Sol nascente. Italienische Koloratur-Arien

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The debut release of coloratura soprano, Charlotte Schäfer accompanied by the Düsseldorfer Hofmusik led by Michael Preiser in a collection that focuses on the bravura arias written in the period between the Baroque and early Classical eras. With many of these arias being released for the first time, Schäfers sublime performance invites us to consider the prescience of the young Mozart with Sol Nascente meaning rising sun written at the advent of the new Classical era. 

contents:

Niccolò Jommelli (1714-1774)

Tu di saper procura, from L'Olympiade

Wolfgang Amadeus Mozart (1756-1791)

O temerario Arbace, KV79

A Berenice KV70

Sol Nascente KV70

Tommaso Traetta (1727-1779)

Io non Cerco, from Armida

Parto ma lascio o Dio, from Armida

Wolfgang Amadeus Mozart

Al destin che la minaccia, from  Mitridate KV87

Giuseppe Sarti (1729-1802)

Non ha ragione ingrato, from Didone abbandonata

Niccolò Vito Piccini (1728 - 1800)

Furia di donna irata, from La Cecchina

Charlotte Schäfer, Sopran

Neue Düsseldorfer Hofmusik

dir. Michael Preiser

Spielleyt - Tempus Fugit

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This programme focuses on the subject of becoming and fading, love, everyday life and death from the point of view of men in the late middle ages. Following the cycle of the seasons, an atmosphere of happiness and melancholy dominates the compositions which range from the boisterous spring song to the gloomy Geisslerlied.

Not only the music, but also the recitations of contemporary letters, read by Klaus Hemmerle (actor at the National Theatre Stuttgart), reflect the life awareness of people living at the transition to the Renaissance.

contents:

1. Vil lieber grüsse süsse, K 68 by Oswald von Wolkenstein 

2. Quan je voy le duc by Anonymous 

3. Par maintes foys by Jehan Vaillant 

4. En biancha vesta (14th century) by Anonymous 

5. Frölich geschrai so well wir machen, K 93 by Oswald von Wolkenstein 

6. Ghaetta, istampita for ensemble by Anonymous 

7. Rodrigo Martinez, villancico by Anonymous 

8. Salterello I (14th century) by Anonymous 

9. Fro welt ir sint gar hüpsch und schön by Burk Mangolt 

10. Apposte Messe by Lorenzo da Firenze 

11. Adieu ces bon vins de Lannoys by Guillaume Dufay 

12. Der Wallt hat sich entlaubet (The trees are now bare) by Anonymous 

13. Nu tret herzuo der boessen welle (Lied der Geißler) by Anonymous 

14. Verbum caro factum est: Dies est leticie (14th century) Traditional 

15. Ave mater, o Maria, K 116 by Oswald von Wolkenstein 

16. Passacalli della vita ("Homo fugit velut umbra") by Anonymous 

17. Third and Last Booke of Songes or Aires: no 2, Time stands still by John Dowland 

Spielleyt

Early Music Freiburg

Restored

These releases has been reupped:

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Tomaso Albinoni - Le 6 Sonate ritrovate

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contents:

Sonata n°1 in A minor (spurious)

Sonata n°2 in F major (spurious)

Sonata n°3 in C major (spurious)

Sonata n°4 in G major (spurious)

Sonata n°5 in F major (spurious)

Sonata n°6 in F major (spurious)

Claudio Ferrarini, flauto

Francesco Tasini, clavicembalo

Claudio Piastra, chitarra

O dulcis amor - La Villanella Basel

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For the first time in history, the 17th century opened up a vast area of musical activities for female artists as the Renaissance philosophy had established a new place for women in society. In his Il libro del Cortegiano (1528), Baldassare Castiglione presented them as gracious and beautiful, equally cultured in literature as men, as well as educated in dance and music, accomplished in conversational skills, intelligent and entertaining. Life at the courts provided for the donne di palazzo a veritable opportunity to liberate themselves. The new role that was bestowed on women might even have added to the growing sophistication of lifestyle in the 16th century, which was greatly articulated in the promotion of the arts and in the implicit prescriptions for social behaviour. Erasmus revered in his Encomium matrimonii (1518) the blissful union of husband and wife, and the general trend of Neo-Platonism led to a new interest in women, which greatly surpassed their thus far expected role as child bearers to continue the family name, and their rigid position in domestic life. However, only the higher classes in society enjoyed these privileges. Christian tradition was deeply anchored in the common perception of women as unfaithful seductresses, foolish and impetuous. Consequently, women remained the subject of much ridicule and scepticism. The imposing voice of Vespasiano da Bisticci is effortlessly recalled, instructing women to live by the two chief commandments of the apostle Paul: to raise their children as devoted Christians and to keep silent at church. The status from which certain women benefited at the end of the Renaissance was in many ways a compromise between the conservative Christian tradition, strengthened by the Council of Trento (1545-1563), and the humanist objective of equality between male and female.

