sabato 18 ottobre 2014

Cecilia Bartoli - St.Petersburg

11 tracks - MP3 192 Kbps - 120 RAR Mb

For the very first time Cecilia Bartoli explores the Baroque musical treasures of Tsarist Russia with music from the court of three 18th century Tsaristas: Anna, Elizabeth and Catherine the Great. With music written by Italian and German composers working for the Russian court, this album sheds new light on an incredible and momentous time for Russia, shaping its politics and culture towards the enlightened West. Mostly sung in Italian, the album also offers the first opportunity to hear Bartoli sing in Russian. The music has been intricately researched by Cecilia herself, unlocking the archives of St Petersburg’s Mariinsky Library to uncover music lost for over 200 years. The new recording reunites Bartoli with Baroque specialists Diego Fasolis & I Barocchisti. 


01. Araia: La forza dell'amore e dell'odio - "Vado a morir"
02. Raupach: Altsesta - "Razverzi pyos gortani, laya"
03. Raupach: Altsesta - "Idu na smert"
04. Raupach: Siroe, re di Persia - "O placido il mare"
05. Dall'Oglio: Prologue To "La Clemenza di Tito" - "De miei Figli"
06. Manfredini: Carlo Magno - "Fra' lacci tu mi credi"
07. Araia: Seleuco - "Pastor che a notte ombrosa"
08. Raupach: Altsesta - March
09. Manfredini: Carlo Magno - "Non turbar que' vagi rai"
10. Cimarosa: La vergine del sole - "Agitata in tante pene"
11. Manfredini: Carlo Magno - "A noi vivi donna eccelsa"

I Barocchisti
dir. Diego Fasolis

Joseph Boulogne, Chevalier de Saint-Georges - Symphonies and Violin Concertos

Joseph Boulogne, Chevalier de Saint-Georges

Joseph Boulogne, the Chevalier de Saint-Georges (sometimes spelled Saint-George) (December 25, 1739 – June 10, 1799) was one of the most important figures in the Paris musical scene in the second half of the 18th century, he was also famous as a swordsman and equestrian. Known as the "Black Mozart" or the "Voltaire of music" he was one of the earliest musicians of the European classical type known to have African ancestry.(...)
He was a mulatto born out-of-wedlock in Guadeloupe to Nanon, a former slave of black African descent, and a white French plantation owner of noble birth, Guillaume-Pierre Tavernier de Boullogne. The child was named after his uncle George de Boullogne Saint-Georges. At the age of ten he accompanied his father to France and was enrolled in a private academy. Schooled in both the fine and martial arts, he soon distinguished himself by his extraordinary skill on horseback, in sports, fencing, and music. (...)(Wikipedia)
Saint-Georges, le roi des gymnastes, Saint-Georges, l'élégant mulatre, l'homme à la mode, l'homme supérieur dans tous les exercise du corps, Saint Georges devina un rival dans ce jeune homme qui osait se lancer prés de lui dans la carrière.
(Alexandre Dumas, Le Collier de la Reine)

This work (5 CDs) covers all of the mulatto composer's violin concertos and sinfonie concertantes (12 of the former and 6 of the latter). Volume One also includes a "symphony" which was the overture to the opera L'Amant Anonyme. The miraculous success (as a horseman, fencer, dancer, runner and horseman as well as a composer) of a boy born to a slave mother in the French colony of Guadeloupe can only seem more unbelievable when confronted with such an outpouring of refined and elegant music. Saint-Georges' concertos do not plumb great emotional or philosophical depths but that was not what was expected of such music in Paris at the end of the 18th century and they do conform to the highest exemplars of French concertante works of their time.


