Psaumes et Chansons de la Réforme

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The French Reformation yielded a large, distinguished and (most of all) varied body of music to suit the new requirements of the Protestant faith, ranging from simple, chorale-like Psalm settings (in Clement Marot’s beautiful translations into the vernacular) to more complex polyphony setting moralising texts. It also takes in well-known secular songs whose texts have been suitably adapted to suit a sacred purpose. (The juxtaposition of the old and new versions is particularly amusing, since the ensemble has already recorded most of those chosen here using original texts: so, for instance, Lassus’s Quant mon mari vient de dehors becomes Quant mon mari s’en va dehors, and the unhappily married young woman is transformed into a devoted and devout housewife.)

It is good that an ensemble of this calibre takes up the cause of this music, so much of it very fine, but which is all too often identified solely with its provenance. The Janequins sing with a fervour and seriousness that may surprise those who associate them with their more theatrical or scurrilous repertories; and it goes without saying that enacting the text remains a central concern. As so often on the group’s most recent recordings, the contribution of the instrumentalists (though more understated than on their previous, Gramophone Award-winning disc of Spanish secular music – Harmonia Mundi, 4/98) is telling and effective, their solo interventions cleansing the ear with welcome regularity.

That brings me to another striking aspect of this disc, the effectiveness of its programming: clearly sectionalised yet varied, generous yet well balanced, it seldom allows the attention to flag (though a couple of the settings of the humourless, heavy-handed Octonaires de la vanite du monde seem to lack the impetus so richly in evidence elsewhere). One gets the impression that only lack of space prevented Visse from mining the repertory further still: at 79 minutes, this is indeed a generous offering, and not to be missed.

contents:

1. Paschal de Lestocart - Reveillez Vous Chacun Fidele

2. Claude Le Jeune - Du Fond De Ma Pensee

3. Nicolas Vallet - Onse Vader Ins Hemelryck

4. Claude Goudimel - Apres Avoir Constamment Attendu

5. Paschal de Lestocart - Estans Assis Aux Rives Aquatiques

6. Clément Janequin - Dont Vient Cela

7. Clément Janequin - Mon Dieu Me Paist

8. Clément Janequin - Jusques A Quand

9. Clément Janequin - Veu Que Du Tout

10. Pierre Certon - O Bienheureux Celuy

11. Loys Bourgeois - Las, En Ta Fureur Aigue

12. Claude Goudimel - Estans Assis Aux Rives Aquatiques

13. Roland de Lassus - Quand Mon Mar S'en Va Dehors

14. Roland de Lassus - J'ayme Mon Diue

15. Roland de Lassus - Fuyons Des Vices Le Jeu

16. Claudin De Sermisy - Tant Que Vivray En Aege Florisant

17. Eustache du Caurroy - Dix-Huictieme Fantaisie

18. Benedictus Appenzeller - Du Fons De Ma Pensee

19. Claude Le Jeune - O Dieu, Je N'ay Dieu Fors Que Toy

20. Claude Le Jeune - Helas Mon Dieu

21. Eustache du Caurroy - Vingtieme Fantaisie Sur Le Ps.

22. Nicolas Vallet - A Ton Bras Droit

23. Eustache du Caurroy - Dix-Septieme Fantasie

24. Eustache du Caurroy - Octonaires De La Vanite Et Inconstance Du Monde

25. Paschal de Lestocart - Je Vis Un Jour

26. Paschal de Lestocart - Celuy Qui Pense Pouvoir

27. Paschal de Lestocart - Ou Est La Mort? 

Ensemble Clement Janequin

Reel of Tulloch: Baroque Music Scotland & Ireland

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In addition to their own consistently rich, sincere sound, Chatham Baroque does wonderful things with guest artists, creating different lush soundscapes with each release. This time the guest artist is Chris Norman, master of the wooden flute and member of such other ensembles as the Baltimore Consort and Helicon. The result of the collaboration is a jaunty yet elegant blend of the Italian and native folk styles popular in 17th century Scotland. This kind music is a perfect showcase for the soulful violin (or should I say fiddle?) playing of Julie Andrijeski and Emily Davidson, as well as Norman's wooden flute, which weaves and slides its way around a melody as well as any tin whistle and with more depth of tone. Patricia Halverson's gamba, and no less than three stringed instruments of Scott Pauley (theorbo, Baroque quitar and archlute), fit in seamlessly--gentle and grounding in the more Italianate pieces, lively and spirited in the folksier numbers. This breezy, cheerful CD should charm fans of classical and Celtic music alike. For an equally enjoyable recording with some similar qualities, try the Palladian Ensemble's "Held By the Ears," which also celebrates a fusion of traditional Scottish music with the high styles of the Baroque. 

