sabato 11 ottobre 2014

Benedetto Marcello - Sonates pour Flute

24 tracks - MP3 192 Kbp3 - RAR 97Mb

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Les douze sonates pour flûte de l'op.2 (ici 6) sont parues en 1712 à Venise, reprises en 1715 à Amsterdam et en 1730 à Londres. Toutes ces sonates sont construites sur le moule de la sonata da chiesa (ou sonate d'église) en quatre, voire cinq mouvements, débutant par un mouvement lent et alternant épisodes graves ou méditatifs et vifs. Marcello se situe là dans la lignée de Corelli, dit « le prince des musiciens », qui illumina son temps et sut unir la tradition polyphonique et les exigences nouvelles de l'expression.


Suonate I (F major)
Suonate VIII (D minor)
Suonate III (G minor)
Suonate VI (C major)
Suonate II (D minor)

Suonate IV (E minor)

René Clemencic (recorder)Christiane Jaccottet (harpsichord)Alexandra Bachtiar (baroque cello)Peter Widensky (positive organ)Walter Stiftner (bassoon)Vilmos Stadler (recorder)Andras Kecskés (lute)

venerdì 10 ottobre 2014

Bach Sons

7 CD - MP3 192 Kbps - RAR 650 Mb

The Bach family was of importance in the history of music for nearly two hundred years, with over 50 known musicians and several notable composers, the best-known of whom was Johann Sebastian Bach (1685-1750). A family genealogy was drawn up by Johann Sebastian Bach himself and completed by his son Carl Philipp Emanuel. The Bach family never left Thuringia until the sons of Sebastian went into a more modern world. Through all the misery of the peasantry at the period of the Thirty Years' War this clan maintained its position and produced musicians who, however local their fame, were among the greatest in Europe. So numerous and so eminent were they that in Erfurt musicians were known as "Bachs", even when there were no longer any members of the family in the town.


Booklet (13Mb)
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CD 1
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SYMPHONY for 2 oboes, 2 horns, strings & b.c. in E flat major Wq179
SYMPHONY for 2 oboes, 2 horns, strings & b.c. in F major Wq 181
SYMPHONY for 2 flutes, 2 horns, strings & b.c. in C major Wq 174
SYMPHONY for 2 flutes, 2 horns, strings & b.c. in F major Wq 175
SYMPHONY for 2 flutes, 2 oboes, 2 horns, strings & b.c. in E minor Wq 178

Kammerorchester Carl Philipp Emanuel Bach
dir. Hartmut Haenchen

CD 2
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CELLO CONCERTO No. 1 in A minor Wq 160
CELLO CONCERTO No. 3 in A major Wq 172
CELLO CONCERTO No. 2 in B flat major Wq 167

Balazs Maté, cello
Concerto Armonico
dir. Péter Szuts

CD 3
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FLUTE CONCERTO in B flat major Wq 164 (original oboe concerto)
FLUTE CONCERTO in D minor Wq 22
FLUTE CONCERTO in E flat major Wq 165 (original oboe concerto)

Machiko Takahashi, flute

Concertgebouw Chamber Orchestra
dir. Roland Kieft

CD 4
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SYMPHONY in G major Op. 6 No. 1
SYMPHONY in D major Op. 3 No. 1
SYMPHONY in C major Op. 3 No. 2
SYMPHONY in E flat major Op. 9 No. 2
SYMPHONY in G minor Op. 6 No. 6

Alfredo Bernadini, Pierluigi Fabretti, oboes
Sandor Endrodi, Tibor Maruzsa, horns
Imre Mohl, bassoon

Concerto Armonico
dir. Péter Szuts

CD 5
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SINFONIA CONCERTANTE in G major for 2 violins & cello
SINFONIA CONCERTANTE in E flat major for 2 clarinets & bassoon
SINFONIA CONCERTANTE in A major for violin & cello
SINFONIA CONCERTANTE in E flat major for 2 violins, 2 violas, 2 oboes, 2 horns & cello

