sabato 7 marzo 2015

Clement Janequin - La Chasse et Autres Chansons

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I think this is the finest record so far from the astonishing Clement Janequin Ensemble, for three reasons. The first is that every performance here is bursting with energy and with the apparent experience of innumerable public performances: you never get the impression that a piece was prepared just for the recording. There are six very different voices here, sometimes scarcely blending, and occasionally with a touch of roughness. But that is all part of the magic. They are real performances.The second reason, related to the first, is that one of the Clement Janequin Ensemble's most notable virtues is the ability to articulate some of those long, elaborate works of Janequin that can so easily seem empty and rambling. The singers offer a masterly variety of colour, texture and pace that clarifies many of the internal details but at the same time seems always beautifully focused on the needs of the broad musical design. They show that Le caquet des femmes, La chasse and La guerre are works of considerable—if bizarre—genius.Which in turn brings us to the third reason: Janequin. He is surely one of the most varied and resourceful of all sixteenth-century composers. The record includes three immaculately turned Ronsard settings, and two of Marot. It includes the superbly madrigalesque Ce petit a'ieu qui vole, the exquisite C'esl a bon droit almost in the ultra-pure style of Claudin de Sermisy, and— as befits the finest musical exponent of the spirit of Rabelais—several works that are just plain dirty in a way that is difficult to parallel anywhere else in the history of music.  --   --  Gramophone [9/1988]


Clément Janequin
1. Le caquet des femmes
2. Va rossignol
3. D'un seul soleil
4. Bel aubepin verdissant

Guillaume Morlaye
5. Gaillarde des Dieux

Clément Janequin
6. J'ay double dueil
7. Au verd bois je m'en iray
8. Revenés souvent m'amye
9. J'ay d'un costé l'honneur
10. Ce petit dieu qui vole

Adrian Le Roy
11. Branle de Bourgogne

Clément Janequin
12. La guerre
13. L'espoir confus
14. Petite nymphe folastre
15. Pourquoy tournez-vous vos yeux
16. C'est … bon droit

Guillaume Morlaye
17. Fantaisie

Clément Janequin
18. Sur l'aub‚pin qui est en fleurs
19. Ce moys de may
20. Las, si tu as plaisir
21. Ventz hardis et légiers

Adrian Le Roy
22. Branle gay

Clément Janequin
23. Plus ne suys
24. Frère Thibault
25. La chasse

Ensemble Clement Janequin

venerdì 6 marzo 2015

Franz Joseph Haydn - deLirium

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The disc is characterized by splendid performances by the Ensemble Baroque de Limoges and Quatuor Mosaiques under the direction of Christophe Coin. Laborie's Joseph Haydn: deLerium is delightful in every way, and should easily satisfy anyone who has ever wondered about the Lire Organizzate. Franz Josef Haydn produced about a half dozen works for the Lire Organizzate, an eighteenth century hybrid of the hurdy-gurdy and organetto that by the twentieth century was nothing more than a museum instrument, with only about 20 examples extant and none playable. These works are commonly performed on recordings with a standard pipe organ in place of the Lire; however, Laborie's excellent release Joseph Haydn: deLerium stands apart in that the works are heard, for the first time in probably 200 years, on a pair of Lire Organizzate. Matthias Loibner and Thierry Nouat play reconstructed instruments built by hurdy-gurdy specialist Wolfgang Weichselbaumer that have a sweet and slightly tart tone reminiscent of an exotic brand of Viennese candy. While the Lire is obviously the star of the show, Laborie likewise includes a couple of Haydn's pieces for the Baryton, another obscure instrument favored by his patron, Prince Nikolaus Esterházy, for whom Haydn found himself obligated to create more than 100 works for this rather limited, dull-toned instrument. Even in these pieces, Haydn's patented "surprises" are part of the mix; when the natural horns creep into the final movement of the "Divertimento in A for Baryton" one really notices the difference.


