer after the composer’s death, broke ground in the setting of solo violins in various combinations. Like those in Corelli’s concertos grosso, their solo parts seem relatively tame in comparison with the flamboyant, high-flying passages of Vivaldi’s concertos—or even with the crabbed but highly demanding technical double stopping and staccatos of Torelli’s German violinistic predecessors. Yet the solos emerge randomly from their tuttis as wildflowers on a hillside; and this unpredictability compensates in a sense for the modest impression they make in themselves. Richard Maunder, of whose edition Simon Standage has made use, and who also provided the booklet’s notes, doesn’t mention an architectural element that may have strongly influenced their composition, one which helps explain the effectiveness of Torelli’s works for trumpet and orchestra included in Bongiovanni’s three-CD set (GB 5523/24/25-2, 17:6)—San Petronio’s 12-second reverberation time. In that recording, Sergio Vartolo provided slow movements marked, for example, Largo e spiccato, with lots of space between staccato bow strokes. San Petronio, where that recording had been made, filled those spaces with cavernous reverberation, creating an effect duplicable only in a venue with a similar acoustic handicap (or, to be politically correct, challenge). Given lemons, Torelli certainly made tangy lemonade! Standage’s solution for these movements (there’s one in the relatively famous Christmas Concerto, op. 8/6) involves taking the staccato chords more rapidly, leaving no space to fill but also robbing the movements of their somewhat ceremonious majesty. Since Torelli himself played the violin, it’s hardly a surprise that solo violins play an important part even in the works for trumpet and orchestra. In the second movement of the Concerto in D Major for Two Trumpets, for example, the violin takes off on an unexpected breathtaking digression.

Simon Standage has gone down many roads not taken, carrying with him a period timbre and aesthetic that represent only a small step for those addicted to the tone and technique of the modern violin, yet incorporating meticulous period scholarship. Catherine Weiss joins him in the double violin concertos (concertos grosso with two violins in the concertino constitute half of Torelli’s op. 8, while the groundbreaking solo concertos make up the rest); Crispian Steele-Perkins plays the trumpet in the Sinfonia, G 8, while David Blackadder serves as his partner in the two works for two trumpets and orchestra. The Collegium Musicum 90 attempts to approximate performing forces that Maunder believes appropriate—in the Concerto for Two Trumpets, for example, the orchestral forces amount to eight violins, six (instead of an original eight) violas, three cellos, two bass violins, two double basses, and organ (in other concertos, the forces shrink to chamber-like proportions). Standage plays slow movements with Italianate cantabile (as in the Concerto, op. 8/11, which spices lyrical passages with technical flights of fancy); and he generates what electricity the rapid passages allow him—and affecting drama, too, as in the stormy finale of the Concerto, op. 8/9. If these concertos and sinfonias don’t sparkle with the brilliance of their successors, that may be partly due to their larval nature and partly due to their origin in San Petronio. Since the reverberation time of All Saints Church in East Finchley, London, doesn’t match that of San Petronio, some passages, notably Standage’s solos, emerge with correspondingly greater clarity than they would on their home court; others lack the spaciousness that a seemingly endless reverberation time can create. Simply as performances, though, these provide occasionally more sedate and tarter counterparts to the sonorous and energetic ones on modern instruments by violinists Mariana Sirbu and Antonio Perez and I Musici (also an incomplete set, released by Philips in 1992 as 432 118-2); and simply as recorded sound, Chandos’s engineering provides both clarity and depth, reflecting its chosen venue. Recommended for the repertoire and performances: nobody can reasonably expect violinists (or trumpeters) to carry San Petronio around with them in their violin cases.

Robert Maxham, FANFARE


Concerto Grosso in A Minor, Op. 8, No. 2
Concerto Grosso in C Minor, Op. 8, No. 8
Sinfonia for Trumpet in D Major, G. 8
Concerto Grosso in G Major, Op. 8, No. 5
Concerto Grosso in G Minor, Op. 8, No. 6
Concerto for 2 Trumpets in D Major, G. 18
Concerto Grosso in B-Flat Major, Op. 8, No. 4
Concerto Grosso in F Major, Op. 8, No. 11
Sinfonia for 2 Trumpets in D Major, G. 23
Concerto Grosso in E Minor, Op. 8, No. 9

