Alexander Agricola - Missa In myne Zyn

13 tracks - MP3 192 Kbps - RAR 88Mb

Of the eight Masses by Agricola that have survived, the Missa in myne zyn is possibly the last, most demanding to perform and the most elaborate, making use of every possible technique, to include the thematic material of Agricola’s own 3-part song In myne zyn. The secular pieces recorded here lend themselves particularly well to the techniques of ornamentation and improvisation that the composer himself suggests.

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contents:


1 - Ante Missam: In minen sin
2 - Ante Missam: Si j'aime mon amy
3 - Ante Missam: Bien soiez venu – Alleluia
4 - Ante Missam: In mynen zin
5 - Ad Missam: Gloria, extrait de Missa In myne Zyn
6 - Ad Missam: Comme femme desconfortée II
7 - Ad Missam: Credo, extrait de Missa In myne Zyn
8 - Ad Missam: D'ung aultre amer III
9 - Ad Missam: Sanctus, extrait de Missa In myne Zyn
10 - Ad Missam: Tout a par moy II
11 - Ad Missam: Agnus Dei, extrait de Missa In myne Zyn
12 - Ad Vesperam: Pater meus agricola est
13 - Ad Vesperam: Regina coeli

Capilla Flamenca
Dirk Snellings

Henry Purcell - The Fairy Queen

2 CD - MP3 192 Kbps - 3 RAR (96+98+17Mb)

(Live Recording)


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Purcell's five-act semi-opera "The Fairy Queen", composed as a series of masques to be performed between the acts of Shakespeare's "A Midsummer Night's Dream", consists of music of extraordinary grace, brilliance, variety, and above all - as befits its original context - enchantment. And it's this last quality that has proved the most elusive to various otherwise excellent recorded performances over the years. There have been a number of well-regarded recordings, including those under Norrington, Christie, Harnoncourt, Gardiner and Christophers. This present set, recorded live at the Ravenna Festival in 2001, is performed by the Italian early-music ensemble Accademia Bizantina directed by Ottavio Dantone. However, the vocal soloists and chorus are all British - the point being well made on the cover by means of the ad hoc name New English Voices - so, for those who insist on their Purcell sounding as English as can be, rest assured that you won't be hearing Italian accents pronouncing "O letta me ever weep", or anything like that. (Stephen Midgley)

Semi-opera in 5 atti



Carolyn Sampson, soprano
Andrew Carwood, tenore
Michael Bundy, basso

New English Voices
dir. Michael McCarthy

Accademia Bizantina
dir. Ottavio Dantone

Perotin

8 tracks - MP3 192 Kbps - RAR 95Mb


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This is one of the most widely admired recordings of music of this era; people from all backgrounds seem to enjoy it. The first & last tracks are particularly impressive.The polyphonic style of the era was to place a theme (chant, in the case of liturgical settings) in the tenor (the lowest voice) in long notes, and then to add "decoration" in the upper voices. As such, the lines are not really independent, but are dominated rhythmically by "cells" given by the notes of the tenor. This is the typical organum. In the conductus (non-chant based), the two main lines are sometimes more independent melodically, but the rhythms are substantially similar. There is also a large body of monophonic conducti (organa are polyphonic, by definition; the monophonic version would be plainchant).

contents:

Viderunt Omnes
Veni Creator Spiritus
Alleluia Posui Adiutorium
O Maria Virginei
Dum Sigillum
Isaias Cecinit
Alleluia Nativitas
Beata Viscera
Sederunt Principes


The Hilliard Ensemble
David James (Countertenor) 
John Potter (Tenor)
 Rogers Covey-Crump (Tenor)
Mark Padmore (Tenor)
Charles Daniels (Tenor)
Gordon Jones (Baritone)
Paul Hillier (Baritone)

Bara Faustus' Dreame

17 tracks - MP3 192 Kbps - RAR 102Mb


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Another supremely high-concept disc superlatively executed, this package called Bara Faustus' Dreame performed by Les Witches and produced by Alpha is essentially a recital of soulfully sorrowful songs and deeply despairing dances by Dowland, Morley, Byrd, Philips, and others. Mixing mournful instrumental pieces bearing names like Pavana Dolorosa with doleful songs with titles like "In darkness let me dwell," the program is certain to incite even the most optimistic to embrace nihilism. Performed with consummate artistry by the instrumental ensemble called Les Witches, augmented with the complete sympathy of vocalizing guest Witches, the recital is sure to drive even the most happy folks to unassuageable hopelessness. Produced with the standard lush sound, customary sumptuous notes, and usual lavish art reproductions by Alpha, the package is bound to please even the most discriminating record collectors. Any listener looking for a reason to do themselves in can be positive of finding at least one if not several in Bara Faustus' Dreame. 