Brianna Neal (Amazon customer)

contents:

Reel of Tulloch (arr. C. Norman)

James Oswald - Sonata of Scots Tunes

Francesco Geminiani - Sonata in D Major, "Bush aboon Traquiar"

Carden's Welcome (arr. C. Norman)

James Oswald - Serenata No. 5 in D Minor

William McGibbon - Sonata No. 5 in G Major "In Imitation of Corelli"

When se came in she bobbed (arr. C. Norman)

Mild Mabel Kelly  (arr. C. Norman)

Daniel Kelly (arr. C. Norman)

Castle Kelly (arr. C. Norman)

Captain Kelly (arr. C. Norman)

Through the Wood, Laudie

Thomas Baltzar - Prelude

Thomas Baltzar - John Come Kiss Me Now (arr. J. Andrijeski)

Chris Norman, Guest, Wooden Flute

Chatham Baroque

Julie Andrijeski, Violin

Emily Davidson, Violin

Patricia Halverson, Viola da Gamba

Scott Pauley, Theorbo & Baroque Guitar

Antonio Vivaldi - Concerti furiosi

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"Vivaldi is very much overestimated, a boring man who could compose one and the same concerto six hundred times running" Igor Stravinsky.

With all due respect, you are very, very wrong, Mr. Stravinsky

contents:

Sinfonia RV116

Oboe Concerto in A minor, RV461

Concerto for strings RV 156 in G minor

Concerto for Violin & Viola all''inglese, 'La maggiore' RV546

Concerto for strings No. 2, RV 133

Violin Concerto, Op. 8 No. 9 in D minor, RV236

Concerto for Strings in F major, RV 138

La Folia Barockorchester

dir. Robin Peter Müller

Danses des bergers, danses des loups

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Traditional music from the heart of France.

«C'est sous un nom délicieusement évocateur que se place ce disque ouvert à la rêverie musicale et aux longues évocations soufflées. […] Une perle de plus à la collection "Les chants de la terre".» Journal du CMTRA

«François Lazarevitch est devenu en quelques années une référence, et ce quelle que soit la cornemuse (musette, chabrette, cabrette…). […] François Lazarevitch a indéniablement assimilé l'essence vitale de nos musiques du « Cœur » de la France comme il aime à le dire. […] Un CD incontournable et essentiel.» Trad Mag • Bravo Trad Mag • Thierry Laplaud

«Quinze danses populaires du Berry, de la Creuse et de l'Auvergne plongent l'auditeur dans un univers hors du temps, tout en donnant une farouche envie de danser. L'interprétation des Musiciens de Saint-Julien, fruit d'évidentes recherches musicologiques, est remarquable par sa vivacité, sa couleur sonore et sa vigueur rythmique.» L'éducation musicale n°531/532, mars/avril 2006

contents:

1. J'ai vu le loup
2. Les amoureux impatients - Un jour de Pentecôte - À la table au cabaret
3. Dis-moi la belle - C'était une bergeronnette - Un beau matin - Derrière chez nou
4. Et l'autre jour - Para lo lop - Ont anarem gardar
5. Novissima - Lou Missiounairi - Nadalet - Dialogue entre les vivants et les damnés
6. Crese d'ober plo rencountrat - Bourrée en coulé - Ieu n'ai cinc sous
7. L'Ajassone - Bonjour Françoise
8. Polka de Le Quartier
9. Je mène les loups - En passant la rivière - Quand j'étais chez mon père - Bourrée de Chapdes Beaufort - Para lou lou
10. Viro lo loups - La gueule du loup - La queue du loup - La dent du loup
11. Bergère, ma bergère - C'était une bergère
12. Grande - Marche nuptiale de Bouscatel
13. Bourrées: Ai vist lo lop
14. Prélude - Bourrée de Lauchaud - Bourrée du Trech
15. Polkas piquées

Les Musiciens de Saint-Julien
dir. François Lazarevitch

 

Cyrano de Bergerac - L'Autre Monde

(spoken word, plus music)

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The text recorded here is based on the manuscript that was published in Paris in the twentieth century, rather than on the first edition of 1657, in which many of the expressions and ideas had been toned down. Alpha felt that music was essential to complement the text: indeed, music and language have much in common. The novel is combined with other works, instrumental pieces and composers, that were capable of conversing with Cyrano through their unusualness or drollery, their boldness or their melancholy.

Musical Selections Include:

Dufaut: Preludes & Sarabandes
Sainte Colombe: Les Couplets I-II & Sarabande
Playford: Lady Catherine Ogle & Kemp's Jig
Hotman: Bourrée I & II
Dubuisson: Sarabande, Preludes & Allemandes
Kapsperger: Colascione, Canario & Toccata Arpeggiata
Marais: 2 Musettes
Ortiz: Recercada Quarta
Manuscrit Vaudry de Saizenay: Prelude

Benjamin Lazar et l'ensemble la Rêveuse:
Florence Bolton (Dessus et basse de viole)
Benjamin Perrot (Théorbe, guitare et luth baroques)

-------------------------------------------------

DETAILS:

(La déclamation du roman est entrecoupée de pièces instrumentales.)

