sabato 15 novembre 2014

J.S.Bach - The Well-Tempered Clavier

2008 version - MP3 192 Kbps - 4 CD - 398Mb

1997-1999 version - MP3 192 Kbps - 4 CD - 390Mb


'The first recorded performances by a pianist of Book I that have made me want to hear them many times over. Strongly recommended' (Gramophone)

'Angela Hewitt's version of Book I eclipses all others; hers will become the benchmark recording ... special and uniquely enchanting' (BBC Music Magazine)

'The Canadian pianist may not regard herself as a Bach specialist, but her brilliant and profoundly musical playing of the first 24 preludes and fugues of the "48" goes straight to the top of available piano versions' (The Sunday Times)

'Performances of exceptional grace and beauty' (BBC Music Magazine)

'An inspirational set' (The Penguin Guide to Compact Discs)

Fifteen years ago Angela Hewitt recorded a version of The Well-Tempered Clavier Book I which dazzled the critical world and record-buying public. It was followed shortly afterwards by Book II which was similarly received. Now, fresh from her Bach World Tour — in which she performed the complete Well-Tempered Clavier from August 2007 until the end of October 2008 in 58 cities in 21 countries on six continents — Angela has made an entirely new recording of this most iconic of keyboard works.

In a revealing and personal programme note, Angela explains her reasons, both artistic and emotional, for this momentous creative decision. She speaks of the ‘new-found freedom’ that she discovered in her later performances, and especially her use of Fazioli pianos, ‘whose luminous, powerful, and also ever so delicate sounds opened new worlds to me and allowed my imagination to take flight’.

1995-1997 version - CD1
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1995-1997 version - CD2
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2008 version CD 1
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2008 version CD 2
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Angela Hewitt, piano

venerdì 14 novembre 2014

Giovanni Battista Fontana - 12 Sonate

12 tracks - MP3 192 Kbps - RAR file 98Mb

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He was born in Brescia, and worked there and in Rome and Padova. He died in Padova during a plague. Nearly all information preserved about him comes from the preface of his posthumously published 18 (sometimes incorrectly stated 12) sonatas (Sonate a 1.2.3. per il violino, o cornetto, fagotto, chitarone, violoncino o simile altro istromento, Venice, 1641). They are among the earliest sonatas of this form, consisting of 6 sonatas for solo violin/cornetto with continuo and 12 sonatas for one to three violins and continuo, the latter group often including a demanding concertante part for bassoon or cello. An "atto di morte" dated 7 September 1630 for a “Zan Batta Fontana” aged 50, is the only one among the Paduan death registers of 1625–30 for a person bearing that name.

12 sonate a 1. 2. 3 per il violino o cornetto, fagotto, chitarrone,
violoncino o simile altro istromento(1641).

Sonata Nona (cornetto, fagotto, clavicembalo) 5:16
Sonata Sesta (violino, clavicembalo) 7:09
Sonata Ottava (2 violini, violoncino, clavicembalo) 5:51
Sonata Seconda (flauto, clavicembalo) 6:31
Sonata Quartadecima (violino, cornetto, fagotto, clavicembalo) 5:46
Sonata Quarta (cornetto, violoncino, chitarrone) 5:29
Sonata Decima (violino, fagotto, clavicembalo) 5:57
Sonata Terza (flauto, clavicembalo) 4:43
Sonata Prima (cornetto, fagotto, clavicembalo) 3:27
Sonata Sestadecima (flauto, 2 violini, violoncino, clavicembalo) 4:48
Sonata Quinta (violino, violoncino, chitarrone) 5:03
Sonata Undecima(2 violini, violoncino, clavicembalo) 3:25

Clemencic Consort
dir. René Clemencic

giovedì 13 novembre 2014

Kees Boeke - Monodia

7 tracks - MP3 192 Kbps - RAR file 109 Mb

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 Kees Boeke was born in 1950 in Amsterdam. He studied recorder with Frans Brüggen and cello with Anner Bijlsma at the Royal Conservatory in The Hague. After graduating with honours in 1969, he founded the Quadro Hotteterre. He was also a member of Kees Otten’s Syntagma Musicum for many years and a cofounder of Sour Cream (1972), Little Consort Amsterdam (1978), and Mala Punica (1989).