Collegium Musicum 90
dir. Simon Standage

giovedì 3 luglio 2014

Il Diario di Chiara

24 tracks - MP3 192 Kbps - RAR 111 Mb

Il Diario di Chiara
Music from La Pietà in Venice
in the 18th century

Abandoned at the age of two months and taken in by the Ospedale della Pietà, Chiara (or Chiaretta) rose – within that enclosed charitable institution in Venice – to become one of the leading European violinists of the middle of the 18th century.
No stranger to such acclaim himself from two and a half centuries later, Fabio Biondi, on his first release for Glossa, has devised a programme drawing on the personal diary of this remarkable musician – taught by Antonio Vivaldi, and later a virtuoso soloist on the violin as well as the viola d’amore – of concertos and sinfonias by composers who, like the prete rosso, taught at the Pietà: Porta, Porpora, Martinelli, Latilla, Perotti and Bernasconi are all musicians whose compositions charm and delight as much today as they will have done in the time of Chiara.
Along with this inspired vision-in-sound of the 18th century musical world of the Ospedale comes a half-hour long DVD dramatization; CD and DVD admirably reflect both the virtuosic skills demanded of the instrumental soloists of the day and the revolution in musical tastes (inside the Pietà as well as outside it), as the Baroque passed to Classicism via the galant style.

'...burstingly vital … vigorous bowing … things are never allowed to flag.' --Lindsay Kemp, Gramophone May 2014

Europa Galante is insouciant, reminding us that the gallant is an attitude out of which grew a musical style; these players command both. The solo performances are incandescent, veering between searing lyricism and precocious virtuosity ... Chiara's music, and the players performances capture the heart. --Berta Joncus, BBC Music Magazine June 2014 [5 stars] 

'...impeccably played … one which all lovers of the Italian Baroque should not miss.' --Ian Graham-Jones, Early Music Review April 2014


Giovanni Porta: Sinfonia for strings in D major
Antonio Vivaldi: Sinfonia for strings in G major, RV 149, “Il Coro delle muse”
Nicola Porpora: Sinfonia a tre in G major
Antonio Vivaldi: Concerto for Violin in B flat major, RV 372, “Per la S.ra Chiara”
Antonio Martinelli: Concerto for Viola d’amore and strings in D major, “Per la S.ra Chiaretta”
Antonio Martinelli: Concerto for Violin in E major, “dedicato all S.ra Chiara”
Gaetano Latilla: Sinfonia in G major
Fulgenso Perotti: Grave for Violin and Organ in G minor
Andrea Bernasconi: Sinfonia for strings in D major

Europa Galante
dir. Fabio Biondi

Fabio Biondi, violin & viola d’amore
Fabio Ravasi, violin
Andrea Rognoni, violin
Stefano Marcocchi, viola
Antonio Fantinuoli, cello
Riccardo Coelati Rama, violone
Giangiacomo Pinardi, theorbo
Paola Poncet, harpsichord & organ