London Festival Orchestra
dir. Ross Pople

CD 6
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SINFONIA in F major (Dissonant)
SINFONIA in F major to the Whitsun Cantata “Ertonet, ihr seligen Volker”
SINFONIA in D minor
SINFONIA in F major to the Whitsun Cantata “Dies ist der Tag”
SINFONIA in D major to the Ascension Cantata “Wo gehet die Lebensreise hin”
SINFONIA in G major to the Christmas Cantata “O Wunder”
SUITE in G minor BWV 1070

Kammerorchester Carl Philipp Emanuel Bach
dir. Hartmut Haenchen

CD 7
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SYMPHONY in B flat major
SYMPHONY in E flat major
SYMPHONY in C major

Neues Bachisches Collegium Musicum
dir. Burkhard Glaetzner

Francesco Venturini - Concerti da Camera Op.1 (1714)

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Francesco Venturini probably owed his Italian family name to the Italianate fashion of the period, but his native region is thought to be Flanders, given that the baptismal register for his children describe him as Bruxellensis.
...In spite of the title ''concerti'' we are dealing here with an extensive collection of ''sonatas'' (a rather odd designation when the term ''suite'' would be more appropriate)...
...Venturini's music possesses all the qualities needed to captivate the listener. By turns nimble and dramatic, cheerful and serious, it invariably displays great refinement. Perfectly synthesising the different musical movements of the time, the composer devotes his subtle art to a quest for expressiviness, yet without thereby losing any of his spontaneity. The rediscover of his Concerti da Camera Op.1 is most certainly a significant event for our knowledge of the early eighteenth-century orchestral repertory....
David Plantier, February 2006


Sonata IX En Sol Mineur
Sonata II En La Mineur
Sonata VI En Mi Majeur
Sonata V En La Mineur
Sonata VIII En La Majeur

David Plantier, violin

La Cetra
dir. David Plantier

giovedì 9 ottobre 2014

Printemps des Plaisirs au Moyen-age

19 tracks - MP3 192 Kbps - RAR 128 Mb

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The program is built around the theme of May Day, with a selection of songs on that subject and Spring in general. Performances frequently alternate texture, including the rather unusual choice of human birdcall ambience. The spoken literary introductions of Lescurel are also included for some songs. A wide range of sources are used to reconstruct text and melody, the perpetual issue of the troubadour repertory.


1. Anon. - A l'entrada del temps clar
2. Anon. - Quant voi la flor novele
3. Jean Erard - En pascour un jor erroie
4. Guillaume le Viniers - En mi mai
5. Anon. - Au tans pascor, motet
6. Colin Muset - En mai, puant li rossignolet
7. Anon. - Quant voi la fleur en l'arbroie, moet
8. Anon. - Biau dous amis - Au douz tans, Moete
9. Raimbaut de Vaqueiras - Calenda maya
10. Anon. - En mai, quant florissent prey
11. Moniot d'Arras - Ce fu en mai
12. Anon. - Tuit cils - Li jalous, Motet
13. Anon. - Quan lo gilos er fora
14. Châtelain de Coucy - Quant voi este
15. Anon. - Hui main au doz mois de mai, Motet
16. Perrin d'Angicourt - Quant voi le felon tens fine
17. Anon. - Au douz mois de mai joli
18. Jean Erard - El moi de mai par un matin
19. Adam de la Halle - L'autre jour - En mai, quant rosie


Katia Caré (voice, recorders), Jean-Paul Rigaud (voice)
Gisela Bellsolà (voice), Alain Barré (flute)
Jean-Pierre Dubuquoy (vielle, rebec), Jean-Luc Redureau (shawm)
Christophe Tellart (symphonia, bagpipe), Vincent Richard (percussion)
Guy Robert (recitation, harp, guitar, psaltery)


Anne-Eléonore Bovon, Anne Garcenot,
Christine Laveder, Tania Pividori
(chorus, bird songs)

Vivaldi/Marcello/Quantz/J.Chr.Bach/Fasch - Florilegium Musicale

21 tracks - MP3 192Kbps - RAR 95 Mb

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Karl Kaisers performs magic effects in Vivaldi´s "La Notte". Using wonderful mellowness Hans - Peter Westermann makes a big affair of the slow movement of A.Marcello´s concert for oboe, and the continuo group is, again, a model of animation and circumspection.