CD 1 (113Mb)

Uploaded - FileFactory

Symphony in D, Op. 11/2 (Overture to L'Amant Anonyme)
Violin Concerto in D, Op. 3/1
Violin Concerto in D, Op. 8/1
Violin Concerto in D, Op. 2/2

CD 2 (115Mb)

Uploaded - FileFactory

Violin Concerto in G, Op. 8/9
Violin Concerto in D, Op. 4
Violin Concerto in G, Op. 2/1

CD 3 (115Mb)

Uploaded - FileFactory

Violin Concerto in C, Op. 5/1
Violin Concerto in B Flat, Op. 7/2
Sinfonia concertante in A for Violin and Viola, Op. 10/2
Sinfonia concertante in E Flat for Violin and Viola, Op. 12

CD 4 (117Mb)

Uploaded - FileFactory

Violin Concerto in A, Op. 5/2
Violin Concerto in D, Op. 8/10
Symphonie Concertante in F, Op. 10/1
Symphonie Concertante in G, Op. 13

CD 5 (117Mb)

Uploaded - FileFactory

Symphonie Concertante in C, Op. 9/1
Symphonie Concertante in A, Op. 9/11
Violin Concerto in C, Op. 3/2
Violin Concerto in G, Op. 8/2

Miroslav Vilimec (violin)
Jiri Zilak (violin - Symphonie Concertante)
Jan Motlik (viola)
Pilsen Radio Symphony Orchestra

Masterpieces of French Harpsichord Music

21 tracks - MP3 192 Kbps - RAR 103Mb

FileFactory - Uploaded


Jean-Philippe Rameau (1683 – 1764)
01. Les tendres plaintes
02. La Folette
03. L'entretien des Muses
04. Les Tourbillons
05. Menuets
06. Sarabande
07. L'Enharmonique

Gaspard Le Roux (1660-1707)
08. Suite en fa majeur Prelude
09. Allemande
10. Courante
11. Menuet
12. Chaconne

Joseph Nicolas Pancrace Royer (1705-1755)
13. Les tendres sentiments
14. La Majestueuse
15. La Sensible

Jacques Duphly (1715 - 1789)
16. Courante do mineur (La Boucon)
17. Menuet Do mineur
18. La Du Buq
19. Les Colombes, Rondeau
20. La De Vaucanson
21. La Pothouin, Rondeau

Gustav Leonhardt, harpsichord

* Website about
Jacques Duphly with scores, notes and biography

venerdì 17 ottobre 2014

Diego Pisador - Libro de Musica de Vihuela

21 tracks - MP3 192 Kbps - RAR 90 Mb

FileFactory - Uploaded

When Diego Pisador sent his Libro de música de vihuela to the printer in Salamanca in 1552, he culminated a long process of compilation and selection of works on which, according to Prince don Felipe, to whom it was directed, in the printing licence, he had been engaged for fifteen years. The volume comprises seven books (two with eight complete masses by Josquin Desprez) and a total of 95 works (186 counting each part of the masses), 58 for vihuela and voice and 37 for solo vihuela. All the musical genres in vogue in Renaissance Europe are transcribed for this instrument here: masses, motets, fantasias, carols, romances, madrigals, dances, sonnets, variations and French chansons by such noted composers as the aforementioned Josquin, Nicolas Gombert, Adrian Willaert or the Spaniards Juan Vázquez, Mateo Flecha or Juan García de Basurto. These are in short works of great beauty in which the performances by the University of Salamanca Viola da Gamba Consort, Juan Carlos de Mulder, vihuela, and in the voice of Olalla German, attain their maximum and true dimension.


Mal Ferida Va La Garça
Sparsi Sparcium
Flérida, para mí dulce
Fantasia Sobre Mi La Sol Mi Fa
Gentil Caballero dadme agora un beso
Dezilde al caballero
Si la noche haze escura
Si Te Vas A Bañar Luanica
Las Bacas con sus diferencias para discantar
Passeavase el Rey Moro
Pavana muy llana para tañer
Con qué La Lavaré
Mon pere aussi ma mere ma voulu marier
Dezilde al caballero
Toti voria contar
Para qué es dama tanto quereros
Fantasia sobre la sol fa mi re
Si la noche haze escura II
Quién tuviesse tal poder
Si me llaman, a mí llaman