contents:


1 - Anonyme - Goe from my window
2 - John Dowland - Com when i call
3 - Richard Alison - Goe from my window
4 - Dowland - van Eyck - Can she excuse / Excuse moy
5 - Peter Phillips - Pavana dolorosa. Tregian
6 - Peter Phillips - Galiarda dolorosa
7 - John Dowland - From silent night
8 - Alfonso Ferrabosco - Dovehouse pavan
9 - Alfonso Ferrabosco - Heare me. O God
10 - William Byrd - Tregian's ground
11 - Giovanni Coperario - In darkness let me dwell
12 - John Ward - Fantasy
13 - Anonyme - The shepherd's joy
14 - Thomas Morley - O mistresse mine
15 - John Dowland - Thomas Morley - Captaine pipers pavin
16 - John Dowland - Thomas Morley - Galliard Can she excuse
17 - John Dowland - If my complaints could passions move

Les Witches

La Vendetta

14 tracks - Mp3 192 Kbps - RAR 110Mb


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contents:


E.Jacquet de la Guerre - Sonata I in re per violino e BC
Barbara Strozzi - Sul Rodano Severo
E.Jacquet de la Guerre - Preludio, dalla suite in la per clavicembalo
Antonia Bembo - Passan veloci l'hore
Antonia Bembo - Anima perfidaE.Jacquet de la Guerre - Sonata prima per due violini e violoncello obbligatoE.Jacquet de la Guerre - Sinfonia da 'Samson'
Antonia Bembo - M'ingannasti in verità
Barbara Strozzi - La vendetta
Barbara Strozzi - Sino alla Morte
Barbara Strozzi - Costume de' grandi


Roberta Invernizzi, soprano
Bizzarrie Armoniche
dir. Elena Russo

Music of Prague Palace and Gardens 1620

25 tracks - MP3 192 Kbps - RAR 88Mb


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…The music included in this volume is exclusively Italian, and by now its composers have almost fallen into oblivion. However, Troilus' interest in them proves their remarkable value. One of them, Enrico Radesca di Fogia, an organist and since 1615 a conductor of the Duke's music ensemble in Turin, is in fact represented by a unique collection of all the five books of canzonette, arias and madrigals. Among them, there …Thanks to the care devoted by the Milanese dance master Cesare Negri to the preparation of his treatise for press (1602), a number of pieces composed as occasional music has been preserved, unlike many others which did not have the honour to be recorded permanently. In his effort to provide the reader with the musical accompaniment to the published dances and balletti, he recorded a host of unique compositions, albeit often in rough outline only. …..In most of the parts of the volume, vocal - monodic music is predominant. These monophonic songs - accompanied monodies - were among the novelties of the time and the reason why they appeared was the difficult comprehensibility of the text of polyphonic compositions.

contents:


[1] - Enrico Radesca di Foggia - Filli dolce pastorella (Amare mente è tempo)
[2] - Giacomo Fornaci - O bell'arco d'Amore (Amorosa arciera)
[3] - Enrico Radesca di Foggia - Corrente
[4] - Enrico Radesca di Foggia - Da ricca pianta (Fiori colti per man di bella Dama)
[5] - Antonio Brunelli - Piangerem sempre
[6] - Giovanni Battista Muti - Corrente
[7] - Antonio Brunelli - Accorta lusinghiera
[8] - Antonio Brunelli - Perchè duo baci
[9] - Enrico Radesca di Foggia - Nizzarda Francese
[10] - Enrico Radesca di Foggia - Mi lasci ingrata solo (Instabil Donna e risoluto Amante)
[11] - Giovanni Francesco Capello - M'impone Amor
[12] - Cesare Negri - La catena d'Amore
[13] - Enrico Radesca di Foggia - Occhi, stelle amorose
[14] - Giovanni Francesco Capello - Strana armonia d'Amore
[15] - Enrico Radesca di Foggia - Sy vos pretendeys guererme (Canzonetta Spagnola)
[16] - Cesare Negri & Giovanni Giacomo Gastoldi - Alta Mendozza
[17] - Antonio Brunelli - Di ros'hebbi la guancia
[18] - Enrico Radesca di Foggia - Chi mi sente cantar Il canto de gl'amant'ol pi delle volte nascere da dolore)
[19] - Girolamo Marinoni - O Rex Gloriae - 2:43
[20] - Giacomo Fornaci - Ah dolente partita (Amor crudele)
[21] - Giovanni Francesco Capello - Caro sensal Amore
[22] - Cesare Negri - Ballo fatto da sei Cavalieri
[23] - Antonio Brunelli - Bocc'amorosa
[24] - Giulio Caccini - Se ridete gioiose
[25] - Antonio Brunelli - Balletto à 5
- Ballo Grave - Di quel nudo pargoletto
- Gagliarda - Alle pigge alme
- Corrente - Nelle vaghe trecce