1. Tractus - Anon., c.800/900: Qui Habitat (Psalm XC)
2. Sequens - Thomas Aquinas / Anon. c.1100: Lauda Sion
3. Leich - Frauenlob: Der Mynnekliche Leych
4. Saltarello - Anon., c.1380: Saltarello
5. Lay - Machaut: Le lay de l'Ymage
6. Ballata - Gherardello: Io vo amando;
Lorenzo Masini: Non vedi tu, amore;
Masini: Non perch'i' spiri;
Masini: Donne, e fu credenza;
7. Istampitta - Anon., c.1380: Belicha

Kees Boeke
(medieval tenor recorder, cylindrical tenor flute, contralto & soprano recorder, tenor vielle)

mercoledì 12 novembre 2014

Atrium Musicae de Madrid - La Spagna

32 tracks - MP3 192 Kbps - RAR file 103Mb

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Setting off on a sonic journey through Europe, Gregorio Paniagua and his acclaimed ensemble Atrium Musicæ de Madrid took the famous theme known as La Spagna, used widely by composers across Europe for several centuries, as the starting point in their quest to bring to life the many and varied old scores that used this themes. In their recording, the ensemble used a huge range of instruments, from clavicytherium (a ‘vertical harpsichord’) to a simple plastic cup, and the vivid performances and no less vivid recording enchanted both early music fans and audiophiles. A legend!


1. Spagna Contrapunto - Francesco Canova da Milano (1497-1543)
2. Spagnoletta - Michael Praetorius (1571-1621)
3. Danza Alta, Sobre"La Spagna" - Francisco de la Torre (fl 1483-1504)
4. Historia Bætica - Carlos Verardi (dates unknown)
5. Calata a la Spagnola I, II, III & IV - Joan Ambrosio Dalza (early 16th c.)
6. Spaniol Kochesberger - Hans Kotter (c.1485-1541)
7. Spaniol Tancz - Hans von Constanz (1483-1538)
8. Old Spagnoleta - Giles Farnaby (1560-1620)
9. Spagnioletta - Giles Farnaby
10. Triste España - Juan dell Encina (c1468- c1530)
11. Ré Di Spagna - Anonymous (15th c.)
12. Bassa Castiglya/Falla con Misuras - M. Gulielmus (15th c.)
13. Spagna I & II - Anonymous (15th c.)
14. Olvida Tu Perdiçion España - Anonymous (15th c.)
15. Spagniöler Tancz/Hopper Dancz - Hans Weck (c1495-1536)
16. Spanieler - Hans Kotter
17. Espagnoletta - Anonymous (17th c.)
18. Spagnoletto/Villanicco Di Spagna/Pavaniglia Di Spagna/Spagnoletto da Capo - Cesare Negri (c1535-c1604)
19. Spagna a 5 - Josquin Desprez (c1440-1521)
20. Six Recercadi Sobre Canto Llano la Spagna - Diego Ortiz Toledano (c1519-c1570)
21. Gagliarda Quarta a 5 Alla Spagnola - Giovanni Maria Trabaci (1575-1647)
22. Spaynard - Anonymous (17th c.)
23. Spanish Pavane - Francis Pilkington (c1565-1638)
24. Triste España - Juan dell Encina
25. Espagnoletta - Gaspar Sanz (c1645-c1715)
26. Ricercar Spagnuola"Duna Cossa Spagnola" - Francesco Canova da Milano
27. Ain Spaniyelischer Hoff Dantz - Hans Judenkonig (1445-1526)
28. Tres Sobre el Canto Llano de la Alta [Sobre la Spagna] - Antonio Cabezon (1510-1566)
29. Triste España - Juan dell Encina
30. Spagnoletta Nuova Al Modo Di Madriglia - Marco Fabritio Caroso (c1527-c1605)
31. Furioso Alla Spagnuola - Marco Fabritio Caroso
32. Padvana Hispanica - Anonymous (16th c.)

Atrium Musicae de Madrid
dir Gregorio Paniagua

martedì 11 novembre 2014

Georg Philipp Telemann - Chamber Music

20 tracks - MP3 192 Kbps - RAR file 87Mb

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"Telemann once confessed to having been fired by the impulse to become acquainted with the recorder, flute, oboe, chalumeau (an antecedent of the clarinet) and the viola da gamba. He became proficient on all of these and maybe others too, and wrote for them with inside knowledge.
Trios and quartets provide the mainstay of the Philidor Ensemble’s disc. Telemann was greatly admired for the former and an acknowledged pioneer in the latter. This programme features four impressive examples, together with the selfsame F minor Bassoon Sonata of Badinage’s recital. Accomplished playing of expressive and technical refinement."