1. Concerto No. 1 for 2 lire organizzate in C major, H. 7h/1

 2. Divertimento a 8, for baryton, 2 violins, viola, cello, bass & 2 horns in A minor/A major, H. 10/3 
3. Notturno for 2 lire organizzate, 2 clarinets, 2 horns, 2 violas & bass in G major, H. 2/27
 4. Divertimento a 8, for baryton, 2 violins, viola, cello, bass & 2 horns in G major, H. 10/12
 5. Notturno for 2 lire organizzate, 2 clarinets, 2 horns, 2 violas & bass in C major, H. 2/32

Ensemble Baroque de Limoges
 Quatuour Mosaiques 
Cristopher Coin


giovedì 5 marzo 2015

Etienne-Nicholas Méhul - Overtures

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Nicholas Méhul (1763-1817) is an intriguing transitional figure in French music, with a career that historically spanned the final years of the reign of Louis XVI and the heyday of Napoleon, and musically spanned the pinnacle of the classical style and the first stirrings of romanticism.Nowadays his music is hardly ever performed. The operas to which the nine pieces on this well-played disc provided the overtures - works like Mélidore et Phrosine, Horatius Coclès and Les Deux Aveugles de Tolède - have become little more than entries in a work list. But he was a forward-looking and, in his time, highly influential, composer, whose sense of musical theatre left its imprint on Berlioz and Weber especially.These overtures show how Méhul pushed at the boundaries of what could be expected of an orchestra at the beginning of the 19th century, giving it a new dramatic responsibility in the operatic scheme of things. This is no substitute for recordings of the complete operas, but is still worth investigating.


01 - Mélidore et Phrosine
02 - Ariodant
03 - Joseph
04 - Horatius Coclès
05 - Bion
06 - Le jeune sage et le vieu fou
07 - Le trésor supposé
08 - Les deux aveugles de Tolède
09 - Le chasse du jeune Henri

Orchestre de Bretagne
 dir. Stefan Sanderling


English - - Francais - - Spanish - - Deutsch - - Italiano

mercoledì 4 marzo 2015

Shakespeare Songs

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1. It was a lover and his lass - Thomas Morley: As you like it, V, 3
2. Take, O take those lips away - John Wilson: Measure for measure, IV, 1
3. O mistress mine - Thomas Morley: Twelfth night or what you will, II,3
4. Strike it up, Tabor - Thomas Weelkes
5. Willow song - Anon.: Othello, IV, 3
6. Where the bee sucks - Robert Johnson II: The Tempest, VI, 1
7. How should I your true love know - Anon.: Hamlet, Prince of Denmark, IV, 5
8. Walsingham variation - Francis Cutting
9. We be soldiers three - Anon.
10. When griping griefs - Anon.: Romeo and Juliet, IV, 5
11. Full fathom five - Robert Johnson II: The Tempest, I, 2
12. Caleno custure me - Anon.: Henry V, mentioned at IV, 4
13. Canon: Then they for sudden joy did weep - Anon.: King Lear, I
14. Bonny, sweet Robin, luth solo - Anon.
15. When that I was - Anon.: Twelfth night, V, 1
16. Kamp'jig, luth solo - Anon.
17. Greensleeves - Anon., trad.
18. He that will an ale-house keep - Anon.: Ravenscroft's Melismas
19. Non Nobis Domine - William Byrd

Deller Consort

Alfred Deller (countertenor)
Philip Todd (tenor)
Max Worthley (tenor)
Maurice Bevan (baritone)
Desmond Dupré (lute)
Alfred Deller, dir.