CD 1 - Première partie

1. Lune rousse / Sur le chemin de Paris / Discussion pointue
2. Le livre de Cardan / Les deux vieillards / François Dufaut (av.1604-av.1672) : Prélude
3. Boutades de fièvres chaudes / Un si beau voyage
4. Monsieur de Sainte-Colombe (?-av.1701) : Les Couplets *
5. Les fioles de rosée / Premier envol
6. Mystère / Les Sauvages / Gazouillement enroué
7. Les Soldats - Le Gouverneur - Conclusions coperniciennes
8. John Playford (1623-1686) : Lady Catherine Ogle, a new dance **
9. Entretien avec Monsieur de Montmagnie / Un beau paradoxe
10. Planètes et étoiles
11. Nouveau dessein de monter à la Lune / Mr de Sainte-Colombe : Les Couplets *
12. Saint-Jean / La machine / La culbute
13. Mœlle de bœuf et essence cordiale / La machine a disparu
14. La place de Québec / Le feu de la Saint-Jean / Second envol / John Playford : Kemp's Jig**
15. Entre terre et lune - Premiers pas
16. François Dufaut : Prélude ***
17. Première rencontre / Ville / À quatre pattes / La femelle du petit animal de la Reine
18. Chez le bateleur / Animal de foire / Nicolas Hotman (?-1663) : Bourrée ****
19. Le Démon de Socrate
20. Lémures, farfadets, nayades,… / Prélude de théorbe (improvisation)
21. Origine et nature du démon de Socrate
22. Nicolas Hotman (?-1663) : Bourrée ****
23. Les deux idiomes / Le langage des Grands
24. Jean Lacquemant dit Dubuisson (v.1622-1681) : Sarabande ****
25. Le langage du Peuple
26. Giovanni Girolamo Kapsperger (v.1580-1651) : Colascione ***
27. Enlèvement / Enchantement ? / Explication
28. Salle à manger / Nudité / Colère
29. Repas de fumées / Marin Marais (1656-1728) : Musette
30. Les lits du pays / Les chandelles de la Lune / Chatouillements / Sommeil
31. « La Belle en Deuil », sonnet de Tristan Lhermite (1601-1655) / Jean Lacquemant dit Dubuisson : Prélude

CD 2 - Deuxième partie

1. François Dufaut (av.1604-av.1672) : Sarabande
2. Départ de l’auberge / La monnaie du pays / Chez le Roy
3. La troupe de singes / L’Espagnol / Ordre royal / Raison du voyage de l’Espagnol
4. Diego Ortiz (v.1510-v.1570) : Recercada Quarta
5. Renommée des bêtes du Roi / Rudiments de langage lunaire / Les prêtres du pays / En cage / L’oiseleur de la reine / Les filles de la reine / Cloches et reliques
6. Une Jeune Fillette (Improvisation)
7. Les livres de la Lune
8. Anonyme (Manuscrit Vaudry de Saizenay, 2e moitié 17e s.) : Prélude
9. Procès / Harangue du procureur / Un avocat imprévu
10. Sentence royale / Dédit public
11. Jean Lacquemant dit Dubuisson : Allemande ****
12. Réapparition du Démon / Cheminée / Mise en garde
13. Nouveau repas de fumées / Mœurs alimentaires du vieux philosophe / Marin Marais : Musette
14. Apologie du chou
15. François Dufaut : Sarabande
16. Le jeune hôte / Le respect dû aux Jeunes / La longue et noire maison
17. Monsieur de Sainte-Colombe : Sarabande ****
18. Fin du repas / Au jardin / Discussion avec le jeune hôte au jardin / Immortalité & résurrection
19. Réponse du jeune hôte / La preuve par le Mahométan / Négation de D.
20. L’Éthiopien / Envol par la cheminée / L’Etna
21. Arrivée en Italie / Giovanni Girolamo Kapsperger : Canario
22. Tous les chiens du Royaume / Odeur de Lune / Remède / Embarquement / Souvenirs & réflexions
23. Giovanni Girolamo Kapsberger : Toccata Arpeggiata ***

Benjamin Lazar, déclamation baroque
Benjamin Perrot, théorbe, luth & guitare baroque
Florence Bolton, dessus & basse de viole

* Partie de seconde viole arrangée pour théorbe par Benjamin Perrot

** Harmonisé par Benjamin Perrot

*** Partie de basse de viole ajoutée par Florence Bolton

**** Partie de basse de viole ajoutée par Benjamin Perrot

O Lusitano (Gerard Lesne & Circa 1500)