-- Nicholas Anderson, BBC Music Magazine


Quartet in d minor for 2 traversos, basson and bc
Trio sonata in a minor for recorder , oboe and bc
Sonata in f minor for bassoon and bc
Trio sonata in c minor for recorder, oboe and bc
Quartet in a minor for recorder, oboe, violin and bc

Philidor Ensemble

Ricardo Kanji: recorder, traverso
Ku Ebbinge, oboe
Danny Bond, bassoon
Chris Farr, harpsicord

- o -

Frans Bruggen, traverso
Marc Destrubè, violin
Richte van der Meer, cello
Titia de Zwart, viola da gamba

lunedì 10 novembre 2014

Posaunen zwo und auch zwen Zinken

20 tracks - MP3 192 Kbps - RAR 66 Mb

In addition to the diversity of instrumental resources and the resulting treasury of tone colours in distinctive instrumental combinations, the historical instruments possess a typical quality which virtually predestines their use for the performance of Renaissance music: their ability to combine perfectly with voices without losing their acoustic character or being deprived of their individuality, and this in such a manner that the voices are not overpowered or tonally muddled. This characteristic is of considerable importance since according to the fundamental principles of a humanistic world view the vox humana stands in the center of the musical consciousness. Historical instruments may in this regard assist the listener of the 20th century to at least approach an understanding of the past ideals of tonal beauty.


01-Antonius Stringarius Patavus: Nui siamo Segatori
02-Heinrich Isaac: La, la, hö, hö
03-Anonymus: Canto delle Palle
04-Anonymus: Canto per Scriptores
05-Giovane da Nola: O belle fusa
06-Anonymus: Ha Lucia
07-Costanzo Festa: Florentia, tempus est penitentiae
08-Jacob Arcadelt: Corona aurea
09-Jacobus de Brouck: Laere dies
10-Orlando di Lasso: In me transierunt
11-Orlando di Lasso: Multarum hic resonat
12-Caspar Othmayr: D.Martini Lutheri Symbolum
13-Orlando di Lasso: Da pacem
14-Cristobal de Morales: Missus est gabriel
15-Jakobus Gallus: Haec est dies
16-Johann Walter: Fuga septimi toni
17-Martin Agricola: Kanon über "Christe, der du bist Tag und Licht"
18-Orlando di Lasso: Bicinium
19-Annibale Padovano: Ricercar
20-Giovanni Gabrieli: Canzone septimi toni

Ensemble Musica Antiqua Wien - Dir.: Bernhard Klebel
Josquin-Ensemble Wien - Dir.: Michael Mayr

domenica 9 novembre 2014

Giovanni Battista Bassani - La Morte Delusa

26 tracks - MP3 192 Kbps - RAR 87Mb

Oratorio a 5 voci, cornetto, 2 violini e basso (1696)

Four of Giovanni Battista Bassani’s oratorios survive from his stay in Ferrara in the second half of the 17th century. This splendid example‚ written in 1683 to commemorate Pope Innocent XI’s victory over the Turks‚ provides more agreeable evidence of the sheer wealth of musical accomplishment from this time. Bassani may be a minor figure but he has a commanding control of instrumental colour and an assured sense of how to court a conceit. He composed at a time when‚ unlike the emerging conventions of opera‚ idiosyncrasy in oratorio still had a shelf life. This suits the allegorical La Morte Delusa (or ‘Death Confounded’) where – in an otherwise organised academic polemic‚ typical of its day – figures such as Piety‚ Glory‚ Death‚ Justice and Lucifer battle it out for the good of the Christian message.It is not the narrative which appeals especially but rather the acute representation of Piety (bright and breezy but who frankly becomes a bit of a prude) and the pivotal role of La Morte. Emanuela Galli’s Piety is a striking contribution‚ while La Morte (Daniela del Monaco) is vocally less even‚ and yet she warms to the delectable and haunting textures in ‘Ombre nere della Tromba’ at the end. Like many such arias‚ in an emergent da capo culture‚ the music is comparatively short­breathed compared to‚ say‚ Scarlatti; but I keep returning to the beautifully weighted exchange of reflective sections and action­oriented ones‚ each of which deserves the listener’s undivided attention.Italian 17th­century music can be notoriously disjointed‚ but there is an effortless momentum here. Much of this is down to the fine direction of virtuoso cornettist Jean Tubéry. He is quite simply a marvellous player‚ who makes you wonder why the cornetto ever faded away. One’s grateful too that he can bring the splendid alto‚ Philippe Jaroussky (La Gloria) and others‚ to respond to the scrupulously considered qualities in Bassani’s score – which incidentally employs the cornetto in an unusually prominent way. The continuo is always alive to new ‘rappresentativo’ opportunities and La Fenice alert to fleeting changes of atmosphere in a tuneful and entertaining work. Quite a find‚ and superbly recorded.

Emanuela Galli, soprano - La Pietà
Daniela Del Monaco, alto - La Morte
Philippe Jaroussky, alto - La Gloria
Francois Piolino, tenore - La Giustizia
Jean-Claude Saragosse, basso - Lucifero
Ensemble La Fenice
dir. Jean Tubéry