Handel · Mozart · Mosel - Timotheus oder die Gewalt der Musik

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This recording is of a concert that marked the bicentenary of the founding of the Gesellschaft der Musikfreunde in Vienna and reconstructed its opening performance, which featured several hundred musicians (professional and amateur) performing Mozart’s re-orchestration of Handel’s Alexander’s Feast – as Timotheus oder Die Gewalt der Musik – with some further touching up (such as the addition of a bass drum, and extra brass) by Franz Ignaz von Mosel, who changed the title to Timotheus and also conducted. Nikolaus Harnoncourt used the original orchestral parts in preparing this performance. A work praising the power of music was an obvious choice for the society’s opening concert, but it also had political overtones as the Austrian Empire’s musical proficiency was represented as a factor in the part it played in the defeats inflicted upon Napoleon that year.

contents:

W.A. Mozart: Timotheus oder die Gewalt der Musik KV 591

Große Kantate nach G.F. Händels "Das Alexander-Fest" HWV 75

Highlights

Roberta Invernizzi, soprano

Werner Güra, tenor

Gerald Finley, bass

Singverein der Gesellschaft der Musikfreunde in Wien

Concentus Musicus Wien

dir. Nikolaus Harnoncourt

Alessandro Stradella - La Susanna

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La Susanna, a late oratorio composed in Genoa in 1681, the year before the composer's death. La Susanna belongs to a popular 17th-century sub-genre termed oratorio erotico because it employed biblical stories concerned with love or the sensual aspect of women. It is typical of the kind of plot that might be used to attract an audience drawn to the prayer halls to be given Bible "instruction" in easily accessible form. The concept was a mark of counter-Reformation propaganda and stories such as those of Judith or Susanna were popular not only in music, but also literature and painting. Indeed, the cover of the present set is illustrated by a fine painting by Artemisia Gentileschi depicting the beautiful naked Susanna recoiling from the gaze of the two leering elders. The story, which appears in Chapter 13 of the Book of Daniel, goes on to relate how the elders (judges in the oratorio), foiled in their attempted rape of Susanna as she bathed, accuse the virtuous wife of adultery. Her death is averted only by the arrival of the young prophet Daniel, whose questioning of the judges reveals discrepancies in their stories, thus proving Susanna's innocence. The outcome therefore sends the congregation away with a dual moral ringing in their ears: evil lustfulness and perjury will both be punished. The mostly brief vocal numbers are distinguished by a formal variety that includes through-composed arias in addition to those in AB form, da capos, and a number of duets and trios, the last of which features some ravishing madrigalian writing for the disgraced judges and the exonerated Susanna. The score as a whole is indeed full of beautiful ideas illuminated by Stradella's supreme mastery of counterpoint.

Artemisia Gentileschi - Susanna e i vecchioni (1610 c.) 

contents:

Sinfonia avanti l'oratorio

Recitativo (Testo)

Nr.1 Choro à tre

Recitativo (Testo)

Nr.2 Aria (Testo)

Recitativo (Testo)

Nr.3 Aria (Giudici I)

Recitativo (Giudici I e II)

Recitativo (Giudici I)

Nr.5 Duetto (Giudici I e II)

Recitativo (Giudici I)

Recitativo (Giudici I)

Nr.6 Aria (Giudici I)

Recitativo (Giudici I e II)

Recitativo (Testo)

Nr.7 Choro à tre

Recitativo (Testo)

Nr.8 Aria (Susanna)

Nr.9 Aria (Susanna)

Recitativo (Susanna)

Nr.10 Aria (Susanna)

Recitativo (Testo)

Nr.11 Aria (Testo)

Recitativo (Testo)

Nr.12 Duetto (Giudici I e II)

Recitativo (Susanna)

Nr.13 Duetto (Arioso) (Giudici I e II)

Recitativo (Susanna, Giudici I e II)

Recitativo (Testo)

Nr.14 Choro à cinque

Nr.15 Aria (Testo)

Recitativo (Testo)

Nr.16 Aria (Susanna)Recitativo (Susanna)

Nr.17 Aria (Susanna)

Recitativo (Testo)

Recitativo (Giudici I)

Nr.18 Duetto (Giudici I e II)

Recitativo (Testo)

Nr.19 Aria (Susanna)

Recitativo (Susanna)

Recitativo (Testo)

Recitativo (Daniele)