Antonio Vivaldi (1678 – 1741)
Concerto G minor, RV 104 (op.X,2)''La Notte'' for transverse flute, 2 violins, bassoon and b.c.

Alessandro Marcello (1684 – 1750)
Concerto D minor for oboe, 2 violins, viola and b.c.

Johann Joachim Quantz (1697 – 1773)
Trio C major for recorder, transverse flute and b.c.

Johann Christian Bach (1735 – 1782)
Quintet D major, op.22,1 for fortepiano, flute, oboe, violin and violoncello

Johann Friedrich Fasch (1688 – 1758)
Quartet D minor for 2 oboes, bassoon and b.c.

Antonio Vivaldi
Concerto C major, RV 444 (PV79) for sopranino recorder,2 violins, viola, and b.c.


Michael Schneider -
recorder, sopranino recorderKarl Kaiser - transverse fluteHans-Peter Westermann - oboePiet Dhont - oboeMichael McCraw - bassoonMary Utiger, Paula Kibildis - violinsHajo Bäß - violin, violaKarl-Heinz Steeb - violaRainer Zipperling - violoncelloHans Koch, Margret Urquhart - double bass, violone
Harald Hoeren - harpsichord, fortepiano

mercoledì 8 ottobre 2014

Music of the Ancient Sumerians, Egyptians and Greeks

25 tracks - MP3 192 Kbps - RAR 80Mb

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Philip Neuman, Gayle Stuwe Neuman combine astute musicology, performance practice and instrument crafting in the realization of this amazing collection of music from 1950 BC to 300 AD. From the world's oldest notated music, vocal renderings are accompanied with performed lyres, kithara, pandoura, double reed pipes, flutes and other ancient instruments.


1. Musical Excerpts....Anon. (2nd c. AD)
2. Lament...Anon. (2nd or 3rd c. AD)
3. Fragment 1...Anon. (2nd c. AD)
4. Paean...Anon. (3rd or 4th c. AD)
5. Trochaic fragment....Anon. (3rd c. AD)
6. Four settings of a line from "Epitrepontes" by Menander...Anon.(3rd c.AD)
7. Excerpts mentioning Eros and Aphrodite...Anon. (2nd or 3rd c. AD)
8. Musical excerpt...Anon. (3rd c. AD)
9. Hypolydian excerpt...Anon. (2nd or 3rd c. AD)
10. Fragment 3...Anon. (3rd c. AD)
11. A zaluzi to the gods...Anon. (c. 1225 BC)
12. Hurrian Hymns 19 and 23...Anon. (c.1225 BC)
13. Hurrian Hymns 13 and 12...Urhiya/Anon. (c. 1225 BC)
14. Hurrian Hymn 2...Anon. (c. 1225 BC)
15. Hurrian Hymn 8...Urhiya (c. 1225 BC)
16. Hurrian Hymn 5...Puhiya(na) (c. 1225 BC)
17. Hurrian Hymns 4, 21 and 22... Anon. (c. 1225 BC)
18. Hurrian Hymns 7 and 10...Anon. (c. 1225 BC)
19. Hurrian Hymns 16 and 30...Anon. (c.1225 BC)
20. Musical Instructions for "Lipit-Ishtar, King of Justice" (c. 1950 BC)
21. Trumpet call...Anon./Plutarch
22. Isis sistrum rhythm...Anon./Apuleius
23. Theban banquet scene...Anon. (14th c. BC)
24./25. Harp pieces (A) (B)...Anon. (7th or 6th c. BC)