Juan Carlos de Mulder (vilhuela)
Olalla Aleman (soprano)

Consort de violas da gamba
de la Universidad de Salamanca


If you want the facsimile of the libro de Musica de Vihuela grab it here (PDF, 107 Mb)

Includes intabulations of works by J. Basurto, Adrian Willaert, Josquin Desprez, Matheo Flecha, Nicolas Gombert, Cristóbal de Morales, Jean Mouton, Juan Vásquez.

giovedì 16 ottobre 2014

Heinrich Ignaz Franz Biber - Rosenkranz-Sonaten

16 tracks - MP3 192 Kbps - 2 RARs (77+86Mb)

CD 1
FileFactory - Uploaded

Part 2
FileFactory - Uploaded

Biber's so-called "Mystery Sonatas" are among the most alluring, meditative, virtuostic and amazingly beautiful compositions ever written for the violin - which this fine recording captures most vividly.

“Regardless, the players here handle this piece amazingly well, and the results make for an amazing listen, however one wants to interpret the music.”

“I strongly recommend this recording to any one who loves the violin or Baroque violin pieces specifically.”

“And Musica Antique Koln honors this sacred music with the highest art and musical sensitivity.”
Alan Lekan



1 - Sonata I: Die Verkündigung (Die Fünf Freudenhaften Mysterien)
2 - Sonata II: Mariä Besuch Bei Elisabeth (Die Fünf Freudenhaften Mysterien)
3 - Sonata III: Christi Geburt (Die Fünf Freudenhaften Mysterien)
4 - Sonata IV: Christi Darstellung Im Tempel (Die Fünf Freudenhaften Mysterien)
5 - Sonata V: Der Zwölfjährige Jesus Im Tempel (Die Fünf Freudenhaften Mysterien)
6 - Sonata VI: Christi Leiden Am ölberg (Die Fünf Schmerzhaften Mysterien)
7 - Sonata VII: Die Geiaelung (Die Fünf Schmerzhaften Mysterien)
8 - Sonata VIII: Die Dornenkrönung (Die Fünf Schmerzhaften Mysterien)

CD 2

1 - Sonata IX: Die Kreuztragung (Die Fünf Schmerzhaften Mysterien)
2 - Sonata X: Die Kreuzigung (Die Fünf Schmerzhaften Mysterien)
3 - Sonata XI: Die Auferstehung (Die Fünf Glorreichen Mysterien)
4 - Sonata XII: Christi Himmelfahrt (Die Fünf Glorreichen Mysterien)
5 - Sonata XIII: Ausgieaung Des Heiligen Geistes (Die Fünf Glorreichen Mysterien)
6 - Sonata XIV: Mariä Himmelfahrt (Die Fünf Glorreichen Mysterien)
7 - Sonata XV: Die Krönung Der Jungfrau Maria (Die Fünf Glorreichen Mysterien)
8 - Passacaglia G-Moll (Die Fünf Glorreichen Mysterien)

Reinhard Goebel, violin

mercoledì 15 ottobre 2014

Classici Antiqua

11 CD - MP3 192 Kbps - 10 RAR 1.34 Gb

Antiqua is a series of essays in italian enriched with a valuable set of illustrations and a CD with original music by great musicians rediscovered and interpreted by the best Italian & Europeans ensembles on period instruments. Each volume explores one of the glorious cities in the past, including courts, palaces and abbeys, where the supreme art of musicians blends with the discussion of art, the achievements of science, the political and social reality. A trip between small and large capitals of Music and Art between the Renaissance and the Baroque embellished by treasures of ancient music performed by the best instrumental and vocal groups of the international scene.