Nr.20 Aria (Daniele)

Recitativo (Daniele)

Recitativo (Testo)

Nr.21 Aria (Daniele)

Recitativo (Daniele e Guidice I)

Nr.22 Aria (Daniele)

Recitativo (Daniele e Guidice II)

Recitativo (Testo)

Nr.23 à tre (Daniele e due Giudici)

Recitativo (Giudici I)

Recitativo (Testo)

Nr.24 Choro à tre

Nr.25 Choro à cinque

Marjanne Kweksilber (soprano - Susanna)

Judith Nelson (soprano - Daniele)

René Jacobs (alto - Testo (narrator)

Martyn Hill (tenor - Guidice II (judge II)

Ulrik Cold (bass - Guidice I (judge I)

Ingrid Seifert (baroque violin)

Hajo Bäss (baroque violin)

Jap van ter Linden (baroque cello)

Jeroen van ter Linden (violone)

Alan Curtis (harpsichord and direction)

Konrad Junghänel (theorbo)

Argentum et Aurum

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The period of the early Habsburgs, from c.1340 to c.1520, saw the development of a richly diverse musical culture in the Austrian region. This pioneering selection, the product of an extensive research project conducted at the University of Vienna, presents an overview of music in everyday life, in many cases in première recordings performed by Ensemble Leones. The music is sacred and secular, allowing the listener to eavesdrop on Tyrolean palaces, dance halls and bourgeois homes, and on the singer-poets who travelled the country where old local styles fused with the latest international fashions.

contents:

1 - Argentum et aurum

2 - Vyol - Urlaub hab der wintter 

3 - Ich fragt ain wachter 

4 - Das kchuhorn - Untarnslaf 

5 - Skak - Frolich geschrai so well wir machen 

6 - Soyt tart tempre 

7 - Or sus vous dormez trop 

8 - Durch Barbarei, Arabia 

9 - Der sunnen glanst 

10 - Do man den gumpel gampel sank

11 - Freu dich, du weltlich creatur 

12 - Zergangen ist meins herzen we 

13 - Gegrusset seistu maria 

14 - Amen 

15 - Von osterreich - Sig, sald und heil 

16 - So stee ich hie auff diser erd 

17 - Alle dei filius 

18 - My ladi, my ladi, myn happ 

19 - Seigneur Leon

20 - Gespile, liebe gespile gut 

21 - Es sassen hold in ainer stuben

22 - Ich sachs ains mals 

23 - Heya, heya nun wie si grollen 

24 - La Martinella 

25 - Pavane 

26 - Mantuaner dantz 

27 - Gottes namen faren wir 

28 - Maria zart, von edler art

Ensemble Leones

dir. Marc Lewon

Ludwig van Beethoven - Complete Sonatas for violin & piano

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Period-instrument performances of Beethoven's violin sonatas aren't too common; they pose thorny problems of balance even beyond the question of whether Beethoven wouldn't have preferred modern instruments if he could have had them. But this superbly musical set by violinist Midori Seiler, playing an Italian Baroque violin of unknown manufacture, and fortepianist Jos van Immerseel, on a copy of an entirely appropriate Viennese Walter piano, may well redefine the standard for these works. The sonatas were recorded at different times in the late 2000s decade, and some were issued separately, but all were very nicely recorded in the chamber music hall of the Luxembourg Philharmonie, and they are very much a set. The joys of these recordings run across all three discs (the ordering of the sonatas was done merely in order to fit the complete program onto three), and they come from both players as well as from the interaction between the two. In the all-important Violin Sonata in No. 9 A minor, Op. 47 ("Kreutzer"), Seiler uses the rougher articulation of the Baroque violin to impart a loose, dramatic feel to the sonata's vast opening movement. The final Violin Sonata in G major, Op. 96, a work that anticipates Beethoven's late creative period, is marvelous; Seiler and van Immerseel understand that this most Brahmsian of Beethoven's works doesn't need too much help from the performers. Its perfectly innocent theme develops naturally into mysterious complexities as it shifts rhythmically both in relation to the piano accompaniment and to itself, and it works best if presented straightforwardly, as Seiler and van Immerseel do here. The earlier sonatas crackle with unexpected dialogue between the two instruments, something new in Beethoven's time, and there's real excitement in the performances even as they remain restrained. Not one is by the book or dull. Highest possible recommendation.