Ad Vocem
dir. Pøemysl Vacek

Le Chansonnier Cordiforme

3 CD - MP3 192 Kbps - 3 RAR (260Mb)


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CD 2
CD 3


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CD 3

Le Chansonnier Cordiforme is a ravishingly beautiful illuminated manuscript, shaped like a double heart, and assembled in the early 1470s, about the time of the death of Dufay, a generation after the deaths of Dunstable and Binchois, and just as men such as Ockeghem were becoming famous. According to annotator David Fallows, “The Chansonnier contains the most compact and representative surviving collection of the classic European courtly song repertory in those years. Most of the songs that achieved the widest popularity at the time are here.” The book looks sublime; its original owner, though, was evidently a scoundrel. Jean de Montchenu was described at the time as “a great scoundrel, shameful of conduct, highly unchaste, destestable, dissolute, and full of vices.” He became a monk and then a bishop, but was finally excommunicated. The book came about, it is thought, when he was connected with the Duchy of Savoy (since 1860 a part of France).Most of the music collected on these three CDs is anonymous or of uncertain provenance, but there are songs by Dufay, Ockeghem, Bedyngham, and Busnoys. Perhaps illustrating the ambivalent political stance of the House of Savoy, the first disc is in Italian; the others are in French. Some of these songs are sweetly plaintive; others, such as Ockeghem’s L’Autre d’antan l’autrier passa, energetic. The Ockeghem tells the story of a man who repeatedly is enticed by the looks or embraces of women who desert him; the first has a “look forged in Milan,” which is evidently particularly devastating. (Avoid women whose looks seem to have been “forged.”) While there are now readily available discs devoted to Ockeghem and Dufay, including excellent ones on Naxos, there’s no other song collection that I know of like this one: It’s an anthology of medieval music before things started to change. It’s a rich collection, beautifully played and sung, highly recommended for anyone with an interest in early music. Reproductions of the manuscript have evidently been made with infinite care. The notes tell you where you may find them, but warn the gentle reader that you also cannot afford them.

contents:


CD-1

Anon: Hora gridar 'oimè (2 voices, fiddle, bass lute)
Anon (ballata): Ben lo sa Dio (voice, fiddle, harp)
Dufay (rondeau): Dona gentile (voice, harp, flute)
Bedyngham: Zentil madonna (soprano, harp, lute)
Anon: Chiara fontana (2 voices)
Anon: O pelegrina luce (voice, 2 fiddles, harp)
Bedyngham: O rosa bella (voice, 2 fiddles, harp)
Anon: La gracia de voi (2 voices, flute)
Anon: Perla mia cara (3 voices)
Cornago: Morte mercè (3 voices)
Anon: Finir voglio la mia vita (voice, flute, bass lute, harp)
Anon: O pelegrina luce (2 voices, harp, bass lute)
Anon: O meschin' inamorati (2 voices, bass lute)