La Milano degli Sforza (Ensemble Odhecaton)
Dresda negli anni di Bach (L'Arte dell'Arco)
Le cantate del Papa (Recitarcantando)
Salisburgo nell'età dei Lumi (Ensemble Zefiro)
Roma cinquecentesca (Musica Perduta)
La Napoli degli Scarlatti (Concerto italiano - Ensemble Aurora)
Bologna. L’Università della musica (Accademia degli Astrusi)
Venezia nel Rinascimento (Massimo Lonardi)
Firenze Anno 1600 (Auser Musici)
Mantova e Ferrara Capitali del Rinascimento (Il Canto di Orfeo)

Georg Frideric Handel - Flute Sonatas

37 tracks | MP3 192 Kbps | RAR 111 Mb

FileFactory - Uploaded


1. Sonata for Flute and Basso Continuo in E minor, HWV 359b/Op. 1 no 1b (8:10)
2. Sonata for Flute and Basso Continuo in G major, HWV 363b/Op. 1 no 5 (8:12)
3. Sonata for Flute and Basso Continuo in B minor, HWV 367b/Op. 1 no 9 (13:44)
4. Sonata for Flute and Basso Continuo in D major, HWV 378 (6:01)
5. Sonata for Flute and Basso Continuo in A minor, HWV 374 "Halle" (11:51)
6. Sonata for Flute and Basso Continuo in E minor, HWV 375 "Halle" (6:43)
7. Sonata for Flute and Basso Continuo in B minor, HWV 376 "Halle" (7:12)
8. Sonata for Flute and Basso Continuo in E minor, HWV 379/Op. 1 no 1a (11:43)

Barthold Kuijken (Flute - A. Weemaels, Brussels - 1986)
Wieland Kuijken (Bass Viola da gamba - N. Bertrand - c. 1690)
Robert Kohnen (Harpsichord - J. D. Dulcken - 1755)

martedì 14 ottobre 2014

Biagio Marini - Curiose & Moderne Inventioni

20 tracks | 192 Kbps | RAR 100 Mb

FileFactory - Uploaded

 This disc takes us to the first half of the 17th century, when the violin had recently acquired its modern form with the Amatis and other makers, and composers were starting to develop a distinctive idiom for the new instrument. Perhaps the most outstanding of these early violin composers was Biagio Marini (c.1587-1663) of Brescia, a violinist at San Marco in Venice who played under Monteverdi's direction.

The compositions on this disc are from three different Marini publications: opus 3, 8, and 22 (his last published collection). They fall under three types: pieces for solo violin and continuo, pieces for two violins and continuo (what would later be called trio sonatas), and dances and other short pieces for string quartet (!) with continuo. Among the highlights are the Opus 8 violin sonatas (tracks 6 and 14), attempts to translate vocal monody (the expressive recitative of early opera) to instrumental terms; ROMANESCA (track 7), based on a ground bass shared with "Greensleeves"; the 12-minute PASS'E MEZO (track 15), a masterful variations piece; and especially the poignant PASSACAGLIO (track 8), which Manze qualifies as a "masterpiece". Everywhere, Marini's harmonic boldness and a distinctive, bittersweet lyricism are in evidence.

Early baroque music often looks plain on the page but yields expressive riches through an imaginative interpretation; violinist Andrew Manze and his colleagues (including John Toll on harpsichord and Nigel North on chitarrone, a kind of baroque guitar) illustrate this beautifully. Their commitment to giving the pieces coherent shape through dynamics, articulation, pacing, and expression is clear. This is especially relevant for the solo violin sonatas, which on the page look like rhapsodic splotches of sound but emerge here as arresting, highly expressive utterances. Manze's flamboyant style is appropriate to the solo pieces, but his expressive range is wide: compare his lovely, silky tone in the beginning of the ROMANESCA with the rapid, prickly divisions at the end of the piece. I have only a few reservations. The PASSACAGLIO is performed in an appropriately grave and muted manner, but I could have wished for a little more embellishment. I regretted the absence of more selections from opus 22, perhaps the culmination of Marini's work. And I found myself hungering for one or two more longer compositions.