AllMusic Review by James Manheim

contents:

Disco 1

Sonata « Spring » No. 5 in F, Op. 24

Sonata No. 1 in D, Op. 12 No. 1

Sonata No. 2 in A, Op. 12 No. 2

Sonata No. 3 in E Flat, Op. 12 No. 3

Disco 2

Sonata No. 6 in A, Op. 30 No. 1

Sonata No. 7 in C Minor, Op. 30 No. 2

Sonata No. 10 in G, Op. 96

Disco 3

Sonata No. 4 in A Minor, Op. 23

Sonata No. 8 in G, Op. 30 No. 3

Sonata « Kreutzer » No. 9 in A, Op. 47

Midori Seiler, violin

Jos van Immerseel, piano

Capturing Music. The Story of Notation

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This CD came with a book which I'm trying to find.

contents:

 1. - Gregorian Chant, Introit " Ad Te Levavi "

 2. - Gregorian Chant, Introit " Resurrexi "

 3. - Gregorian Chant, Alleluia " Pascha Nostrum "

 4. - Hymn, " Ut Queant Laxis "

 5. - Alleluia " Pascha Nostrum "

 6. - Alleluia " Pascha Nostrum "

 7. - Clausula, " Latus Est "

 8. - Motet, " Immolata Paschali Victima "

 9. - Sumer Is Icumen In / Perspice Christicola

 10. - Motet, " Diex Qui Porroit / En Grant Dolour / Aptatur "

 11. - Motet, " Aucun Ont Trouvé / Lonctans Me Sui / Annun [Tiantes] "

 12. - Motet, " Garrit Gallus / In Nova Fert "

 13. - Biauté Qui Toutes Autres Pere

 14. - Io Son Un Pellegrin

 15. - Musica Son

 16. - En Attendant, Esperance Conforte

 17. - Belle, Bonne, Sage, Plaisant

Blue Heron

Johann Abraham Schmierer: Zodiaci Musici (1698) Orchestral Suites

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There are few composers who have vanished from music history to the extent of Johann Abraham Schmierer. We know very little about this composer s origins, education, career and life journey. Some listeners, during or after hearing this recording, may well wonder why this music despite its undeniable qualities and relatively early publication (already in 1902 in the tenth volume of Denkmäler Deutscher Tonkunst) has not been recorded earlier. One reason is surely the fragmentary character of the collection, for six suites are obviously missing. The main reason why his music was ignored for so long, however, was most probably the composer s name. Even an unbiased musicologist, interpreter or music lover who stumbles across his name ('Schmierer' is German for 'scribbler') may instinctively ask Can a composer with such a name manage to write good music? Now, thanks to Petr Wagner and his Ensemble Tourbillon anyone can hear for himself than he can indeed do so!

contents:

Zodiaci musici

Suite No. 1 in F Major

Suite No. 2 In D Minor

Suite No. 3 in D Major

Suite No. 4 In B Minor

Suite No. 5 In B-Flat Major

Suite No. 6 In G Minor

Ensemble Tourbillon

dir. Petr Wagner

Ludwig van Beethoven - Works for solo piano

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The 32 Piano Sonatas by Ludwig van Beethoven are often referred to as the New Testament of the keyboard literature, following on the Old Testament of J.S. Bach's 48 preludes and fugues in the Well-Tempered Clavier. Composed over a period of almost three decades, from 1795 to 1822, the sonatas constitute a fascinating panorama of an artistic career which underwent numerous changes not to say upheavals but nevertheless remained remarkably consistent. Ever since the first recording of the entire cycle, by Artur Schnabel in the 1930s, a number of the world's leading pianists have given us their performances of this monumental collection on disc. One of the latest cycles is that of Ronald Brautigam, released on single discs between 2004 and 2010. Performed on the fortepiano, as part of a series of Beethoven's complete solo keyboard works, Brautigam's recordings have been described as riveting, compelling and revolutionary. The eight discs with the 32 sonatas are now being released as a boxed set, along with a ninth disc containing the early, unnumbered sonatas. Contributing factors to the refreshing directness that reviewers have experienced in these performances are the widely praised recorded sound and the carefully selected instruments, built by Paul McNulty after originals from 1788-1819 by the foremost Viennese makers of fortepianos.

contents:

CD 1

Piano Sonata No. 8 in C minor ("Pathétique"), Op.13

Piano Sonata No. 9 in E major, Op.14 No.1

Piano Sonata No. 10 in G major, Op.14 No.2

Piano Sonata No. 11 in B flat major Op.22

CD 2

Piano Sonata No. 1 in F minor, Op.2 No.1

Piano Sonata No. 2 in A major, Op.2 No.2

Piano Sonata No. 3 in C major, Op.2 No.3

Piano Sonata No. 19 in G minor, Op.49 No.1

CD 3

Piano Sonata No. 4 in E flat major, Op.7

Piano Sonata No. 5 in C minor, Op.10 No.1

Piano Sonata No. 6 in F major, Op.10 No.2

Piano Sonata No. 7 in D major, Op.10 No.3

CD 4

Piano Sonata No. 12 in A flat major ('Funeral March'), Op.26

Piano Sonata No. 13 in E flat major ('Quasi una fantasia'), Op.27 No.1

Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op.27 No.2

Piano Sonata No. 15 in D major ('Pastoral'), Op.28

CD 5

Sonata No. 16 In G Major, Op.31 No.1

Sonata No. 17 In D Minor, 'Der Sturm', Op.31 No.2

Sonata No. 18 In E Flat Major, Op.31 No.3

CD 6

Piano Sonata No. 21 in C major, Op.53, "Waldstein"

Piano Sonata No. 23 in F minor, Op.57, "Appassionata"

Piano Sonata No. 24 in F sharp major, Op.78

Piano Sonata No. 25 in G major, Op.79

CD 7

Piano Sonata No. 26 in E flat major, Op.81a, “Das Lebewohl”

Piano Sonata No. 27 in E minor, Op.90 (1814)

Piano Sonata No. 29 in B flat major, Op.106, “Hammerklavier”

CD 8

Sonata No.28 in A major, Op.101

Sonata No.30 in E major, Op.109

Sonata No.31 in A flat major, Op.110

Sonata No.32 in c minor, Op.111

CD 9

Piano Sonata in E flat major ('Kurfürstensonate'), WoO 47/1

Piano Sonata in F minor ('Kurfürstensonate'), WoO 47/2

Piano Sonata in D major ('Kurfürstensonate'), WoO 47/3

Sonatina for piano in F major, WoO 50 (2 movements)

Sonatina for piano in G major, Anh. 5/1 (attributed)

Piano Sonata in C major ('Eleonorem Sonate'), WoO 51 

CD 10

7 Bagatelles, Op. 33

Allegretto in C Minor, Hess 69

Bagatelle in C Major, Hess 73

Bagatelle in E-Flat Major, Hess 74

Allegretto in C Minor, WoO 53

Andante in C Major

Bagatelle in C Major, WoO 54, "Lustig-Traurig"

Allegretto in C Major, WoO 56

Presto in C Minor, WoO 52

11 Bagatelles, Op. 119

Bagatelle in A Minor, WoO 59, "Fur Elise"

Bagatelle in B-Flat Major, WoO 60

Allegretto in B Minor, WoO 61

Allegretto quasi andante in G Minor, WoO 61a

Bagatelle in C Major, Hess 57

6 Bagatelles, Op. 126

CD 11

12 Variations on a Russian Dance from Wranitzky's Das Waldmadchen, WoO 71

8 Variations in C Major on the Romance Un fievre brulante from Gretry's Richard Coeur-de-lion, WoO 72

10 Variations on the Duet La stessa, le stessissima from Salieri's Falstaff in B-Flat Major, WoO 73

7 Variations in F Major on the Quartet Kind, willst du ruhig schlafen from Winter's Das unterbrochene Opferfest, WoO 75

8 Variations on the Trio Tandeln und Scherzen from Sussmayr's Solimann der Zweite in F Major, WoO 76

6 Variations in G Major on an Original Theme, WoO 77

15 Variations and a Fugue on an Original Theme in E-Flat Major, Op. 35, "Eroica Variations"

CD 12

9 Variations on a March by Dressler, WoO 63

6 Variations on a Swiss Song, WoO 64

24 Variations in D Major on Righini's Arietta Venni amore, WoO 65

13 Variations on the Arietta Es war einmal ein alter Mann from Dittersdorf's Das rothe Kappchen, WoO 66

12 Variations on the Menuet a la Vigano from Haibel's Le nozze disturbate, WoO 68

9 Variations in A Major on the Aria Quant' e piu bello from Paisiello's La molinara, WoO 69

6 Variations in G Major on the Duet Nel cor piu non mi sento from La molinara, WoO 70

Ronald Brautigam, fortepiano

John Dowland - The Art of Melancholy

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Of all English songwriters, John Dowland has enjoyed the most powerful afterlife, his voice unmistakably present in any version of his songs. The preeminent marriage of music and poetry, the nuanced shades of wit and melancholy and the extraordinary writing for both lute and voice all combine to proclaim Dowland as the father of English song.