J.M. Leclair - Ouvertures et Sonates en trio op.13

24 tracks - MP3 192 Kbps - RAR Mb

Born in 1697, Leclair was a successful French composer that carried a lighter, more-galante feel to his music than his contemporaries, such as Rameau. His life met an unfortunate end in 1764, as Leclair was victim to a murder by stabbing. The Grotesque aside, Leclair was recognized as the "French Corelli," and published this collection, op. 13, in 1753. The titles here are confusing, unless you first look at the origins of the works. They all began as either solo violin works (with continuo) or as ouverture movements for orchestra. The op. 13 publication was an arrangement of Leclair's earlier works into trio-sonata form, for 2 violins and continuo. Commentator and musicologist Neal Zaslaw said of these works: "That these works function so brilliantly as trios is not only a credit to Leclair's skill as an arranger but also reveals that hiding beneath the two-part virtuoso sonatas and the four- or five-part orchestral textures was, largely unnoticed, a "baroque" trio texture." I first came to know Leclair through two different sources, almost at the same time: a recording of French concertos by Musica Antiqua Köln at the music library at the Eastman School, and through the violin concerto recordings by Simon Standage and Collegium Musicum 90. Having sometime later seen London Baroque in person, with the present members (Schaller, Gwilt, Medlam, and Charlston) was a special treat, and was worthy enough to consider the purchase of this very CD. Immediately when listening to the CD, you get the sense that this is indeed French music. There is a lot performers can do to give you that impression: a low pitch, the strings and instruments used, and the use of ornaments, and slower tempi. But to Leclair's credit, the French taste comes across without too many hints from the ensemble. London Baroque takes technical command in movements such as the First sonata's Allegro Assai. A good strong tempo, good division between first and second parts, sensitive continuo playing, in essence, virtuoso music played with pinache. Leclair's music is not always easy to play, but it reminds me of a comparison I once made to Italian music, and perhaps this reveals why I often think of French music when I listen to Leclair... While Italian violinists of the period strove for flair, and you knew the music was tough because of this extrovert nature, French music seemed less zesty. Relaxed tempos, the time required to caress the line with ornaments, etc. And Leclair? Without the high range of register that later Italians would use (such as Tartini), he managed to make difficult music without it sounding so difficult. His harmonic language is aligned with that of Corelli, but then similarity ends. Longer lines. More inventive transitions between sections... and a forward-looking bias on harmonic progression that somehow comes across as "lighter" and even echoes, somehow, the writing in early Haydn string quartets. Zaslaw is correct when he tells us how well these works adapt to the trio texture. Strong compositions, and enlightening arrangements. What they lack is perhaps is their similarity. While these are finely written works, without repeated listens, the music tends to wash over the listener. The conflict present in some Italian works, such as dissonance, in addition to dramatic gestures that must be realised by the performer, are mostly resisted in these works. But these issues were long debated (French vs. Italian) in the Baroque, they won't be revisited here. Clean and clear recording and performance.


Overture I in G major
Sonata I in D major
Overture II in D major
Sonata II in B minor
Overture III in A major
Sonata III in G minor

London Baroque
dir. Charles Medlam

Irmgard Schaller (violin)
Richard Gwilt (violin)
Terence Charlston (clavecin)
Charles Medlam (cello)

mercoledì 2 luglio 2014

Vivaldi - Concerti per violino vol. V "Per Pisendel"

21 tracks - MP3 192 Kbps - RAR 117Mb

FileFactory - Uploaded


the whole collection

and search for VIVTDP52.rar
(Vivaldi Edition - Tesori del Piemonte n°52)

Uploaded - FileFactory - Nornar


Concerto RV 177 in C major
Concerto RV 212a in D major
Concerto RV 246 in D minor
Concerto RV 370 in B flat major 'Per Pisendel'
Concerto RV 242 Op.8 n°7 in D minor 'Per Pisendel'
Concerto RV 379 Op.12 n°5 in B flat major
Concerto RV 328 in G minor 'Per Pisendel'

Dmitry Sinkovsky, violino e direzione
il Pomo d’Oro

This is the 49th title in the Vivaldi Edition and the 5th volume, out of approximately 12, of the series dedicated to the violin concertos whose manuscripts are held in the National Library of Turin. All the concertos selected here are linked to German violinist Johann Georg Pisendel, member of the Dresden orchestra, who spent time in Venice in 1716-17, with the Electoral Prince of Saxony Friedrich August. Vivaldi and Pisendel became very close friends and the Red Priest composed several works for Pisendel. Moreover, Pisendel copied and performed afterwards in Germany several concertos by Vivaldi.
This series of 7 concertos is an overview of the complete art of Vivaldi as a composer and violinist: large in scale of music, invention, expression, energy, power of evocation, considerable virtuosity. Dmitry Sinkowsky is a fast-rising baroque violinist and conductor. He is currently the conductor of leading Italian baroque orchestra Il Complesso Barocco on Joyce di Donato's worldwide Drama Queen tour which hits London on 6th February 2013. He performs Vivaldi's violin concerto RV 242, also featured on this new recording.

