sabato 13 dicembre 2014

Carlo Ignazio Monza - Harpsichord Music

23 tracks - MP3 192 Kbps - RAR 112 Mb

Uploaded - FileFactory

Terence Charlston is an adventurous keyboard player. He likes to explore hardly-known repertoire as his recording of the keyboard works by the English composer Albertus Bryne proves. This time he has turned his attention to Italy, to the keyboard music by Carlo Ignazio Monza.
The fact that most of the compositions recorded here are called suites is rather surprising. Monza was an Italian composer, but used a form which was French in origin and not used in his own country. And his suites were printed under the title Pièces Modernes Pour le Clavecin. And if that is not enough he used the French form of his first Christian name: Charles. This asks for an explanation.

Contemporary libretti refer to Monza as 'the Milanese'. He was born probably in Monza, near Milan. Little is known about his early years, but we know that his oratorios and operas were performed not only in Milan, but also in other cities, including Venice and Rome. In 1729 he became a member of the prestigious Accademia Filarmonica in Bologna. The last years of his life he was active as a canon and choirmaster in Vercelli in Piedmont.
This city is close to Turin, the capital of the duchy of Savoy. The Piedmontese court had strong ties with Paris and a number of French aristocrats lived in Turin. A nephew of François Couperin, Marc Roger Normand, served as court organist from 1689 to 1734. So the strong French influence in Savoy is the most likely explanation of the character of Monza's keyboard works. The date and place of the publication of his suites is not known, but could well be Turin.

It is very likely you never have heard of Monza. But his music was not unknown: in his ballet Pulcinella Igor Stravinsky used 20 fragments from works by Giovanni Battista Pergolesi. Two of these were in fact from the pen of Monza. This mistake was not his fault, though: in 1771 and 1778 the English publisher Longman printed two selections of Monza's keyboard works under the name of Pergolesi. As was so often the case he made use of the huge popularity of Pergolesi to increase sales.

Although Monza's suites reflect the French style there is quite a lot of variety in the pieces Therence Charlston has chosen. The prelude from the Suite in E, for instance, is majestic, and its dotted rhythms refer to the Lullian opera overture. The prelude of the Suite in D, on the other hand, is a virtuosic display of ascending and descending scales, which is reminiscent of the préludes non mesurés by French composers like Louis Couperin. And then the prelude of the Suite in C is very different again, with the right hand playing a melody and the left hand being reduced to a chordal accompaniment. This sounds considerably less French and reflects the modern galant style of the mid-18th century.

A number of movements are very virtuosic. I have already mentioned the prelude from the Suite in D, and this same work also contains two other virtuosic movements, Le Reveille-matin - a character piece as many French composers included in their suites - which Terence Charlston compares with the style of Domenico Scarlatti, and the concluding Gavotte with 6 doubles. The Suite in C ends with another series of variations, the Air with 13 doubles, and this is even more technically challenging. This reminds me of the way Handel writes variations for the keyboard, for instance the Chaconne with 49 variations in C (HWV 484).

The Prelude and fugue in f minor are also interesting. The prelude is a kind of toccata and in the second half we hear an episode with very strong dissonances, which makes one think of the Toccata VII by Michelangelo Rossi (1601/02-1656). Like the opening of the Suite in C the fugue doesn't sound like a typical baroque piece but rather looks forward to a later style.

Terence Charlston has added some pieces by two Italian composers of a previous generation. "Both represent a style of keyboard playing influential in Italy at the time of Monza's youth but already on the wane by the time his suites were published", he writes in the programme notes. Bartolomeo Monari da Bologna was - as his nickname indicates - from Bologna where he seems to have spent his whole life. Like Monza he was a member of the Accademia Filarmonica. The Prelude and fugue recorded here are both entitled sonata in a collection of pieces by various authors, printed in Bologna around 1687 and published in England in a collection with Voluntarys & Fugues in 1710.
Bernardo Pasquini was one of the greatest keyboard virtuosos in Italy in his time. He worked mostly in Rome, where he frequently played with Corelli and probably also has met Handel.