martedì 7 ottobre 2014

Joseph Bodin de Boismortier - Motets avec Symphonies

13 tracks - MP3 192 Kbps - RAR 66Mb

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Contains most of the surviving sacred music by Boismortier: one grand motet with trumpets and drums and 8 petits motets for soprano. Like J-M Leclair, some Boismortier movements are more purely Italian than anything I've heard by Rameau, Mouret, Mondonville or Royer. In particular, a da capo aria for soprano in the grand motet on this disk is not recognizably French. But for the French pronunciation of Latin, it could easily by mistaken for an aria by a leading Italian composer around the turn of the 18th Century. Unfortunately, the most popular sacred work by Boismortier in his own lifetime, a grand motet that was performed by the Concert Spirituel for 25 years, has not survived intact. The superb performance of the petits motets by Véronique Gens is one of the highlights of recorded French sacred music.


Motet à grand choeur: Exaudiat te Dominus
Motet pour le Saint Sacrement
Motet pour Saint Pierre
Motet pour l'Ascension
Motet pour le Saint Sacrement
Motet pour le Roy
Motet à la Sainte Vierge

Véronique Gens, soprano
Jean-Paul Fouchécourt, haute-contre
Peter Harvey, baritone
Loureiro de Sà, baritone

Le Concert Spirituel
Kevin Mallon, first violin
dir. Hervé Niquet

lunedì 6 ottobre 2014

M.G.Monn ~ G.Chr.Wagenseil - Instrumental-Konzerte (Vinyl rip)

10 tracks - MP3 192 Kbps - RAR 60Mb

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Mathias Georg Monn - Konzert g-moll fur violoncello und streichorchester
01 - Allegro
02 - Adagio
03 - Allegro non tanto

Mathias Georg Monn - Concertino fugato G-dur fur violine und streichorchester
04 - No indication of tempo

Georg Christoph Wagenseil - Konzert Es-dur fur oboe, fagott und orchester
05 - Allegro assai
06 - Andantino più tosto allegro
07 - Presto

Georg Christoph Wagenseil - Concertino B-dur fur cembalo und orchester
08 - Vivace
09 - Larghetto-Allegro Alternativo-Larghetto
10 - Menuet-Variazio-Menuet

Capella Academica Wien
dir. Eduard Melkus

Michel Piguet, Oboe
Walter Stiftner, Fagott
Eduard Melkus, Violine
Klaus Storck, Violoncello
Vera Schwarz, Cembalo

domenica 5 ottobre 2014

J.S.Bach - Christmas Oratorio

2 CD - MP3 192 Kbps - RAR 223 Mb

As you might expect, Herreweghe's account of the Christmas Oratorio is as authoritative as any. His orchestra and choir are lively but always precise and his soloists all excel. Most impressively, Herreweghe is able to marshal his impressive forces to create a whole that is greater than the sum of its parts. The Christmas Oratorio isn't the most coherent of Bach's works, but Herreweghe brings it all together, not so much by imposing architecture as by maintaining the flow of the music and not letting any single movement stand out too much from its surroundings.

The general mood of this performance is surprisingly relaxed. Even from the outset, the solo timpani in the opening bars sound curiously flaccid, and the orchestral and choral textures that follow are warm and round rather than punchy and focussed. The use of such a large choir in a period performance is unusual, but their precision and agility more than justify the numbers.

The number of orchestral players is not given, but the string section also sounds relatively large. The wind soloists put in some great performances, but Herreweghe always makes sure that the obbligato lines are subservient to the solo voices. Marcel Ponseele plays first oboe, and with more restraint than on the Kuijken recordings. He also spends a fair proportion of the work playing oboe d'amore. It is great to hear a virtuoso performance on that unduly neglected instrument.