Graupner - Instrumental and Vocal Music vol.2

20 tracks - MP3 192 Kbps - RAR 103 Mb

A contemporary of J.S. Bach, Christoph Graupner (Kirchberg, Saxony, January 1683-Darmstadt, Hesse, May 1760) was a composer highly thought of in his day, much like Handel or Telemann, with whom he maintained a lifetime friendship. After studying with Kuhnau, J.S. Bach 's predecessor as Cantor of St. Thomas's in Leipzig, Graupner left the city in 1705 to assume the function of harpsichordist at the Hamburg Opera Orchestra, under Reinhard Keiser. 
At that time, Graupner composed several operas that received great public acclaim. In 1709, Graupner was offered by the Landgrave a post at the court in Hesse-Darmstadt, where he became conductor and composer (Hofkapellmeister) in 1711. Struck with total blindness in 1754, he stopped composing altogether. He remained at the Darmstadt court until his death on May 10, 1760. Graupner also gained notoriety for the meticulous calligraphy of his autographs and scores, the writing of which he completed with great care. A prolific and tireless composer, Graupner composed 41 partitas and a few other miscellaneous works for harpsichord, some ten operas (several of which are lost), 1,418 sacred and 24 secular cantatas, 44 concertos for one to four instruments, 86 orchestral overture–suites, and 37 sonatas (trio, a quattro, and a sei).


Cantata For Soprano 'Die Krankheit, So Mich Drückt'
Sonata For Violin & Harpsichord, G, GWV 708
Overture For Viola D'amore & Orchestra, D, GWV 426
Aria 'Sprich, Mein Herz', From Lass Dir Wohlgefallen Die Rede Meines Mundes

L'Ensemble des Idées heureuses
dir. Geneviève Soly

martedì 1 luglio 2014

Graupner - Instrumental and Vocal Music vol.1

23 tracks - MP3 192 Kbps - RAR 110 Mb

A contemporary of J.S. Bach, Christoph Graupner (Kirchberg, Saxony, January 1683-Darmstadt, Hesse, May 1760) was a composer highly thought of in his day, much like Handel or Telemann, with whom he maintained a lifetime friendship. After studying with Kuhnau, J.S. Bach 's predecessor as Cantor of St. Thomas's in Leipzig, Graupner left the city in 1705 to assume the function of harpsichordist at the Hamburg Opera Orchestra, under Reinhard Keiser. 
At that time, Graupner composed several operas that received great public acclaim. In 1709, Graupner was offered by the Landgrave a post at the court in Hesse-Darmstadt, where he became conductor and composer (Hofkapellmeister) in 1711. Struck with total blindness in 1754, he stopped composing altogether. He remained at the Darmstadt court until his death on May 10, 1760. Graupner also gained notoriety for the meticulous calligraphy of his autographs and scores, the writing of which he completed with great care. A prolific and tireless composer, Graupner composed 41 partitas and a few other miscellaneous works for harpsichord, some ten operas (several of which are lost), 1,418 sacred and 24 secular cantatas, 44 concertos for one to four instruments, 86 orchestral overture–suites, and 37 sonatas (trio, a quattro, and a sei).


Cantate "Ach Gott Und Herr" Pout Le 3e Dimanche Après La Trinité
Concerto Pour Bassoon, Deux Violons, Alto Et BC En Si Bémol Majeur, GWV 340
Sonate Per Cembalo E Violino En Sol Mineur, GWV 711
Sonata A Quattro En Sol Majeur, GWV 212
Dido, Königin Von Carthago
Concerto Pout Flûte À Bec, 2 Violons, Alto Et BC En Fa Majeur, GWV 323

L'Ensemble des Idées heureuses
dir. Geneviève Soly

lunedì 30 giugno 2014

Alfonso X - Cantigas de Viola de Rueda

14 tracks - MP3 192 Kbps - RAR 99 Mb

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Other Paniagua's album are HERE:


1. Cantiga de Santa María 68, A Groriosa grandes faz
2. Cantiga de Santa María 77, Da que Deus mamou o leite do seu peito
3. Cantiga de Santa María 61, Fol é que cuida que non poderia
4. Cantiga de Santa María 327, Porque ben Santa María sabe os seus dões dar
5. Cantiga de Santa María 74, Quen Santa María quiser deffender
6. Cantiga de Santa María 92, Santa María poder á
7. Cantiga de Santa María 81, Par Deus, tal sennor muito val
8. Cantiga de Santa María 407, Como o demo cofonder
9. Cantiga de Santa María 91, A Virgen nos d´ saud' e tolle mal
10. Cantiga de Santa María 259, Santa María punna d' aviir
11. Cantiga de Santa María 71, Se muito non amamos. Gran sandeçe fazemos
12. Cantiga de Santa María 76, Quenas sas figuras da Virgen partir
13. Cantiga de Santa María 62, Santa María sempr' os seus ajuda
14. Cantiga de Santa María 72, Quen diz mal