CD-2

Anon (rondeau): Comme ung homme desconforté (voice, harp, bass lute, flute)
Regis (rondeau): S'il vous plaist que vostre je soye (2 voices, bass lute)
Anon (ballade): L'aultre jour par ung matin (2 voices, lute, fiddle)
Anon (rondeau): J'ay pris amours (2 voices, bass lute)
Ockeghem (rondeau): L'autre d'antan l'autrier passa (2 voices, bass lute)
Hayne van Ghizeghem (rondeau): De tous bien plaine (voice, flute, lute, bass lute)
Busnoys (bergerette): J'ay moins de bien (voice, flute, lute, bass lute)
Dufay (rondeau): Vostre bruit et vostre grant (2 voices, flute)
Caron (rondeau): Cent mille escus (2 voices, harp, bass lute)
Morton (rondeau): Le souvenir de vous me tue (voice, harp, lute, bass lute)
Barbingant (rondeau): L'omme bany de sa plaisance (2 voices, harp, fiddle)
Morton (rondeau): N'aray je jamais mieulx (2 voices, harp, bass lute, fiddle)
Dufay (rondeau): Le serviteur hault guerdonné (2 voices, flute)
Vincenet (rondeau): Fortune, par ta cruaulté (2 voices, bass lute)
Busnoys (rondeau): Est il mercy de quoy l'on peust finer? (voice, harp, flute)


CD-3

Binchois (rondeau): Comme femme desconfortee (voice, 2 fiddles)
Frye (rondeau): Tout a par moy (voice, flute, lute, bass lute)
Ockeghem (bergerette): Ma bouche rit (2 voices, harp, fiddle)
Bedyngham (rondeau): Mon seul plaisir, ma doulce joye (voice, lute, fiddle)
Anon: Ma bouche plaint (2 voices, fiddle)
Anon (rondeau): Vray dieu d'amours (voice, 2 fiddles)
Anon: Hélas! je n'ay pas osé dire (3 voices, harp, lute, bass lute)
Anon (rondeau): Or ay je perdu (voice, lute, bass lute)
Anon (rondeau): Adieu vous dy (2 voices, flute)
Anon (bergerette): Terriblement suis fortunee (voice, 2 fiddles)
Anon (rondeau): De mon povoir vous veul complaire (2 voices, bass lute)
Anon (bergerette): Hélas! n'aray je jamais mieulx (2 voices, lute, bass lute, 2 fiddles)
Anon (bergerette): Quant du dire adieu (2 voices, bass lute, 2 fiddles)
Binchois (rondeau): Je ne veis onques la pareille (3 voices)
Anon (rondeau): Faites moy sçavoir de la belle (voice, 2 fiddles)



The Consort of Musicke
Emma Kirkby (soprano)
Margaret Philpot (alto)
John York Skinner (countertenor)
John Elwes (tenor)
David Thomas (bass)

Lewis Jones (flute)
Frances Kelly (harp)
Christopher Page (lute)
Anthony Rooley (bass lute)
Trevor Jones (fiddle)
Alison Crum (fiddle)

Tres Culturas

18 tracks - MP3 192 Kbps - RAR 81Mb


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Spain had two Golden Ages: in the 1500s, during the Age of Exploration, it colonized the Americas and was so powerful that it challenged England with an armada; but there was an earlier one, during the Medieval period when Spain was conquered by tolerant Arabs and became a cosmopolitan world center where Muslim, Christian, and Jew mingled and prospered. This album features musical examples of the three cultures.

contents:


1 • KI ESHMERÁ SHABAT Canción de Shabat de Abraham Ibn Ezra (1089-1167) 3’54”
2 • YA VIENE EL CATIVO Canción sefardí del Mediterraneo oriental 4’43”
3 • NON ME MORDAS YA HABIBI Jarcha de la moaxaja nº 8 de Jehuda Halevi (1070-1141) 4’07”
4 • NANI, NANI Canción de cuna sefardí oriental 5’37”
5 • IODUJÁ RAIONAI Canción del Shabat de Israel Najara (Safed, siglo XVI) 4’40”
6 • AMOURS ME FAIT COMENCIER 1’51”
7 • FIESTA DE LA CIRCUNCISIÓN 1’40”
8 • EN QUANTAS GUISAS OS SEUS ACORRER 1’25”
9 • U ALGUEN A JHESU CRISTO POR SEUS PECADOS NEGAR 1’46”
10 • A QUE POR NOS SALVAR 2’00”
11 • GRAN CONFIANÇA NA MADRE DE DEUS 1’58”
12 • POIS AOS SEUS QUE AMA DEFENDE TODAVIA 2’11”
13 • DUM PATER FAMILIAS 2’28”
14 • COGAUDEANT CATHOLICI 2’00”
15 • PHELIPE 1’30”
16 • MUWWAL ISBIHÁN “No todo el que pide felicidad la encuentra” 2’57”
17 • SANÁ Q’AIM WA NISF TAB S-SIKA 7’17”
18 • INSHÁD ISBIHÁN “Al contemplar no vi a otro amado” Al-Shushtarí (1212-1269) 3’45”