For this recording Terence Charlston has chosen an Italian harpsichord, despite the strong French character of Monza's harpsichord works. He admits that a French 17th-century harpsichord also had been an option. It would be interesting to know whether the French taste at the Piedmontese court included the use of French harpsichords. Anyway, the harpsichord used here is a fine instrument and well suited to play the music on this disc. In several movements, for instance the allemande of Monza's Suite in D, but also in the Prelude and fugue by Monari the temperament of the harpsichords creates some harmonic tension which is probably exactly what the composers intended.

In order to convince an audience that music has unjustly been neglected it is essential that it receives the best possible interpretation. And that is exactly what we get here. Like in the previous recording with music by Albertus Bryne this disc is an ear-opener which presents these suites in their full glory. This is simply splendid music, and Terence Charlston's performance is outstanding. Charlston is also a gifted musicologist: he plays the prelude of the Suite in c minor twice, with different interpretations of a symbol used in the print of this prelude. In 2009 his edition of the whole collection is also published.

This disc is an ideal combination of first-rate music and performance, a beautiful instrument in an appropriate temperament and lucidly-written programme notes. The booklet contains all the technical information one needs, including the sources of all the pieces in the programme.
Johan van Veen (© 2010)


Suite E-Dur
Suite c-moll
Suite D-Dur
Suite C-Dur
Prelude & Fugue f-moll
Prelude c-moll
Bartolomeo Monari - Prelude & Fugue
Bernardo Pasquini - Toccata con lo Scherzo del Cucco

Terence Charlston, harpsichord

Carlo Ignazio Monza (born circa 1680 or 1696 - May 9 1739) was an Italian composer. He was born in Milan and died in Vercelli.

Infos in Italian

venerdì 12 dicembre 2014

La Bande des Hautbois du Roy - Musica a Versailles

73 tracks - MP3 192 Kbps - 2 RAR files (88Mb+70Mb)

CD 1
FileFactory - Uploaded

CD 2
FileFactory - Uploaded

Musiche di
Jean-Baptiste Lully, Michel Corrette, Pascal Collasse
François Couperin, Marc-Antoine Charpentier

La Bande des Hautbois du Roy

dir. Paolo Tognon

giovedì 11 dicembre 2014

Wilhelm Friedemann Bach - Six Sonates

pour deux flutes traversieres sans basse

MP3 192 Kbps - RAR 110 Mb

 FileFactory - Uploaded

(Many thanx to benito x for the links)

The eldest son of Johann Sebastian Bach, Wilhelm Friedemann was born in 1710 in Weimar and was taught by his father, after 1723, when the family moved to Leipzig, becoming a pupil at the Thomasschule. He spent four years at the University of Leipzig, before finding employment as organist at the Sophienkirche in Dresden and subsequently, with unhappy results, at the Liebfrauenkirche in Halle. From 1764 until his death twenty years later he held no official position, although he had been widely recognised as one of the most distinguished organists of his time and had mastered very thoroughly the lessons taught him by his father. His own tendency to the freedom of thought of the Enlightenment had not endeared him to his Pietist superiors in Halle and independence of character rendered him gradually less employable, within the restrictive circumstances of his time.


Sonata No.1 in mi minore
Sonata No.2 in sol maggiore
Sonata No.3 in mi b maggiore
Sonata No.4 in fa maggiore
Sonata No.5 in mi b maggiore
Sonata No.6 in fa minore

Pénélope Evison & Pierre Séchet, flauto traverso

mercoledì 10 dicembre 2014

C.W.Gluck - Orfeo Ed Euridice

2 CD - MP3 192 Kbps - RAR 159Mb

This was the first period-instrument recording of this opera. Presented in the 1762 version (for castrato) and recorded in 1982, it still stands up very well. René Jacobs has since become one of the world's great conductors of 17th- and 18th-century music, but here he sings Orfeo. His tone is a bit glassy, and the last decade has introduced us to many more beautiful-toned countertenors, but Jacobs' exquisite musicianship and artistry are close to incomparable. His "Che faro", sung with the embellishments used by the original Orfeo, is taken very slowly (no longer the practice) and it's simply lovely--heartfelt, with long breaths and splendid dynamics. He sings off the text and convinces us of Orfeo's plight.
/> Both Marjanne Kweksilber and Magdalena Falewicz are superb as Euridice and Amor. The former sings a women's-lib version of Euridice, with great emphasis and passion; she is an active part of this drama. Falewicz's Amore is similarly aggressive--not just run-of-the-mill perky, but quite pleased with himself.