Countertenor Iestyn Davies has gained international fame through his operatic performances (including lead roles at the Metropolitan Opera of New York and English National Opera) and recordings (including his Gramophone-Award-winning recording of Arias for Guadagni). Hearing him in this intimate musical setting is a revelation—as is the playing of the young lutenist Thomas Dunford.

contents:

1 - Sorrow, stay, lend true repentant tears

2 - Come again, sweet love doth now invite

3 - Go, crystal tears

4 - Mrs Winter's Jump

5 - I saw my lady weep

6 - Flow, my tears, fall from your springs

7 - Can she excuse my wrongs?

8 - Behold a wonder here

9 - Semper Dowland semper dolens

10 - In darkness let me dwell

11 - Time stands still

12 - All ye whom Love or Fortune hath betrayed

13 - Say, Love, if ever thou didst find

14 - Lachrimae

15 - Come away, come sweet love

16  - Burst forth, my tears

18 - Fortune my Foe

19 - Come, heavy Sleep

20 - Now, oh now I needs must part – The Frog Galliard

Iestyn Davies (countertenor)

Thomas Dunford (lute)

Il Codice di Guardiagrele - I Corali di S. Maria Maggiore

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"From the 10th to the 15th century the Abruzzo was not an isolated area, as D'Annunzio usually described it in his works. On the contrary, it was an important crossroads between northern and southern Italy and between Middle and Mediterranean Europe. The Abruzzo was also a gateway to East and the presence of a great number of traditional oral songs, which contain structures and stylistic elements of Balkan and Mozarabic singing. The Codex of Guardiagrele contained several pieces composed by artists from the Abruzzo and from other regions which worked in Guardiagrele at the church of Santa Maria Maggiore. These compositions clearly show that the musical production of polyphonic works was rich in this region."

contents:

01. Alleluya a 2

02. Rorate caeli

03. Sanctus I

04. Kyrie

05. Sanctus II

06. Gloria

07. Alleluya a 2

08. Sanctus a2

09. Patrem

10. Sanctus

11. Saltarello I (sul Sanctus a 3) 

12. Sanctus a 2

13. Saltarello II (sul Sanctus a 2)

14. Benedicta et venerabilis

15. Agnus Dei

16. Agnus Dei a 2

17. Questa fanciull' Amor

De Bon Parole

dir. Marco Giacintucci

Marco Giacintucci (vielle, lyre, symphonia, bagpipe)

Debora David (recorder)

Walter D'Arcangelo (portable organ)

Fabio Di Gabriele (drum)

aola Incani (cantus, chorus)

Emanuele Dell'Oso (tenor)

Daniela Santucci (cantus, chorus)

Szilvia Komaromi (chorus)

Venetian Music for Double Choir

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These superb performances of Venetian Music for Double Choir, have set the bench mark for this style of composition since it’s first appearance in 1993.

contents:

1. Lauda Jerusalem by Adrian Willaert 

2. Credidi, propter quod lucutus sum by Adrian Willaert 

3. Ricercar no 10 by Adrian Willaert 

Sacrae symphoniae, Book 1  by Giovanni Gabrieli

4. In te Domine speravi à 8

5. Beata es virgo à 6

6. Beata es virgo à 6

7. Sancta et immaculata virginitas à 8

8. Angelus Domini descendit

9. O Jesu mi dulcissime

Canzoni et sonate (21) by Giovanni Gabrieli

10. Canzon III a 6

Symphoniae sacrae, Book 2 by Giovanni Gabrieli

11. Exultavit cor meum

12. Sancta et immaculata à 7

13. Hodie completi sunt à 8

14. Benedictus es, Dominus

15. O quam suavis à 8

16. Hodie completi sunt à 8

Concerto Palatino

Currende

dir. Erik Van Nevel