(1-5)
SEFARAD • Dirección EDUARDO PANIAGUA

JORGE ROZEMBLUM Canto solista, coro, citolón y pandero
AURORA MORENO Canto solista, coro y tar
LUIS DELGADO Laúd, zanfona, santur, darbuga, tar y coro
EDUARDO PANIAGUA Qanun, flautas (fahl, alto, salamilla), y coro

(6-15)
LUIS DELGAD: Laúd, dutar, cítola, zanfona, tromba marina, viola de teclas, darbuga, bendir, pandero, tar, qaraquebs y campanillas
EDUARDO PANIAGUA: Salterio, qanun, flautas soprano, tenor y pastoril, nay, tromba marina, darbuga, tabila, pandero, tar, sistro de arena, campana y voces

(16-18)
EL ARABÍ SERGHINI: Canto
OMAR METIOUI: Laúd árabe
AHMED AL-GAZI: Viola alto

Mozart Complete Edition

180 CD in 237 RAR files - 14,6 Gb - MP3 192 Kbps


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Contents:

* Vol 01 Early symphonies (Marriner) (6 CD, 542.3 MB)
* Vol 02 Symphonies (Marriner) (6 CD, 553.13 MB)
* Vol 03 Serenades for Orchestra (Marriner) (7 CD, 556.67 MB)
* Vol 04 Divertimenti (St Martin in the Field's Chamber Ensemble) (5 CD, 372.39 MB)
* Vol 05 Serenades and Divertimenti for Wind (Marriner, Laird, de Waart) (6 CD, 499.32 MB)
* Vol 06 Dances and Marches (Boskovsky) (6 CD, 563.23 MB)
* Vol 07 Piano Concertos (Brendel, Marriner) (12 CD, 1019.45 MB)
* Vol 08 Violin Concertos (Szeryng, Gibson a.o.) (4 CD, 366.23 MB)
* Vol 09 Wind Concertos (Marriner, Holliger) (5 CD, 361.37 MB)
* Vol 10 Quintets Quartets etc (St Martin in the Field's Chamber Ensemble) (3 CD, 247.12 MB)
* Vol 11 String Quintets (Grumiaux a.o.) (3 CD, 233.2 MB)
* Vol 12 String Quartets (Quartetto Italiano) (8 CD, 652.99 MB)
* Vol 13 String duos and trios (Grumiaux trio a.o.) (2 CD, 182.84 MB)
* Vol 14 Piano quintets Quartets Trios (Beaux Arts Trio) (5 CD, 364.88 MB)
* Vol 15 Violin sonatas (Grumiaux a.o.) (7 CD, 620.24 MB)
* Vol 16 Music for 2 pianos & piano duets (Haebler, Hoffman a.o.) (2 CD, 200.74 MB)
* Vol 17 Piano Sonatas (Uchida) (5 CD, 360.35 MB)
* Vol 18 Piano variations, Rondos etc (Haebler, Uchida, Koopman) (5 CD, 358.6 MB)
* Vol 19 Missae and Requiem (Davis, Gardiner a.o.) (9 CD, 661.73 MB)
* Vol 20 Litanies and vespers (Kegel, Davis) (5 CD, 473.06 MB)
* Vol 21 Organ sonatas & solos (Chorzempa a.o.) (2 CD, 157.52 MB)