Sigiswald Kuijken leads with what must have been startling attack 26 years ago; tempos are vigorous, winds are spicy, strings slash away. He treats the gentle ballet music with great care, however--it's an appealing oasis. No less than Philippe Herreweghe leads the chorus. The libretto is a facsimile of one from the King's Theatre in 1773; it is charming and not always easy to read. There's no reason why this recording of the 1762 version, along with John Eliot Gardiner's, should not be tied for first place--if, of course, you're looking for a countertenor in the title role. Bernarda Fink makes a fine Orfeo under Jacobs' baton as well.

--Robert Levine,

Marjanne Kweksilber René Jacobs 
Magdalena Falewicz
La Petite Bande
dir. Sigiswald Kuijken
Collegium Vocale
dir. Philippe Herreweghe

martedì 9 dicembre 2014

Buxtehude & Pachelbel - Chamber Music

22 tracks – MP3 192 Kbps – RAR 92Mb


Dietrich Buxtehude
Sonata G-dur BuxWV 271
Sonata B-dur BuxWV 273
Sonata C-dur BuxWV 266

Johann Pachelbel
Partie G-dur
Partie e-moll
Aria con variazioni A-dur
Canon & Gigue D-dur

Musica Antiqua Koln
dir. ReinharD Goebel

lunedì 8 dicembre 2014

François Couperin - Les Apotheoses

20 tracks - MP3 192 Kbps - RAR 70Mb

  Uploaded - FileFactory


Concert Instrumental
sous le titre d'Apothéose
composé a la memoire immortelle
de l'incomparable Monsieur de Lully
Le Parnasse ou l'apothéose de Corelli

Hesperion XX
Monica Hugget
Chiara Banchini
Jordi Savall
Ton Koopman
Hopkinson Smith
Bernard Hervé

domenica 7 dicembre 2014

F.J.Haydn - The Seasons - Les Saisons - Die Jahreszeiten

2 CD - MP3 256 Kbps - 2 RAR (132+115Mb) - Booklet

CD 1 - -CD 2

CD 1 - - CD 2

Embodying the highest ideals of the Enlightenment, Die Jahreszeiten is surely Haydn's supreme masterpiece and the greatest secular choral-orchestral work of the second half of the eighteenth century. It's pantheism at its grandest and the pathetic fallacy at its most glorious, with the whole of nature given voices to sing God's praises. It's exalted and exhilarating and exciting and also occasionally funny. There have been great recordings of the work in the past with Karl Böhm's lofty and majestic recording arguably the best. But while there have been many of what used to be called period-instrument recordings, there has yet to be one to compare with Böhm's until now. This 2004 recording of Haydn's masterpiece by René Jacobs conducting the RIAS-Kammerchor and the Freiburger Barockorchester is not only one of the best period-instrument performances of the work, it is the first recording comparable to Böhm's. Jacobs is a superb technical conductor: Die Jahreszeiten is a huge work with enormous technical difficulties, but the performance is wonderfully balanced between voices and instruments, between sections and movements, between mass and movement. But Jacobs does more than guide the work: Die Jahreszeiten, for all that it embodies of the highest ideals, is also a deeply human and deeply affecting work. With soloists Marlis Petersen, Werner Gura, and Dietrich Henschel and the Kammerchor, Jacobs goes beyond technique to the deep humanity of Haydn's song of praise. Harmonia Mundi's sound is clear, deep, warm, and true.

Marlis Petersen, soprano
Werner Güra, tenor
Dietrich Henschel, baritone

RIAS Kammerchor
Freiburger Barockorchester
dir. René Jacobs