The vocal soloists form a well-matched group. In keeping with this relaxed performance, none is required to take anything to excess, giving the recitatives, and especially the arias, an almost conversational feeling of flow. The lion's share of the vocal work goes to Howard Crook as the Evangelist, and his light but characterful voice is ideal for the part. He often introduces solo numbers by the other singers and each time the timbral similarities between them make for an almost seamless transition. In any other context, these vocal performances could be criticised for lack of power and projection, but here the performances are ideal. Fans of Michael Chance and Peter Kooy might want to track this recording down for their performances. In 1989, both men were at the height of their powers, and Herreweghe makes sure he gets the best from both of them.

So why the relaxed tone in so much of this music? Well, by reducing the musical drama, Herreweghe is able to present the Oratorio as a more coherent entity. Also, the continuously celebratory major music that makes up so much of the work can get monotonous when presented in more boisterous recordings – introducing a sense of intimacy and poise creates more variety if nothing else. The recording also cleverly counters a range of stereotypes about the period performance movement. The idea that such ensembles are always small, always play fast and always go for spiky, angular sonorities, is countered by every aspect of this recording. The choir and orchestra are large, the tempos are relaxed, and the sound is warm. Herreweghe has plenty of austere period performance recordings to his name, but he is clearly open to other ideas as well.