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It is salutory, in Columbus year, to have a musical memento in honour of the great maritime achievements and discoveries of the Portuguese while at the same time drawing a little explored corner of the repertory to a wider public. This is clearly the aim of Circa 1500's new release "0 Lusitano". The title refers in general terms to all matters Portuguese, but it also has a more direct resonance in the refrain of possibly the most interesting song on the recording, the anonymous Puestos estan frente a frente. This highly dramatic lament for King Sebastian, "El Lusitano", who was killed in battle against the Moroccan army in 1578, encapsulates the strengths of this disc: Gerard Lesne's clear, controlled but expressive singing--in this item in an appropriately declamatory vein—with a vital and varied accompaniment from Circa 1500 in a simple but effective piece which marks a precise moment in Portuguese history. Not all the other numbers on this recording have this degree of relevance to the intended theme, nor are they all quite so successfully rendered.

Only a very few songs with Portuguese texts survive; even an occasional piece, of great significance to the Portuguese, like Puesto.s es/an frenle a frente is in Castilian, the dominant language, courtly and cultural, for most of the period. So it is perfectly valid to include songs in Castilian by Portuguese composers, or those which would have been known in Portuguese court circles. As if to avoid too much Castilian-texted music, however, Circa 1500 perform many of these songs as purely instrumental versions. No doubt this also reflects the usual orientation of the ensemble, but I for one could easily have taken more from Lesne. Not that the instruments are not superbly played and often imaginatively used. Erin Headley's lirone accompaniment to Senhora del tnundo is a particularly fine example. At times, however, I find there is almost too much 'colour', the combinations of instruments chopping and changing to the extent that the element of 'scoring' achieves undue prominence. Funnily enough, this seems to be a reflection of the old-fashioned concern of early music groups to give every member their turn rather than putting the demands of the music first. Andrew Lawrence-King certainly gets his turn in the most extended (by about six minutes) piece of the recording, a lien/a for harp by Manuel Rodrigues Coetilo. Again, this is played extremely well on a richly resonant instrument (about which, sadly, no information is given in the accompanying booklet—has the sense of discovery of the early early music revival been lost already?), so it seems unfair to quibble. Perhaps the most important thing is that here many fine pieces are presented for the first time in high quality performances. J particularly relished hearing Alonso Mudarra's arrangement for voice and instrumental accompaniment of Pedro de Escobar's fourvoice motet Clamabat autem mulier, and I'm sure you will also find much to enjoy.   -- Gramophone [9/1992]

contents:

1 - La Folia
2 - Dos Estrellas La Siguen Machado
3 - Ja Nao Podeis Ser Contentes
4 - Perdi A Esperance
5 - Cuydados Meus Tao Cuidados
6 - Testao Minha Ventura
7 - Porque Me Nao Ves Joana
8 - Fant Fuenllana
9 - Clamabat Autem Mulier
10 - Pavan & Galliard D'Alexandra
11 - Secaronme Los Pesares
12 - Ninha Era La Infanta
13 - Vos Senora A Maltratarme
14 - Mis Ojos Tristes Ihorando
15 - Gran Plaser Siento Yo Ya
16 - Pasame Por Dios Barquero
17 - Tantum Ergo Sacramentum
18 - Tiento Para Arpa
19 - Senhora Del Mundo
20 - Nao Tragais Borzeguis Pretos
21 - Paso A Paso, Empenos Mios Machado
22 - Yo Sonhava Que Ma Ablava
23 - Puestos Estan Frente A Frente  

Gérard Lesne (Alto)

Ensemble Circa 1500
dir. Nancy Hadden

Colors

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La Rencontre de ces quatre musiciens

Gérard Lesne, Bruno Angelini, Jean Philippe Viret, Ramon Lopez, quatre musiciens quadragénaires, lassés des carcans, célèbrent l'éclectisme pour faire valser les étiquettes. Du mépris au respect, de la défiance à l'attirance, de l'ignorance au partage, c'est presque un siècle qu'il aura fallu pour accepter de marier le talent des uns et des autres. Ici, ce n'est pas de jazz et de java qu'il est question, mais plutôt de mémoire et d'improvisation. Mémoire, cette mémoire commune qui nous rappelle qu'adolescents, on écoutait les mêmes musiques, à savoir tout et n'importe quoi. L'improvisation, cette liberté d'être et de jouer ce que l'on est aujourd'hui. Gérard Lesne aime Monteverdi, il aime également Pink Floyd, Massive Attack et Miles Davis; Bruno Angelini aime Miles Davis, il aime également Olivier Messiaen, Caetano Veloso et Steve Reich; Ramon Lopez aime Steve Reich, il aime également Camarón, Ali Akbar Khan et John Coltrane; Jean Philippe Viret aime John Coltrane, il aime également Tom Jobim, Debussy et... Monteverdi. Jean Philippe Viret.