Jota Martínez (hurdy-gurdy)
Musica Antiqua Ensemble
dir. Eduardo Paniagua

Lucente Stella

12 tracks - MP3 192 Kbps - RAR 96 Mb

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The musical tapestry on this disc, woven with air and a great variety of recorders, presents compositions derived from widely differing civilizations and modes of thought, much as though it had sprung from Baudelaire's musing. This rich contrast between the Middle Ages and the present time brings to light a veritable archaeology of sound atmospheres in which new perspectives are revealed to our hearing, ranging from medieval modes to the atonality of our own century. Entire stories lie concealed behind the melodies of some of the pieces. Their diversity extends from a simple rondeau (Mes cuers est imprisones en trop cruel prison) which has come down to us via the pages of the famous Chansonnier de Noailles, to the lyrical lay of Tristan.

1 - Lai Du Chevrefeuielle - Anonyme, XIIIe siecle
2 - Lucente Stella - Anonyme, XIVe siecle - Ballata
3 - Belicha - Anonyme, Italian XIVe siecle - Istanpitta - For Consort
4 - Mes Cuers Est Emprisonnes - Anonyme, XIIIe siecle - Rondeau
5 - Nota - Anonyme, XIIIe siecle
6 - In Pro - Anonyme, XIVe siecle - Stanpitta
7 - Fragmente (1968) - Makoto Shinohara - Flute De Voix
8 - Tels Rit Au Main Qui Au Soir - Guillaume De Machaut - Complainte For Voice
9 - Non Perch'i' Speri, Donna - Anonymous, Italian, XIVe siecle - Ballata
10 - Chominciamento Di Gioia - Anonyme, Italian, XIVe siecle - Istanpitta
11 - Black Intention - Maki Ishii - For Recorder (1975)
12 - Chant Du Papillon - Chanson Des Indiens Du Pueblo Laguna (Nouveau Mexique)

Pierre Hamon
(3-holed flute, bamboo flute, Ganassi recorder, 

double recorder, cylindrical flute, voice flute, Navajo flute)

John Wright (kirghiz guitar)
Habib Yammine (frame drum - track 3, tambourine)
Florence Jacquemart (artistic consultant)

J.J.Rousseau - Le Devin du Village

27 tracks - MP3 192 Kbps - RAR 121 Mb

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Le Devin du Village ("The Village Soothsayer") is an opera by Jean-Jacques Rousseau, first performed before the court at Fontainbleau on 18 October 1752. King Louis XV so loved the work that he offered Rousseau a life pension, a great honor, but which Rousseau refused. The opera was one of the most popular of its day and gave Rousseau a great deal of fame and wealth.

An English translation by Charles Burney, The Cunning Man was performed in London in 1762. Rousseau's work was the object of a parody in the Singspiel Bastien und Bastienne by the twelve-year-old Mozart.

Plot synopsis

Colin (tenor) and Colette (soprano) love one another, yet they suspect each other of being unfaithful. They each seek the advice and support of the village soothsayer (Le Devin; basso buffo or baritone) in order to reinforce their love. After a series of deceptions, Colin and Colette reconcile and are happily married.


Dongkyu Choy (Tenor)
Thomas Muller De Vries (Bass)
Eva Kirchner (Soprano)


Alpe Adria Ensemble
Gottardo Tomat Chorus


René Clemencic

Hidden Handel

 19 tracks - MP3 192 Kbps - RAR 108Mb

The Handel arias and orchestral pieces on this disc span a narrow spectrum from the comparatively unfamiliar to the practically unknown. Nine of the twelve arias are recorded here for the first time, as is the D major March, HWV 416. The arias are mostly arie aggiunte, composed for insertion in later performances of existing operas to accommodate a different cast of singers. Some of these arias have come to light only recently or have previously been inadequately identified. The interspersed instrumental works were produced for purposes still uncertain. Yet, despite the sometimes shadowy origins of this music, it is all vintage Handel, and arias such as ‘La crudele lontananza’, ‘Sa perché pena il cor’ and ‘Farò così più bella’ rank among the composer’s most eloquent dramatic utterances.