-- Gavin Dixon, MusicWeb International


1. Part I: Jauchzet, Frohlocket!, Chorus
2. Part I: Es Begab Sich Aber Zu Der Zeit, Recitative
3. Part I: Nun Wird Mein Liebster BrÄUtigam, Recitative
4. Part I: Bereite Sich, Zion, Alto Aria
5. Part I: Wie Soll Ich Dich Empfangen, Chorale
6. Part I: Und Sie Gebar Ihren Ersten Sohn, Recitative
7. Part I: Er Ist Auf Erden Kommen Arm, Chorale For Soprano And Bass
8. Part I: Wer Kann Die Liebe Recht ErhÖH'n, Bass Recitative
9. Part I: Grosser Herr Und Starker KÖNig, Bass Aria
10. Part I: Ach, Mein Herzliebes Jesulein!, Chorale
11. Part II: Sinfonia
12. Part II: Und Es Waren Hirten, Tenor Recitative
13. Part II: Brich An, O SchÖNes Morgenlicht, Chorale
14. Part II: Und Der Engel Sprach Zu Ihnen, Recitative For Tenor & Soprano
15. Part II: Was Gott Dem Abraham Verheissen, Bass Recitative
16. Part II: Frohe Hirten, Eilt, Tenor Aria
17. Part II: Und Das Habt Zum Zeichen, Tenor Recitative
18. Part II: Schaut Hin!, Chorale
19. Part II: So Geht Denn Hin!, Bass Recitative
20. Part II: Schlafe, Mein Liebster, Alto Aria
21. Part II: Und Alsobald War Da Bei Dem Engel, Tenor Recitative
22. Part II: Ehre Sei Gott In Der HÖHe, Chorale
23. Part II: So Recht, Ihr Engel, Bass Recitative
24. Part II: Wir Singen Dir In Deinem Heer, Chorale
25. Part III: Herscher Des Himmels, Chorus
26. Part III: Und Da Die Engel Von Ihnen Gen Himmel FÜHren, Tenor Recitative
27. Part III: Lasset Uns Nun Gehen Gen Bethlehem, Chorus
28. Part III: Er Hat Sein Volk GetrÖSt, Bass Recitative
29. Part III: Dies Hat Er Alles Uns Getan, Chorale
30. Part III: Herr, Dein Mitleid, Dein Erbarmen, Duet For Soprano & Bass
31. Part III: Und Sie Kamen Eilend, Tenor Recitative
32. Part III: Schliesse, Mein Herze, Dies Selige Wunder, Alto Aria
33. Part III: Ja, Ja! Mein Herz Soll Es Bewahren, Alto Recitative
34. Part III: Ich Will Dich Mit Fleiss Bewahren, Chorale
35. Part III: Und Die Hirten Kehrten Wieder Um, Tenor Recitative
36. Part III: Seid Froh, Dieweil, Dass Euer Heil, Chorale
37. Part IV: Fallt Mit Danken, Fallt Mit Loben, Chorus
38. Part IV: Und Da Acht Tage Um Waren, Tenor Recitative
39. Part IV: Immanuel, O SÜSses Wort, Recitative For Soprano & Bass
40. Part IV: Jesu Du, Mein Liebstes Leben/Komm!, Ich Will Dich Mit Lust Umfassen, Ar
41. Part IV: FlÖSst, Mein Heiland, Aria For 2 Sopranos
42. Part IV: Wohlan! Dein Name Soll Allein, Recitative & Arioso For Soprano & Bass
43. Part IV: Ich Will Nur Dir Zu Ehren Leben, Tenor Aria
44. Part IV: Jesus Richte Mein Beginnen, Chorale
45. Part V: Ehre Sei Dir, Gott, Gesungen, Chorus
46. Part V: Da Jesus Geboren War Zu Bethlehem, Recitative
47. Part V: Wo Ist Der Neugeborne KÖNig Der Juden?, Chorus & Recitative
48. Part V: Dein Glanz All'finsternis Verzehrt, Chorale
49. Part V: Erleucht' Auch Meine Finstre Sinnen, Bass Aria
50. Part V: Da Das Der KÖNig Herodes HÖRte, Tenor Recitative
51. Part V: Warum Wollt Ihr Erschrecken, Alto Recitative
52. Part V: Und Liess Versammeln Alle Hohenpriester, Tenor Recitative
53. Part V: Ach, Wenn Wird Die Zeit Erscheinen?, Trio For Soprano, Alto, & Tenor
54. Part V: Mein Liebster Herrschet Schon, Alto Recitative
55. Part V: Zwar Ist Solche Herzensstube, Chorale
56. Part VI: Herr, Wenn Die Stolzen Feinde Schnauben, Chorus
57. Part VI: Da Berief Herodes Die Weisen Heimlich, Tenor Recitative
58. Part VI: Du Falscher, Suche Nur Den Herrn Zu FÄLlen, Soprano Recitative
59. Part VI: Nur Ein Wink, Soprano Aria
60. Part VI: Als Sie Nun Den KÖNig, Tenor Recitative
61. Part VI: Ich Steh' An Deiner Krippen Hier, Chorale
62. Part VI: Und Gott Befahl Ihnen Im Traum, Tenor Recitative
63. Part VI: So Geht! Genug, Mein Schatz, Tenor Recitative
64. Part VI: Nun MÖGt Ihr Stolzen Feinde Schrecken, Tenor Aria
65. Part VI: Was Will Der HÖLle Schrecken Nun, Choral Recitative
66. Part VI: Nun Seid Ihr Wohl Gerochen, Chorale

Barbara Schlick, soprano
Michael Chance, countertenor
Howard Crook, tenor   
Peter Kooy, bass

Collegium Vocale Ghent
dir. Philippe Herreweghe

J.C.Pepusch & W.Williams - Triosonaten

9 tracks - MP3 192 Kbps - RAR 77Mb

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1. William Williams - Sonata in Imitation of Birds
2. Johann Christoph Pepusch - Triosonate F - Dur
3. Johann Christoph Pepusch - Sonate Nr. 1 F - Dur
4. Johann Christoph Pepusch - Sonate D - Moll
5. Johann Christoph Pepusch - Sonate Nr. 2 F - Dur
6. Johann Christoph Pepusch - Triosonate G - Moll
7. William Williams - Triosonate C - Dur
8. William Williams - Sonate a - Moll

Ensemble Musica Poetica
Sabine and Tuomas Kaipanen (Flute and Oboe)
Sharyn Ruben (Viola da gamba)
Christine Daxelhofer (Cembalo)