martedì 3 marzo 2015

Johann Rosenmuller - Sonate da Camera e Sinfonie

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Johann Rosenmüller was a Saxon composer who escaped from prison in Leipzig and fled to Venice in 1655 after being falsely accused of having a homosexual relationship with some of his students. While these totally, completely, impossibly gorgeous "Sonate da Camera e Sinfonie" (1654-1682) were composed primarily in Venice (Rosenmüller was a trombonist at St. Mark's Basilica), they were strongly influenced by the music of Rosenmüller's early teacher, the great German master Heinrich Schütz. Scored for 8 stringed instruments, cornet, trombone, and theorbo, these chamber sonatas combine the absolute best of the conservative North German musical tradition with a healthy dash of Venetian joie de vivre and achingly beautiful pan-European melancholic contemplation. Rosenmüller's sonatas are real jewels considering when they were written, since they totally avoid the typically overdone, clichéd pyrotechnics and gaudy bravura of the High Baroque while also managing not to be sleeping pills.
If, like me, you're a little nauseated with Bach and bored with Lully, give Rosenmüller a shot. I've heard several of Hespèrion XX's other recordings and this one is THE finest. Smooth, luscious, out of this world. Can't go wrong here.
By Stephen Taylor


Sinfonia II
Sonata VII
Sinfonia IV
Suite I
Sonata XI
Sinfonia I
Sonata IX

Hesperion XX 
dir. Jordi Savall

lunedì 2 marzo 2015

O Canto da Sibila

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De todos os eventos, o mais antigo e mais largamente difundido por toda a Europa, durante a idade média, foi o Canto da Sibila. As sibilas eram profetizas muito populares nos ritos romanos, antes da Era Cristã. Uma de suas profecias fala do fim dos tempos, como foi descrito por São João no livro do apocalipse. Com o advento do cristianismo e no intuito de difundi-lo entre os "povos pagãos", esta profecia foi utilizada pela igreja como prova de que o cristianismo era uma verdade já prevista antes de sua existência. Assim, na noite de Natal, no meio da missa de meia noite, a Sibila era cantada para alertar a todos a se converterem antes do juízo final. Essa tradição se repetia todos os anos até que foi proibida em concílio pela Igreja. Por ser um evento tão popular e de tão grande importância, mesmo com tal proibição ele continuou a ser praticado em alguns lugares da Espanha até os dias de hoje.


Des Oge Mas
In Duici Jubilo
Verbum caro factum est
Verbum caro factum est
Pois que dos Reys
O Canto da Sibila
Riu Riu Chiu
Rey a Quiem Reies Adoran
Dadme Albricias
E la Don Don, Verges Maria
Ein Kind geborn zu Bethlehem

Musica Antiga da UFF (Live)

domenica 1 marzo 2015

Effetti e Stravaganze. Affect and Effect in 17th-Century Instrumental Music

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Giovanni Picchi: Canzon undecima à 4 (Venice, 1625)

Le bizzarrie

Nicolò Corradini: Canzon à 4 La Sincopata (Venice, 1624)
Alessandro Piccinini (1566-1638): Toccata cromatica (Bologna, 1623)
Biagio Marini: Sonata decima terza senza cadenza (Venice, 1626)
Antonio Troilo (fl.1606): Canzon à 4 (Venice, 1606)

Due stravaganze a due voci

Bartolomeo de Selma y Salaverde (1585-1638): Canzon à 2 tenori (Venice, 1638)
Giovanni Battista Fontana: Sonata 11 à 2 canti
Marco Uccellini: Sonata XI à 2 violini e 2 bassi (Venice, 1639)
I canti degl'uccelli

Tarquinio Merula: Canzon La Gallina à 2 (Venice, 1637)
Uccellini: Aria nona à 3 L'Emenfrodito: Maritati insieme la Gallina e il Cucco fanno un bel concerto (Venice, 1642)

Echi e risposte

Lodovico da Viadana: Canzon francese in risposta
Corradini: Suonata in risposta La Golferamma (Venice, 1624)
Nicolas a Kempis (c.1600-1676): Sinfonia 1. à 4 (Antwerp, 1647)
Benedetto Ré: Canzon à 4 in risposta (Milan, 1609)
Giovanni Battista Riccio (fl.c.1615) Canzon La Moceniga in ecco (Venice, 1620)

Concerto Palatino

 Bruce Dickey (cornet) 
Doron Sherwin (cornet) 
Charles Toet (sackbut) 
Wim Becu (sackbut) 
Stephen Stubbs (chitarrone) 
Klaus Eichhorn (organ)