Genèse du projet

À l'origine étaient les thèmes, inspirés évocateurs, puis s'imposèrent les couleurs, primaires, secondaires, chaudes ou froides, puis, comme une évidence, les tableaux ont prix leur place dans cette alchimie improbable, les mots mis ensemble, haikus d'aujourd'hui, sous forme de petits cadavres exquis sont devenus les compagnons inséparables des mélodies de Bruno et Jean-Philippe, merci à toi Ramon pour ta poésie rythmique. Gérard Lesne

contents:

 Grey

Green

Yellow

White

Brown

Orange

Purple

Red

Blue

Cream

 

Gérard Lesne, voix

Bruno Angelini, piano

Jean-Philippe Viret, contre-basse

Ramon Lopez, batterie, tabla, cajon et percussions

Codex Chantilly. Ballades et Rondeaux

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The composers of the Codex Chantilly called their music "ars subtilior" -- a more subtle art. They were right; no music has ever been more complex rhythmically, more experimental harmonically, or more nuanced in its poetic texts, which include the first song about "smoke intoxication" in the European canon. Very few performers have the technical command of this repertoire to make it enjoyable for a modern listener, but Ensemble Organum succeeds by way of tonal conviction and polyrhythmic precision.

contents:

1. Se Galaas Et Le Puissant Artus
2. Dieux Gart
3. Sans Joie Avoir
4. Or Voit Tout
5. Toute Clerte
6. Tout Par Compas
7. Belle, Bonne, Sage
8. En Nul Estat
9. La Harpe De Mellodie
10. Fumeux Fume Par Fumee
11. Armes, Amours
12. Adieu Vous Di

Ensemble Organum

 

Chabanceau de la Barre - Airs de Cour

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Henri Ledroit signe ici l'un de ses meilleurs enregistrements, digne de son récital Luigi Rossi chez le même éditeur. Au premier abord, l'irruption de ce contre-ténor aux pays des lys est musicologiquement très discutable, puisque l'on sait que les Français étaient partisans des "voix naturelles". Toutefois, si Henri Ledroit utilise beaucoup sa voix de tête, il n'en oublie pas pour autant sa voix de poitrine, et l'appellation haute-contre de la jaquette n'est donc pas entièrement usurpée.
Ce point technique éliminé, l'occasion est trop belle de découvrir 14 des 18 airs contenus dans le recueil d' "Airs à deux parties avec les seconds couplets en diminutions" publié chez l'inévitable Ballard en 1669. Chabanceau de la Barre n'a pas la plume aussi savante que Michel Lambert ou Sébastien Le Camus et ses airs de cour demeurent très directs voire dépouillés, en dépit des ornements : on croirait parfois entendre du Blow, Campion voire Purcell, avec cette languissante mélancolie si poétique. Henri Ledroit s'y montre d'une touchante fragilité, sans cesse sur le fil du rasoir, entre soupirs et murmures. Certains s'offusqueront tout de même d'une technique très personnelle, d'un vibratello constant (un peu comme Paul Esswood), d'une ligne de chant floue. Mais ce chant d'une grande spontanéité - où les diminutions accusent  parfois quelques approximations qu'on pardonnera aisément devant tant d'émotion et de grâce - possède un indéniable charme difficilement explicable. "L'aymable Iris", "Si c'est un bien que l'espérance", "Forest solitaires et sombres" frisent le sublime.
Ce magnifique enregistrement s'impose d'autant plus facilement que son seul concurrent est l'intégrale de Stephan Van Dyck accompagné de Stephen Stubb (Ricercar), qui souffre d'un français restitué irritant et d'une approche beaucoup plus superficielle et maniérée. En revanche, on déplorera la mise en page du livret - écrit en police 8 voire moins dans des caractères hérités des machines à écrire de la RDA - mais les très complètes notes sont rédigées par Philippe Beaussant, tandis que l'intégralité des textes est présente. Saluons donc l'intégrité artistique et le marketing déplorable de Solstice!

contents:

1 - Un feu naissant
2  - L'aymable Iris
3 - Si c'est un bien   
4 - Plus je pense   
5 - De quoi me sert
6  - Il faut aymer
7 - Ah! Je sens que mon cœur...
8 - J'avais juré
9 - Forests solitaires
10 - Depuis quinze
11 - Petit ruisseau
12 - Quand une âme
13 - Quand on vous dit
14 - Français, soyez tous réjouis