* Vol 22 Oratorios, Cantatas and Masonic Music (Hager, Marriner, Schreier) (6 CD, 489.01 MB)
* Vol 23 Arias, vocal ensembles and canons (Hager, Marriner, Bohm a.o.) (8 CD, 771.7 MB)
* Vol 24 Lieder and notturni (Amerling, van der Bilt a.o.) (2 CD, 129.26 MB)
* Vol 25 Theatre and ballet music (Klee, Marriner, Zinman) (2 CD, 188.39 MB)
* Vol 26 Apollo et Hyacinthus (Augar, Rolfe-Johnson a.o. cond Hager) (2 CD, 115.92 MB)
* Vol 27 Bastien und Bastienne (Orieschnig, Nigl, Busch cond Harrer) (1 CD, 74.49 MB)
* Vol 28 La Finta Semplice (Hendricks, Lorenz a.o. cond Schreier) (2 CD, 211.8 MB)
* Vol 29 Mitridate, Re di Ponto (Hollweg, Augèr, Gruberova a.o. cond Hager) (3 CD, 269.44 MB)
* Vol 30 Ascanio in Alba (Sukis, Baltsa a.o. cond Hager) (3 CD, 226.94 MB)
* Vol 31 Il Sogno di Scipione (Schreier, Popp, Gruberova a.o. cond Hager) (2 CD, 156.85 MB)
* Vol 32 Lucio Silla (Schreier, Augar, Varady a.o. cond Hager) (3 CD, 294.78 MB)
* Vol 33 La finta giardiniera (di Cesare, Conwell, Moser a.o. cond Hager) (3 CD, 282.5 MB)
* Vol 34 Die Gartnerin aus Liebe (Unger, Donath, Norman a.o. cond Schmidt-Isserstedt) (3 CD, 251.25 MB)
* Vol 35 Il Re Pastore (Hadley, McNair, Blasi a.o. cond Marriner) (2 CD, 147.46 MB)
* Vol 36 Zaide (Mathis, Schreier a.o. cond Klee)& Der Schauspieldirektor (Grant, Cotrubas a.o. cond Davis) (2 CD, 161.34 MB)
* Vol 37 Idomeneo (Araiza, Hendricks a.o. cond Davis) (3 CD, 301.07 MB)
* Vol 38 Die Entfuhrung aus dem Serail (Jurgens, Eda-Pierre a.o. cond Davis) (2 CD, 176.52 MB)
* Vol 39 L'oca del Cairo (Fischer-Dieskau, Wiens a.o. cond Schreier) & Lo sposo deluso (Grant, Palmer a.o. cond Davis) (1 CD, 90.45 MB)
* Vol 40 Le nozze di Figaro (Wixell, Norman, Freni a.o. cond Davis) (3 CD, 242.21 MB)
* Vol 41 Don Giovanni (Wixell, Arroyo, Te Kanawa a.o. cond Davis) (3 CD, 225.95 MB)
* Vol 42 Cosi fan tutti (Caballè, Gedda, Cotrubas a.o. cond Davis) (3 CD, 250.5 MB)
* Vol 43 Die Zauberflote (Moll, Schreier, Price a.o. cond Davis) (3 CD, 217.99 MB)
* Vol 44 La Clemenza di Tito (Burrows, Baker, Popp a.o. cond Davis) (2 CD, 177.26 MB)
* Vol 45 Rarities and surprises (Davis, Marriner, Schreier, Sillito) (3 CD, 214.22 MB)

