"Adí 6 Maggio 1678 Antonio Lucio figliolo del signor Giu. Battista quondam Agustin, Vivaldi sonador et della signora Camilla figliola del quondam Camillo Calicchio sua consorte, nato il4 marzo ultimo caduto, qual hebbe l'acqua in casa per pericolo di morte dalla comare allevatrice Madonna Margarita Veronese, hoggi fu portato alla Chiesa, ricevé gli essorcismi et ogli santissimi da me Giacomo Pacacieri Piovano, a quali lo tene il signor Antonio qd. Gerolamo Vecchio specier all'Insegna del Dose in contrà".
Loin de tout conformisme, cette slendide interprétation des concertos du Maître vénitien nécessite de la part de son auditeur, un minimum d’ouverture d’esprit. Une fois accoutumé, c’est une écoute intense qui s’offre à nous. La vélocité du jeu des solistes traduit bien l’esprit de ces compositions. Leur écriture est enjouée et bondissante et ces œuvres nous rappellent avec bonheur la grande scène lyrique vivaldienne. Ce disque est bien évidemment une réussite technique. Naturel, précision et respect des timbres ne sont qu’une partie des nombreuses qualités d’un enregistrement du plus haut niveau. Il doit désormais être considéré comme prioritaire au sein de toute discothèque baroque. C'est ainsi.
contents: Concerto per oboe in Fa maggiore RV 455 Concerto per fagotto in la minore RV 498 Concerto per oboe in Re maggiore RV 453 Concerto per oboe e fagotto in Sol maggiore RV 545 Concerto per fagotto in Do maggiore RV 477 Concerto per oboe in la minore RV 463 Concerto per fagotto in Fa maggiore RV 488 Alfredo Bernardini, oboe Josep Borras, fagotto L'Armonia e l'Inventione dir. Alfredo Bernardini
A pre-eminent musician of our time, Jordi Savall adds another gem to his already extensive catalogue with Mare Nostrum (Latin for ‘Our Sea’). Savall looks to the Mediterranean Sea as a centre for ancient culture, the sea that brings us together, a dialogue of souls, performing music from Morocco, Israel, Spain and Lebanon with the usual line-up of musicians including Montserrat Figueras and Lior Elmaleh.
contents: CD 1 1. La Guirnalda de rosas (M. Figueras, L. Elmaleh). Romance Sépharade (Espagne XVe s./Rhodes) 2. Saltarello [Mss. CSM 77-119]. Alfonso X El Sabio (Espagne) 3. Kamti Beivshan Layla (L. Elmaleh). Chant Hébreu (Israël) 4. Gagauski (kaval, morisca & percussion). Danse turque (Balkans) 5. Berceuse Amazig (M. Figueras, D. El Maloumi). Tradition Berbère (Maroc) 6. A la una yo nací (inste.). Sépharade (Sarajevo) 7. Üsküdar (G. Dinçer). Chant traditionnel (Turquie) 8. Las Estrellas de los cielos (improvisation instr.). Sépharade (Alexandrie) 9. LaMoledet shuvi roni (L. Elmaleh). Asher Mizrahi (Jérusalem) 10. Taksim & Makam Kurdi Pesrev (instr.). Angeli (Grèce ca.1680) 11. Alef, mem shin (M. Figueras). Sépharade (Turquie) 12. Taksim - Pesendîde « Saz Semârsi » (instr.). Selim III. Istanbul (1800) 13. Noumi noumi yaldati (M. Figueras, L. Elmaleh). Berceuse Hébraïque (Israël) 14. La Armada Turca (instr.). Mélodie Sépharade (Istanbul) CD 2 1. En la Santa Helena (instr.). Sépharade (Sophie) 2. Shaar petach Dodi (L. Elmaleh). Chant Hébreu (Israël) 3. Taksim Kanun (improvisation). Hakan Güngör (Istanbul) 4. Nana andaluza : Duerme mi niña (M. Figueras). Traditionnel (Espagne) 5. El Rey que tanto madruga (instr.). Sépharade (Maroc) 6. Ana Av Rajman (L. Elmaleh). Chant Hébreu (Maroc) 7. Chominciamento di gioia (Istanpitta) (P. Hamon, P. Estevan). Mss. Trecento (Italie ca.1300) 8. Berceuse Κοιμησου Χαiδεμενο Μου (M. Figueras). Chant traditionnel (Grèce) 9. El cant dels Aucells (instr.). Chant traditionnel (Catalogne) 10. Hon Tahon (L. Elmaleh). Chant Hébreu (Israël) 11. Taksim & Makam «Rast Murass’a» Mss. D. Cantemir n.214 (Istanbul, 1690) 12. Adonenu Elohenu (M. Figueras). Sépharade (Tunisie) 13. Taksim & danse Bulgare. Traditionnel (Bulgarie) 14. Mireu el nostre mar (F. Savall) improvisation, M. Forcano (texte) F.Savall (mus.) Montserrat Figueras, Lior Elmaleh
This Guide to Period Instruments endeavours to answer the questions that every lover of early music has about the instruments used in these periods of music history. Text and recorded excerpts describe the origin and the development of every musical instrument from the Middle Ages to the end of the 18th century and place them in their historical context. There is a completely new presentation booklet, over 200 pages long (83Mb) and abundantly illustrated, as well as eight CDs of recorded examples of the instruments that shed new light upon major periods of music history. These excerpts have been drawn from the Ricercar catalogue for the most part and are completed by new recordings made for the purpose as well as by material made available to us by other specialist recording labels. This Guide to Period Instruments is a perfect synthesis of the music lover’s thirst for knowledge with the sheer pleasure of hearing these historical instruments.
Ensemble Millenarium, Continens Paradisi, Capilla Flamenca, La Caccia, Les Basses Réunies, Le Poème Harmonique, Les Agréments, La Gioa Armonica, The London Classical Players, La Fenice, Doulce Mémoire, Ricercar Consort, Bernard Foccroulle, Rolf Lislevand, Philippe Pierlot, Gustav Leonhardt, Christina Pluhar, Jérémie Papasergio, Jean-Marc Aymes, Marcel Ponseele, Guy Van Waas, Paul Goodwin, Roger Norrington...
On this recording of Spanish instrumental and theatre music from the seventeenth century, both the instrumental playing and the solo singing are of a high order. Soprano Marta Almajano has a clear and well focused voice, that is both fuller and more nuanced with a wider range of expression than that of Montserrat Figueras; the singing is also less idiosyncratic but equally idiomatic. Almajano is at her most expressive, perhaps, in Jose Marin's Ojos, que me desdenais , and is scintillatingly alive to the drama of some of the other pieces by Juan Hidalgo, the Spanish equivalent of Purcell. In some items (for example, Hidalgo's Peynandose estaba un olmo ) the balance between voice and instruments is rather odd, with the latter too prominent or, at least, with the voice sounding curiously distant by comparison. At other times (in Hidalgo's Cuydado, pastor ) the balance seems better. Both Jose Miguel Moreno on vihuela and baroque guitar and Paolo Pandolfo on gamba are technically assured and imaginative players, and lead the rest of the team (Nuria Llopis on harp and Juan Carlos de Mulder on theorbo) in performances that are full of rhythmic zest and imagination. The music itself is charming and dramatic by turn, and certainly bears repeated listening. It is generally less harmonically adventurous than Purcell (despite some telling chromaticisms in Marin's Aquella sierra nevada ), but has a cogent harmonic idiom of its own and is full of rhythmic interest."