Henri Ledroit

Matthias Später, Lute, Theorbo

Alla Napoletana - Suonare e Cantare

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This programme is structured around the figure of Gian Domenico del Giovane da Nola (1510-1592), organist and later master of the church of the Annunciation in Naples. In addition to a number of madrigals and motets, he left us one of the richest and most typical collections of "Canzoni Villanesche" (1545). These "Canzoni Villanesche" (or "Napolitane") were songs on popular themes, originally written for three voices in the Neapolitan dialect. The texts are characterised by their burlesque or erotic inspiration, usually containing metaphors, popular proverbs, malicious or saucy puns, distorted words and various types of comical or meaningless onomatopoeia. The programme is enriched by a selection of varied instrumental pieces, featuring not only instruments that were fashionable during the Renaissance (recorders, post horns, reed instruments, violas, luths, guitars, percussions and bagpipes), but also typical Neapolitan instruments as "colascioni, tammorri, tromba degli zingari"

This disc appears in the series Les chants de la terre (Songs of the Earth) from France's Alpha label, which has previously featured ethnomusicological items such as music associated with the tarantella dance. The instrumental and voice production on this thoroughly enjoyable disc suggest folk music as well -- the singers throatily belt out their songs, and the instrumental texture, dominated by percussion and the buzzing chalumeaux and cornamuse, has plenty of noise. Yet the music actually comes from published sources -- a songbook from Naples in 1537 and various later collections of instrumental dances. The songs are still pretty funny at a distance of nearly 500 years. The villanesca and mascherata (or mask song) are both simple strophic song types familiar to those who've heard Jordi Savall's groundbreaking recordings of semi-popular Renaissance secular vocal music, but the French group Suonare e Cantare gives them a good deal more of the lowdown than Savall does. Its rough style is entirely appropriate to the texts of the songs, which might be said to puncture (or prick, to use a term these authors might have selected) the conventions of the courtly love song with raunch. Most of them open with a conventional stanza or two, inquiring about a woman's disfavor or offering, say, fine goods or instruction in a dance. Things go downhill from there ("For they are spindles from a certain land -- the more you spin them, the more they stay taut"); footnotes explain some of the more obscure references. The songs are interspersed with instrumental pieces, and the program as a whole has a high pitch of energy. Suonare e Cantare is coming at the semi-popular component of Renaissance music not from the elite direction but from the streets, so to speak, and the results are convincing. The tradition explored here had echoes in the tradition of secular polyphony, and several of the pieces here (check out Lasso's O belle fusa, track 2) represent an effort on the part of the players to imagine how nonliterate musicians might have realized polyphonic music -- something that, although not terribly common, is known to have occurred. It's Lasso like you've never heard him before, but like you should hear him at least once, for this music nicely illustrates the popular underpinnigs of the new genres of the late sixteenth century.

contents:

1. Piva
2. O Belle Fusa
3. Tri Cechi Siamo
4. Madonna Voi Me Fare
5. Pavana La Morte Della Ragione
6. Madonna Tu Mi Fai Lo Scorruciato
7. Schiarazula Marazual
8. Cingari Simo
9. Moresca 4a Detta La Bergamasca
10. Chi La Gagliarda
11. Gagliarda La Lavandara
12. O Quant'amore T'ho Portato
13. Calata Alla Spagnola
14. Le Fave Ch'o Chiantate
15. Madonna Non E Piu Lo Tiemp'antico
16. Medici Nui Siamo
17. Piva
18. Saltarello De La Preditta
19. Boccuccia D'uno Persico Aperturo
20. La Paduana Del Rey
21. Una Lampuca Ho Visto
22. La Lavandara Gagliarda

Suonare e Cantare

Jean Gaillard, Francoise Enock, Francisco Orozco

 

Balbastre - Quatre Sonates

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Claude-Benigne Balbastre was a famed keyboard player who enjoyed much success in the salons and, among other things, invented a new harpsichord stop and a 'fortepiano organise', an instrument which allowed one to play the piano and the organ from the same keyboard.
The four sonatas on this disc were published in 1779 and are of the 'unaccompanied keyboard' type, which is to say they are essentially keyboard sonatas with more or less dispensable supporting parts for other instruments. It was a popular genre during the second half of the eighteenth century, especially in France where it was well suited to the demand for attractive, sociable music for amateurs to play. Often the accompaniment would comprise a violin or two and maybe a bass instrument, but Balbastre really pushes the boat out by including all of those plus ad lib parts for a pair of horns, and a charming and unusual combination it is too (though not, by the way, one unique to Balbastre). The keyboard instrument used here is a harpsichord, which seems right, even though the title-page offers the piano as an alternative; Balbastre was a protege of Rameau, and his style of keyboard writing owes more to the genteel rococo past than to the forward-looking, stormier piano style of some of his Parisian contemporaries.
The pieces themselves, like much French music of the time, are sweetly melodic with a delicious tendency towards touchingly tender minor-key melodies, and the performances here are thoroughly in keeping with the gently entertaining spirit of the music. Even if they are not always technically spot-on, they are happy additions to the catalogue of a company which is developing a welcome line in this kind of music.'  ---  Gramophone.co.uk

contents:

Quatuor No.4, Op. 3
Quatuor No.3, Op. 3
Quatuor No.1, Op. 3
Quatuor No.2, Op. 3

Le Concerto Rococo

Jean-Patrice Brosse, harpsichord
Nicolas Mazzoleni, violin
Roberto Crisafulli, violin
Pietr, Dombrecht, horn
Claude Maury, horn
Antoine Ladrette, cello

 

Carrefour De La Méditerranée

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Throughout its history, the Mediterranean on all its shores has been a region where ideas, inspiration, and beliefs were exchanged. From the 16th century, each kingdom and area acquired a more distinct cultural identity; music took the same route, yet always keeping something of a common heritage. The works performed on this disc reflect both this common heritage and the various forms of its lineage. They come from the Ottoman, Byzantine, Castilian, and Persian musical traditions. With the Greek ensemble En Chordais, Constantinople is back in this their fifth ATMA Classique release, both to rouse and to captivate.

“There is no better company to introduce one to these unique musical sensations and bouquets.” – Le Devoir

“Without hesitation, artists that deserve five stars.” – La Presse

“Their mission seems to be to make us dream. They take us on a voyage to another world.” – L’Actualité

contents:

1     Bouselik Pishref
2     Tí Aidonia Tis Anatolis
3     Housseyni Agir Semai

    Cantigas De Santa Maria
4     Sabor A Santa Maria
5     Pero Que Seja A Gente / Virgen Madre

    Codex Byzantine
6     Chant Byzantine
 
7     Cercles Migrants
8     Se Kainourgia Varka
9     Ariadni
10     Lamma Bada
11     Soultani Yegah Longa

Constantinople
Ensemble En Chordais

 

Magdalena Kozená - Lamento

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This is a collection of works by the Bach family--J.S., C.P.E., and J.C.--and includes a transcription by Johann Sebastian of a cantata by the Italian composer Francesco Conti (1682-1732). As the title suggests, these works all deal with grief; indeed, the first work, by J.C. Bach (1642-1703), "Ach, dass ich Wassers g'nug hätte," a plea by the singer to shed enough tears to have her sins forgiven, begins with the word "Ach" repeated four times. Kozena fills it with such understated sadness that it's unforgettable. In this work and throughout she sings with a legato that is flawless, tone that always finds the right dynamic for each word, and an ease of emission which makes her presentation of these works seem as natural as speech. The Conti cantata ends with a 90-second "Alleluja" that is ablaze with coloratura, and not a note is out of place; it is a nice contrast with the shadowy, lachrymose nature of the rest of the selections. Kozena's depth of feeling is matched by her ability to express it simply. Along with her colorful sound palette, she and conductor Reinhard Goebel and his Musica Antiqua Köln turn this disc in to a "must-have" for lovers of rare Baroque music and beautiful singing. --Robert Levine

"Magdalena Kozená has the looks to turn heads and a voice that has already melted some notably stony hearts . . . she will be one of the class vocal acts of the early 21st century."The Times (London), 2004

contents:

J. Christoph Bach: Ach, dass ich Wassers g'nug hätte
Conti: Languet anima mea
J.S. Bach: Vergnügte Ruh, beliebte Seelenlust Cantata, BWV 170
J.S. Bach: Cantata "Bekennen will ich seinen Namen" BWV 200 - 1. Aria
C.P.E. Bach: Selma, Wq. 236
J.C.F. Bach: Die Amerikanerin

Magdalena Kozená (Mezzo Soprano)

Musica Antiqua Koln
dir. Reinhard Goebel

 