 Sento prima le procelle (from Pirro e Demetrio)
La crudele lontananza (from Rinaldo)
No, non così severe (from Pirro e Demetrio)
Hornpipe in c minor
Vieni, o cara, e lieta in petto (from Pirro e Demetrio)
Vinto è l’amor da sdegno e gelosia (from Ottone)
Vieni, o caro, che senza il tuo core (from Rinaldo)
Aria for winds in F major
Io d’altro regno (from Muzio Scevola)
Dimmi, crudele amore (from Muzio Scevola)
March in G major
Lusinga questo cor (from Amadigi)
Sa perché pena il cor (from Teseo)
Non lagrimate, o mie seguace (from Admeto)
Farò così più bella (from Admeto)
March in C major
Le vicende della sorte (from Berenice)
March in F major
Solitudine amate (from Alessandro)

Ann Hallenberg (mezzo)

Il Complesso Barocco
dir. Alan Curtis

Kassia - VocaMe

18 tracks - MP3 192 Kbps - RAR 93 Mb

Stuttgart’s Voca Me ensemble presents the music of the 9th Century Byzantine composer Kassia, the earliest known female composer (predating Hildegard von Bingen by 200 years).
Haunting voices and intuitive arrangements transport listeners to a long-lost age, immersing them in the mysticism of Constantinople. As an emancipated, free thinking, and extraordinarily gifted woman, Kassia was a legend in the intellectual and artistic life of her time.


1 - Doxazomen sou Christe (Wir preisen, Christus)
2 - Ek rizis agathis (Aus guter Wurzel)
3 - O synapostatis tyrannos (Der mitabtrünnige Tyrann)
4 - O Phariseos (Der Pharisäer)
5 - O vasilevs tis doxis Christos (Der König der Ehre, Christus)
6 - I Edessa (Edessa)
7 - Tin pentachordon lyran (Die fünfsaitige Lyra)
8 - Igapisas theophore (Du entbranntest, Gottesträger)
9 - Yper ton Ellinon (Der heidnischen Bildung)
10 - I en polles armaties (Die vielen Sünden verfallene Frau)
11 - Pelagia (Pelagia)
12 - Tou stavrou sou i dynamis
13 - Olvon lipousa patrikon (Den väterlichen Wohlstand zurücklassend)
14 - Petron ke Pavlon (Petrus und Paulus)
15 - Isaïou nyn tou prophitou (Des Propheten Jesaja)
16 - I ton lipsanon sou thiki (Das Grab deines Leichnams)
17 - Avgoustou monarchisantos (Augustus, der Monarch)
18 - Christina martys (Die Märtyrerin Christina)

Ensemble `Voca Me`
Kathrin Feldmann (alto, mezzo-soprano), Sigrid Hausen (mezzo-soprano), Sarah M. Newman (soprano), Petra Noskaiova (mezzo-soprano), Gerlinde Samann (soprano), Michael Popp (music directon & instruments).

Musicalis Scientia - Il Canto Goliardico Nel Medioevo

19 tracks - MP3 192 Kbps - RAR 120 Mb

L’elogio dell’amore e del vino, della conoscenza e dei suoi cultori, la satira del clero corrotto, il richiamo alla purezza della fede religiosa: sono i temi dei canti che gli studenti medioevali intonavano ed ascoltavano nelle loro peregrinazioni da un’università all’altra.


1 - Scampanio della Festa
2 - Nicholai presulis festum celebremus
3 - Ego reus confiteor deo
4 - Trois serors sor rive mer
5 - Novus miles sequitur
6 - Studentes - De se debent - Kyrie eleison
7 - Qualche frase dal Viderunt Omnes
8 - Quant define - Quant repaire - Flos
9 - Clausole su Manere
10 - Ce que - Certes mout - Bone - Manere
11 - Dic Christi veritas
12 - Hac in die salutari
13 - Ave regina celorum / Mater innocencie
14 - Apollinis Eclipsatur: Roundellus
15 - Musicalis scientia - Scientie laudabilis
16 - Musicalis scientia: Flores su
17 - Pantheon - Apollinis - Zodiacum signis
18 - Doctorum principem - Melodia - Vir mitis
19 - Gaudeamus igitur