Excellent performance, both vocal and instrumental. O dulcis amor is a well-balanced compilation of cloistered (Vittoria Aleotti, Caterina Assandra, Isabella Leonarda) and independent (Francesca Caccini, Barbara Strozzi) composers from the 16th and early 17th century, of sacred and secular music, and of vocal and instrumental pieces. Highly recommended.

contents:

1. Caterina Assandra: Impleos nostrum

2. Caterina Assandra: Ave verum corpus

3. Caterina Assandra: Haec dies

4. Caterina Assandra: Ego flos campi

5. Caterina Assandra: O dulcis amor Iesu

6. Vittoria Aleotti: Hor che la vaga Aurora

7. Vittoria Aleotti: Cor mio perche pur piangi

8. Vittoria Aleotti: Mentre lardite labbia

9. Francesca Caccini: Per la piu vaga e bella

10. Francesca Caccini: Lasciatemi qui solo

11. Barbara Strozzi: Lamante bugiardo

12. Barbara Strozzi: Amor dormiglione

13. Barbara Strozzi: Sete pur fastidioso

14. Barbara Strozzi: Leraclito amoroso

15. Isabella Leonarda: Sonata duodecima

16. Isabella Leonarda: Iam diu dilecte mi Iesu

La Villanella Basel

Heike Pichler-Trosits, soprano

Claudia Nauheim, recorder

Irene Klein, viola da gamba

Mechthild Winter, virginal, organ

Petra Burmann, theorbo

Reinhard Keiser - Die Grossmuetige Tomyris

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The name of Reinhard Keiser is closely connected to the Oper am Gänsemarkt in Hamburg. This was the first opera house in Germany which was not part of an aristocratic court; every citizen could buy a ticket. The librettos were mostly in German, although often the arias were in Italian or French. It opened in 1678 with a performance of a sacred opera by Johann Theile. Many composers who are still well-known were active in Hamburg as opera composers, such as Johann Philipp Krieger, Johann Mattheson, Christoph Graupner, Georg Philipp Telemann, George Frideric Handel and Reinhard Keiser. However, the repertoire of the Oper am Gänsemarkt is comparatively obscure. One reason is that a large part of it has been lost. 

  

Telemann's oeuvre continues to enjoy increasing interest and some of his operas have been performed and recorded. However, most of his operas are lost or have been preserved in only fragmentary form. From Graupner's operatic output almost nothing has survived. In the case of Keiser the situation is much better. His colleague Johann Mattheson stated that he had composed over one hundred operas. That is certainly highly exaggerated, but there is documentary evidence of at least 66 operas from his pen. Less than a third has survived: 19 largely complete scores and substantial fragments of others.

Gabriele Fontana (soprano) - Tomyris

Marianne Hirsti (soprano) - Meroë

Stefan Dahlberg (tenor) - Policares

Christoph Prégardien (tenor) - Tigranes

Oskar Pürgstaller (tenor) - Latyrus

Alan Cemore (baritone) - Doraspe

Wolfram Krohn (bass) - Orontes 

Linde-Consort

dir. Hans-Martin Linde 

Ludwig van Beethoven - The Piano Concertos

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Ronald Brautigam and Andrew Parrott offer these familiar pieces in what could best be described as modern-instrument performances informed by period-instrument practice. Brautigam, who’s well known as a fortepiano player, here uses a Steinway concert grand piano, though he and the Norrköping Symphony Orchestra nevertheless take a largely intimate view of the music. Perhaps it’s the relatively small string-strength coupled with a lack of vibrato that makes some of the more forceful passages in the tuttis sound a bit undernourished, but the playing is refreshingly alert throughout, with tempos noticeably on the fast side.

contents:

CD 1

Piano Concerto No. 1 in C major, Op. 15

Piano Concerto No. 3 in C minor, Op. 37

CD 2

Piano Concerto in E-Flat Major, WoO 4

Rondo in B-Flat Major, WoO 6

Piano Concerto No. 2 in B-Flat Major, Op. 19

CD 3

Piano Concerto No. 4 in G Major, Op. 58

Piano Concerto in D Major, Op. 61a

CD 4

Piano Concerto No. 5 in E-Flat Major, Op. 73, "Emperor"

Fantasia in C Minor, Op. 80, "Choral Fantasy"

Ronald Brautigam, piano

Norrköping Symphony Orchestra

dir. Andrew Parrott

W.A. Mozart - Requiem (ed. Beyer)

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This recording has received 'rave' reviews in both Gramophone (July 2004) and BBC Music Magazine (October 2004)

Beethoven called Mozart's Requiem "wild and terrible", and that's what we get in Harnoncourt's new recording. Ominous dread hangs from every note of the dark opening measures, the Rex tremendae and Confutatis are driven with terrifying strength, and the supplications of the Lacrimosa, with their weeping stabbings of the orchestra, are freighted with emotional power. The Tuba mirum duet of bass soloist and trombone has a beauty almost never achieved in other readings. Nor does Harnoncourt overstep the stylistic boundaries of this classical-era work; rather, the intensity is heightened for being in the idiom of its time. Call it a Romantic reading of a Classical piece that looks forward to a more unbuttoned era. The soloists couldn't be better; the orchestra is first-rate, the chorus, sensational, singing with a sense of color, line, and emotion. Harnoncourt uses the Beyer edition of Süssmayr's completion of the work, and Mozart's unfinished original manuscript can be! accessed via a CD-ROM track, which scrolls as the music plays. This release gets my vote as the best Mozart Requiem on disc, all the more impressive for being a live concert performance in excellent sound. --Dan Davis

Christine Schäfer, soprano

Bernarda Fink, alto

Kurt Streit, tenor

Gerald Finley, bass

Arnold Schoenberg Choir

Concentus Musicus Wein

dir. Nikolaus Harnoncourt

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