C.Schaffrath - Six Sonatas

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Christoph Schaffrath was one of a group of composers who played an important role in the musical life of Berlin, at and around the court of Frederick the Great. Not much is known about Schaffrath before the 1730s. He was born in Hohenstein, but whether he came from a musical family or who his first teacher was is not known. In 1733 he applied for the position of organist at the Sophienkirche in Dresden, but was rejected – Wilhelm Friedemann Bach secured the post instead. The next year he entered the service of Frederick the Great, who was still Crown-Prince at that time. Frederick started his own chapel in Ruppin, which moved to Rheinsberg in 1736. With his accession to the throne in 1740 Schaffrath became harpsichordist in his chapel. But in 1741 he entered the service of Frederick's sister Anna Amalia. It seems this resulted in Schaffrath leaving the court, as his name does not appear in a list of musicians of the chapel from 1754.Anna Amalia's taste in music was rather conservative. She preferred the traditional German contrapuntal style over the modern fashion of her days which gave prominence to melody. Whether Schaffrath adapted his style of composing to her taste or the music on this disc is an expression of his own preferences is difficult to say. In Epoca Barocca's previous recording of music by Schaffrath (CPO 777 116-2) we hear music which is partly written in a more galant idiom. That is also the case with the six sonatas for keyboard opus 2 (recorded by Borbála Dobozy - Hungaroton HCD 32566). But on the other hand Ernst Ludwig Gerber, a writer of a lexicon on music, wrote that Schaffrath was "one of our most worthy contrapuntalists".Anyway, the sonatas which Epoca Barocca has recorded reflect the preferences of his employer. They stick to the baroque form of the trio sonata, although they are all written for two instruments. Of the six duets four are for obbligato harpsichord and a melody instrument. This kind of composition was first written by Johann Sebastian Bach, for keyboard with violin, transverse flute or viola da gamba. His son Carl Philipp Emanuel also composed pieces of this kind.The harpsichord usually takes the lead and starts most movements, with the violin, oboe or bassoon entering after a while, beginning by imitating the opening theme of the keyboard. Although these duets have conservative traits there are certainly modern elements. All are written in three movements, with the order slow-fast-fast, and they contain imitative passages as well as episodes in which the melody instrument plays in parallel motion with the upper voice of the harpsichord. Also reflecting the fashion of the time is the repetition of notes in the harpsichord, particularly in the second movement (allegro assai) of the Duetto in g minor.It is very likely that the keyboard parts of these duets were to be played by Christoph Schaffrath himself and therefore reflect his own brilliance as a keyboard player. In the liner-notes it is suggested that the second keyboard in the Duetto in C could have been written for Anna Amalia, who was a very good keyboard player herself. In this duet episodes for one of the keyboards alternate with passages in which the harpsichords join each other. But the duet never gets an 'orchestral' character, because when the harpsichords play together their bass parts are identical. This assures a great amount of transparency.A special kind of duet is the Duetto in d minor for two viole da gamba. There is no doubt that it was written for Ludwig Christian Hesse (1716 - 1772), who was the most skilled gambist in Germany at a time when in most parts of Europe the viola da gamba was on its way out of the music scene. This particular duet suggests that Hesse was sometimes actively involved in the composition of music for his instrument. The two parts have different staves, one of them written by Hesse - it includes detailed articulations - and the other by Schaffrath. It is a very nice piece with two parts of a quite different character.Epoca Barocca has a special preference for lesser-known repertoire. They have recorded chamber music by composers like Johann Friedrich Fasch, Johann Adolf Hasse, Johann David Heinichen and Giovanni Benedetti Platti. I have heard them all, and in my reviews I have always recommended them. This disc is no exception. Epoca Barocca delivers vivid and imaginative performances, and Christoph Lehmann is particularly impressive in his brilliant performance of the demanding keyboard parts. Christoph Anselm Noll is his congenial partner on the second harpsichord in the Duetto in C. Hartwig Groth and Jan Freiheit deliver an engaging interpretation of the duet for two viole da gamba.This is a highly enjoyable disc with first-rate music in fine performances.

Johan van Veen

contents:


Duetto in F minor for Bassoon & obliged Harpsichord
Duetto in D minor for 2 Viole da gamba
Duetto in B flat minor for Violin & obliged Harpsichord
Duetto in C major for 2 Harpichord
Duetto in B flat major for Oboe & obliged Harpichord
Duetto in G minor for Bassoon & obliged Harpsichord


Epoca Barocca

Alessandro Piqué, oboe
Sergio Azzolini, bassoon
Margarete Adorf, violin
Hartwig Groth, viola da gamba
Jan Freiheit, viola da gamba
Christoph Lehmann, harpsichord
Christoph Anselm Noll, harpsichord

W.A.Mozart - Requiem K.626

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The repertoire choices here seem curiously conservative, considering the course of Jordi Savall's career in recent years. The answer to that conundrum lies in the date of recording – 1991. Back then, Savall was a much more mainstream kind of period performance performer, so a disc of Mozart's Requiem would have seemed like a logical choice for him, especially given that the year marked the bicentenary of the composer's death.Even back then he was a radical, and what makes this recording prophetic is the relaxed way that the period performance conventions are applied. In the early 90s, there was still a lingering sense of academic earnestness about most period instrument performance, but Jordi Savall demonstrates the value of a light touch, which has since more or less become the convention. In the context of the Mozart Requiem, that sits uneasily with the gravity of the subject, although it serves to highlight the Classical elegance that is never far from the surface in Mozart's music. There are no super-fast tempos here, at least by period performance standards, the Rex tremendae is the only movement that seems a shade faster than comfortable. Subtle dynamics rather than rubato are used to shape the soloists phrases, and despite the almost playful atmosphere, closer listening reveals an impressive discipline in the tempos, balance and ornamentation.

contents:


Maurerische Trauermusik, K.477 (Ode funebre)
Requiem, K.626


La Cappella Reyal de Catalunya
Le Concert des Nations
dir. Jordi Savall