Sator Musicae
dir. Roberto Meo

Gloria Moretti: canto e arpa
Sigrid Lee: canto, viella e salterio
Alessandra Fiori: canto e organo portativo
Marco Beasley: canto
Claudio Cavina: canto
Sergio Maccabei: canto
Stefano Pilati: canto e percussioni
Francis Biggi: liutu,chitarrino, cetra e salterio
Marco Ferrari: ciaramelli, tromba naturale e flauto traverso
Roberto Meo: ciaramelli
Luigi Cheli: campane

domenica 29 giugno 2014

Vivaldi - Prima Donna

24 tracks - MP3 192 Kbps - RAR 122 Mb

Debut album on the famous Yellow Label! Considered one of the rare authentic alto voices of our time, singer Nathalie Stutzmann also devotes part of her career to conducting, which she studied with two exceptional masters: Jorma Panula (who trained Sir Simon Rattle in particular) and Seiji Ozawa. With the founding of the Orfeo 55 ensemble in 2009, a lifelong dream of Nathalie Stutzmann's came true: having her own chamber orchestra.
Devoted to Antonio Vivaldi, Prima Donna is the first disc where Nathalie Stutzmann holds the twin roles of singer and conductor. In an era when the public acclaimed castrati, Vivaldi the nonconformist preferred the fascinating timbre of female contralti to whom he accorded a place of honour in his operas. With Prima Donna, Nathalie Stutzmann brilliantly illustrates this historic originality by bringing together the most beautiful arias, either famous or unrecorded, that Vivaldi composed for these adored singers.
Nathalie Stutzmann conducts Orfeo 55 with the musical rigour, expressive freedom and emotional intensity that are hallmarks of her reputation as a singer.
A disc in the image of its interpreter: Outstanding!


1 - Juditha Triumphans, R.644 / Pars prior - Agitata infido flatu
2 - Orlando furioso RV 728 / Act 3, Scène 8 - Ritornello (fragment d’un air pour Ruggiero)
3 - Arsilda Regina di Ponto R.700 (1716) / Act 1, Scène 2 - Io sento in questo seno
4 - Tieteberga, RV737 / Act 2, Scène 7 - La gloria del mio sangue
5 - Il Giustino / Act 2, Scène 1 - Sento in seno
6 - L'Olimpiade, RV725 / Act 2, Scène 15 - Con questo ferro indegno
7 - L'Olimpiade, RV725 / Act 2, Scène 15 - Gemo in un punto
8 - Arsilda Regina di Ponto R.700 (1716) / Act 1, Scène 2 - Del goder la bella spene
9 - Il Giustino / Act 2, Scène 13 - Sorte che m’invitasti
10 - Il Giustino / Act 2, Scène 13 - Ho nel petto
11 - Il Giustino / Act 2, Scène 12 - Ritornello (fragment d'un air pour Anastasio)
12 - La costanza trionfante , RV706 / Act 3, Scène 4 - Lascia almen che ti consegni
13 - Il Teuzzone, RV736 / Act 1, Scène 8 - Ritornello (fragment d'un air pour Zidiana)
14 - Andromeda liberata (Parte Seconda) - Sovvente il sole
15 - L'Olimpiade, RV725 / Sinfonia - L'Olimpiade: Sinfonia I - Allegro
16 - L'Olimpiade, RV725 / Sinfonia - L'Olimpiade: Sinfonia II - Andante
17 - L'Olimpiade, RV725 / Sinfonia - L'Olimpiade: Sinfonia III - Allegro moderato
18 - L'Atenaide, RV702 / Act 3, Scène 7 - Cor mio, che prigion sei
19 - Semiramide (RV 733) / Act 3, Scene 2 - Con la face di Megera
20 - Semiramide (RV 733) / Act 2, Scene 10 - Vincerà l’aspro mio fatto
21 - Juditha Triumphans, R.644 / Pars II - Transit aetas
22 - Orlando furioso RV 728 / Act 1 - Ritornello (fragment d'un air pour Medoro)
23 - Tieteberga, RV737 / Act 3, Scene 11 - L’innocenza sfortunata
24 - Arsilda Regina di Ponto R.700 (1716) / Act 3, Scene 9 - Cara gioia

Orfeo 55
dir. Nathalie Stutzmann