This disc is a fine portrait of a fascinating early baroque figure. To start exploring the instrumental side of the 17th-century STIL MODERNO, look no further.
 M. De Sapio


1. Sinfonia Sesto Tuono, for chamber instruments & continuo, Op. 22
2. Balletto Terzo, for 3-4 instruments & continuo, Op. 22/3
3. Corrente Seconda, for chamber instruments & continuo, Op. 22/10
4. Zarabanda Terza, for chamber instruments & continuo, Op. 22
5. Balletto Quarto Allemano, for 3-4 instruments & continuo, Op. 22/4
6. Sonata for violin solo ("Per sonar con due corde"), Op. 8/16
7. La Romanesca, for violin & continuo, Op. 3
8. Passacaglia à 4, for chamber instruments & continuo Op. 22
9. Sinfonia Primo Tuono, for chamber instruments & continuo, Op. 22
10. Zarabanda Quarta, for chamber instruments & continuo Op. 22
11. Sonata Basso e Violino, for chamber instruments & continuo, Op. 22
12. Sinfonia Terzo Tuono, for chamber instruments & continuo, Op. 22
13. Sonata Prima A doi Violino Op 8
14. Sonata Terza, Variata for violin solo Op 8
15. Pass'e mezo in 10 Parti Doi Violini e chitarone Op 8
16. Balletto Secondo, for 3-4 instruments & continuo, Op. 22/2


Andrew Manze, violin
Nigel North, chitarrone & chitarra alla spagnola
John Toll, harpsichord & organ
Carolin Balding, violin
Jan Schlapp, viola
David Watkin, cello

J.S.Bach - Sonatas for Violin and Obbligato Harpsichord

40 tracks - MP3 192 Kbps - 2 RAR files (100Mb+98Mb)
Sonata for Violin and Harpsichord no 1 in B minor, BWV 1014
Sonata for Violin and Harpsichord no 2 in A major, BWV 1015
Sonata for Violin and Harpsichord no 3 in E major, BWV 1016
Sonata for Violin and Harpsichord no 4 in C minor, BWV 1017
Sonata for Violin and Harpsichord no 5 in F minor, BWV 1018
Sonata for Violin and Harpsichord no 6 in G major, BWV 1019
Sonata for Violin and Basso Continuo in G major, BWV 1021
Sonata for Violin and Basso Continuo in E minor, BWV 1023
Sonata for Violin and Harpsichord in G major, BWV 1019a
Sonata for Violin and Harpsichord in G major, BWV 1019a: alt. 3rd movement, Cantabile

Trevor Pinnock (Harpsichord)
Rachel Podger (Violin)
Jonathan Manson (Bass Viola da gamba)

lunedì 13 ottobre 2014

La Diva - Arias for Cuzzoni

14 tracks - MP3 192 Kbps - RAR 101 Mb

Uploaded - FileFactory

German soprano Simone Kermes has earned plaudits for her athletic renditions of Baroque opera arias, and here she takes on some of the most strenuous of them all: arias composed by George Frederick Handel for Francesca Cuzzoni. This Italian diva (the album title La Diva seems to refer both to her and to Kermes) joined London's Royal Academy of Music opera company in 1718, and then, when Handel became the city's hottest composer of Italian opera, spent several years singing the most difficult parts he could devise. The relationship was apparently a stormy one at times, with Handel at one point threatening to throw the soprano out a window if she didn't cooperate. Cuzzoni's fame is attested to by the sheer volume of stories about her that have come down to the present time. One of the most famous of these stories had Cuzzoni duking it out on-stage with a rival diva, Faustina Bordoni; that one is now thought to be a fabrication, but it shows the passions Cuzzoni stirred up in her own time. From Kermes' readings it may be a bit hard to figure out exactly why people got so worked up, but these arias are a perfect match for her skills. Perhaps Cuzzoni and Bordoni were one of those classic technician-actress pairs (there is, of course, no way to know). Kermes is a precise technician. Her voice remains not only on pitch but downright beautiful over all the extremes of range and embellishment these arias contain, and her pianissimo (hear the middle of the aria "Piangerò," from Giulio Cesare, for one of several examples that must bring live crowds to their feet at the end) is extraordinary. In pure emotion-laden melody such as that of the famed "V'adoro pupille" from the same opera, Kermes is not quite as convincing. But there are more discoveries than chestnuts here, notably the series of marvelous arias from the less-familiar Siroe, and there are even a couple of world premieres of early versions of arias from Rodelina. These might have been interesting to pair with the later versions, perhaps as bonus tracks. But the presentation in general is both entertaining and intelligent, with booklet notes and translations of the Italian texts in both German and English. Berlin Classics' studio sound is superbly clear.