Clement Janequin - La Chasse et Autres Chansons

25 tracks - MP3 192 Kbps - RAR 92Mb


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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]

tracklist:


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

Franz Joseph Haydn - deLirium

15 tracks - MP3 192 Kbps - RAR 129Mb


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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.

Contents:

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

baryton

Etienne-Nicholas Méhul - Overtures

9 tracks - MP3 192 Kbps - RAR 122Mb


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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.

Tracklist:


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

Wikipedia:

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

Shakespeare Songs

19 tracks - MP3 192 Kbps - RAR 57 Mb


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Tracklist:

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.

Johann Rosenmuller - Sonate da Camera e Sinfonie

7 tracks - MP3 192 Kbps - RAR 91 Mb


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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

contents:


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

Hesperion XX 
dir. Jordi Savall

O Canto da Sibila

11 tracks - MP3 192 Kbps - RAR 63 Mb


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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.

Tracklist:


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)

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

15 tracks | MP3 192 Kbps | RAR 88Mb

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Contents:


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)

Johann Sebastian Bach - The Secret of the Semitones

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Players of the modern harp may look with trepidation on anything with 'chromatic' in its title and velocity on the agenda, imagining a need for a third foot - and for all three to be hyperactive. But the baroque double harp which Lawrence-King uses here has no pedals; there are separate strings for every note, but their selection calls for skill and speed, talents he has in abundance. Nor does he lack any other of the attributes needed to approach such a demanding programme. His view of the Chromatic Fantasia is contemplative rather than dramatized, occupying 10'32'' (par for the keyboard course is six or seven minutes) and in his annotation he rightly refers to the harp-like textures in which it abounds. Given its success it is a pity he severed it from its companion Fugue but doubtless he had his own good (perhaps technical) reasons. Technical reasons may also account for the changes of key for BWV997 (C minor to D minor) and BWV1004 (D minor to A minor), which should disturb no one.The convincing flexibility of his phrasing is superimposed on the beat of the metronome that ticks in his head, giving eloquent humanity to the music, and his fingers respond faithfully to dynamic detail such as the differentiation of appoggiaturas from their resolutions. He is adept, too, at embellishing repeats - and not just by adding the odd ornament here and there. The performance of the famous Chaconne is leisurely but majestic (17'36''), with minor but logical additions to the score, though the sudden piano at 8'17'', debatably anticipating the following variation, may raise some eyebrows - as it did mine. If Bach is listening to this recording he probably has an approving smile on his face. Need I say more?

contents:


Chromatic Fantasia and Fugue in D minor, BWV 903 
Suite for Lute in C minor, BWV 997
 Fantasia in A minor, BWV 944 
Partita for Violin solo no 2 in D minor, BWV 1004
Ciaccona

Andrew Lawrence-King (Harp)

J.S.Bach - Actus Tragicus

28 tracks - MP3 192 Kbps - RAR 102 Mb


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When Joshua Rifkin introduced his thesis that Bach composed most of his choral works for only one singer per part, he used the Mass in B Minor as his demonstration piece--in part, no doubt, for maximum shock effect. Since then, Rifkin's theory has made the greatest headway with performances of Bach's early cantatas--those he wrote before arriving in Leipzig in 1723. Even Christ lag in Todesbanden and the Actus tragicus, both considered canonic works of the choral literature, have benefited from fine single-voice recordings by groups such as the Taverner Consort and the American Bach Soloists. Now along comes Cantus Cölln and outdoes them all.

contents:


Christ lag in Todes Banden BWV 4
Gottes Zeit ist die allerbeste Zeit (Actus tragicus) BWV 106
Der Herr denket an uns BWV 196
Weinen, Klagen, Sorgen, Zagen BWV 12




Cantus Cölln
dir. Konrad Junghänel

Alfonso X - Cantigas de Viola de Rueda

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Tracklist:


1. Cantiga de Santa María 68, A Groriosa grandes faz
2. Cantiga de Santa María 77, Da que Deus mamou o leite do seu peito
3. Cantiga de Santa María 61, Fol é que cuida que non poderia
4. Cantiga de Santa María 327, Porque ben Santa María sabe os seus dões dar
5. Cantiga de Santa María 74, Quen Santa María quiser deffender
6. Cantiga de Santa María 92, Santa María poder á
7. Cantiga de Santa María 81, Par Deus, tal sennor muito val
8. Cantiga de Santa María 407, Como o demo cofonder
9. Cantiga de Santa María 91, A Virgen nos d´ saud' e tolle mal
10. Cantiga de Santa María 259, Santa María punna d' aviir
11. Cantiga de Santa María 71, Se muito non amamos. Gran sandeçe fazemos
12. Cantiga de Santa María 76, Quenas sas figuras da Virgen partir
13. Cantiga de Santa María 62, Santa María sempr' os seus ajuda
14. Cantiga de Santa María 72, Quen diz mal




Musica Antiqua Ensemble, Luis Delgado
Conducted by Eduardo Paniagua

Consort of Musicke by Byrd and Gibbons

9 tracks - MP3 192 Kbps - RAR 74 Mb


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I know, pianos were not there when these musics were delighting people's ears all around Europe, still I think this record is worth a try. Glenn Gould was a sheer universal genius: here each voice of these splendid poliphonics is so perfectly clear that I think this record should be used in classrooms too.

Tracklist:


William Byrd - First Pavan and Gaillard
Orlando Gibbons - Fantasy in C major
Orlando Gibbons - Allemande (Italian Ground)
William Byrd - Hughe Ashton's Ground
William Byrd - Sixth Pavan and Gaillard
Orlando Gibbons - ''Lord of Salisbury'' Pavan and Gaillard
William Byrd - A Voluntary
William Byrd - Sellinger's Round
Jan Peterszoon Sweelink - Fantasia in D (Fantasia Cromatica)


Glenn Gould, piano