1 SANZ / MARTÍN Y COLL Folías 2 HIDALGO Peynándose estaba un olmo 3 HIDALGO ¡Tonante dios! 4 MARTÍN Y COLL Canarios 5 MARÍN Ojos, pues me desdeñáis 6 SELMA Susana passeggiata 7 HIDALGO De las luces que en el mar 8 HIDALGO Cuydado, pastor 9 SANZ Canarios 10 HIDALGO Ay que sí, ay que no 11 RUIZ DE RIBAYAZ Españoletas 12 MARÍN Aquella sierra nevada 13 SELMA Fantasía 14 MARÍN No piense Menguilla 15 GUERAU Marionas 16 DURÓN Sosieguen, descansen 17 HIDALGO Ay, que me río de Amor 18 SANZ Lantururú
Ensemble La Romanesca dir. José Miguel Moreno
Marta Almajano, soprano José Miguel Moreno, vihuela Paolo Pandolfo, viola de gamba Juan Carlos de Mulder, tiroba Nuria Llopis, arpa Toni Millán, clave
Marc-Antoine Charpentier's (1643-1704) deeply soulful vocal works are among the most immediately appealing pieces of the middle Baroque. He had a gift for grateful, lyrical vocal writing that's expressively expansive and avoids the patterned clichés that sometimes hobble music of that era. This collection features a variety of works, including songs, a cantata, and a short opera-like scene in the form of a motet, Epithalium Carpenterij, that's quite unlike anything else in the musical repertoire. It's a wickedly funny tombeau, or musical memorial tribute, which Charpentier writes in his own honor. Casting himself as a Shade wandering the earth after his death, he alternates passages of genuine religious devotion with diatribes against his rival, François Chaperon; the Shade and his companions end the piece singing "Blessed is he who, to wash away his sins, listens patiently to the asinine dissonances of Chaperon, for after death he will taste the joys of eternal life and drink the nectar of the concert of angels...." It's easy to imagine the scampish glee the tenor Charpentier must have taken in singing the role of the Shade in performances of the piece. Gérard Lesne describes himself as a contre-haute, or countertenor, but he has more the quality of a very high tenor, or male contralto, than of a genuine countertenor. His voice is natural sounding and unforced, and he sings with an unpretentious freedom that sounds almost casual, but it's refreshing in this kind of repertoire, which is sometimes the province of only the most polished and mannered voices. He's joined in several of the pieces by tenor Cyril Auvity and baritone Edwin Crossley-Mercer, who sing with comparable freshness and energy. Il Seminario Musicale, which Lesne directs, provides a lean and lively accompaniment. The variety and depth of Charpentier's imagination and the quality of the performances make this a disc that should be of interest to listeners who enjoy the discovery of obscure but rich musical treasures from the past.
contents: Tristes deserts Chaconne, H467 Non, je ne l'aime plus Amour, vous avez beau redouble Rendez-moi mes plaisirs Oiseaux de ces bocages Quoil je ne verrai plus... Epitaphium carpentarii Les stances du Cid Celle qui fait tout Aupres du feu Veux-tu, compère Grégoire Beaux petits yeux Ruisseau qui nourrit Orphée descendant aux enfers Gérard Lesne, countertenor Cyril Auvity, tenor Edwin Crossley-Mercer, bass Il Seminario Musicale dir. Gérard Lesne
Goodwin and his accompanists treat each of these pieces as an individual, with impressive results. The Vivaldi sonatas include a number of extreme technical challenges, into which Goodwin throws himself with physicality and enthusiasm. The accompanying players (in RV 53 there is a large continuo group consisting of cello, harpsichord, and archlute) create a big sound that stands up to Goodwin's heroics. The disc includes two forgeries long attributed to Vivaldi but actually composed by French musette (bagpipe) player Nicolas Chédeville; they were certainly influenced by Vivaldi, and they shed some light on the still-emerging influence of Vivaldi on the mid-century galant style. Among the highlights of the two Chédeville sonatas are the bizarre, almost ragtime-like syncopations in the Allegro, ma non presto movement of the Sonata for oboe and continuo, RV 59.
contents: Sonata for oboe & continuo in C minor, RV 53 Trio Sonata for 2 oboes, bassoon, continuo & archlute in G minor (Lund), RV 81 Sonata for oboe, cello, organ & guitar in A major (Il pastor fido), RV 59 Sonata for oboe, violin, organ & chalumeau in C major (Salmoe), RV 779 Sonata for oboe, cello, continuo & archlute in G minor (Il pastor fido), RV 58 Paul Goodwin, oboe Gail Hennessy, oboe John Holloway, violin Colin Lawson, chalumeau Nigel North, archlute & guitar Susan Sheppard, violoncello Frances Eustace, bassoon John Toll, harpsichord & organ