Scipione (Publio Cornelio Scipione), opera, HWV 20
1 - Scoglio d'immota fronte

Giulio Cesare in Egitto, opera, HWV 17
2 - V'adoro pupille
3 - Piangerò
4 - Se pietà di me non senti

Alessandro, opera, HWV 21
5 - No, più soffrir non voglio

Rodelinda, regina de' Langobardi, opera, HWV 19
6 - Ombre, piante (First version)
7 - Ahi perché, giusto ciel (First version)

Siroe, rè di Persia, opera, HWV 24
8 - Or mi perdo di speranza
9 - Mi lagnerò tacendo
10 - Torrente cresciuto

Tolomeo, rè d'Egitto, opera, HWV 25
11 - Fonti Amichi

Flavio, Rè di Longobardi, opera, HWV 16
12 - Amante stravagante

Riccardo Primo, rè d'Inghilterra, opera, HWV 23
13 - Morte vieni

Admeto, Rè di Tessaglia, opera, HWV 22
14 - Io ti bacio

Simone Kermes, soprano

Lautten Compagney
dir. Wolfgang Katschner

domenica 12 ottobre 2014

Elisabeth Jacquet de la Guerre - Le Sommeil d'Ulisse

30 tracks - MP3 192 Kbps - RAR 101Mb

Uploaded - FileFactory

Elisabeth-Claude Jacquet de la Guerre built her reputation on chamber composition, and while Samson certainly has its moments, Le Sommeil d'Ulisse is the more fascinating and musically varied of the two cantatas included here. The stormy sea scenes pictured on nearly every side of Alpha's triple-gatefold CD package refer to the cantata's most captivating segment--the sixth-movement Tempete, vivement where Neptune vents his rage by creating a storm that he hopes will destroy Ulysses. Though only a little more than two minutes long, it's a remarkably stunning scene depicted by waves of dotted ostinato rhythms and chromatic flurries carried by a relentlessly driving momentum. A similar though somewhat less ferocious scene near the conclusion of Samson (where he's demolishing the temple, burying himself and his enemies in its ruins) is equally captivating, and there are many other subtler yet equally inspired and enjoyable scenes throughout both cantatas. A violin sonata and two harpsichord selections are included here as well. The violin sonata is an expertly crafted charmer with plenty of thematic and rhythmic variety, especially in the melodically rich final two Prestos. Harpsichordist Freddy Eichelberger's performances of the Prelude and Chaconne from Jacquet de la Guerre's Third suite are equally accomplished--his brazen rendering of the Chaconne (in a brisk 2:23) will be especially revelatory for those used to Verlet's (Astrée) darker, far more grandiose treatment (more than a minute longer), or to the understated delicacy of Cerasi (Metronome). While many performers have devoted recordings to Jacquet de la Guerre's chamber and solo harpsichord works over the years, it's hopeful that with recordings as accomplished as these Isabelle Desrochers and colleagues will continue to investigate her vocal oeuvre as well as inspire others to do the same. Very highly recommended.
--John Greene,


01 Prélude pour clavecin en la mineur (1687)
02 Le Sommeil d'Ulisse
03 Chaconne pour clavecin en la mineur
04 Sonate pour violon & basse continue en ré mineur
05 Samson

Isabelle Desrochers, dessus

Le Voix Humaines

Alice Piérot, violon
François Nicolet, traverso
Marc Wolf, guitar baroque & théorbe
Freddy Eichelberger, clavecin
Christine Payeux, viole de gambe

Elisabeth Jacquet de la Guerre