Antonio Vivaldi - Concerti e Cantate

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Concerto per archi in Do maggiore RV117
Cantata 'Amor, hai vinto' per alto & archi RV683
Concerto per violoncello in la minore RV422
Concerto per archi in mi minore RV134
Cantata 'Cessate, omai cessate' per alto & archi RV684
Concerto per violino e archi n° 8 in re minore Op 4 RV249
Concerto per archi 'Alla rustica' in Sol maggiore RV151

Sara Mingardo, alto
Concerto Italiano
dir. Rinaldo Alessandrini

Antonio Vivaldi - Salve Regina

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Contents:

Salve Regina RV 616
Introduction au Miserere RV 641
Concerto per Violino RV 581
Introduction au Gloria RV 637
Salve Regina RV 618

Gerard Lesne, alto
Fabio Biondi, violin
Il Seminario Musicale

Hasse - Sonatas and Trio Sonatas

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Hasse: Sonatas and Trio Sonatas represents the maiden voyage for decade-old period instrument ensemble Epoca Barocca on the Chandos label. For the occasion, Epoca Barocca has elected to perform six previously unrecorded chamber works of late Baroque composer Johann Adolf Hasse, which have scrupulously been sought out in manuscripts and early prints canvassed from the libraries of Europe. Hasse's own library of compositions perished in a fire during the bombardment of Leipzig by forces under Frederick the Great in 1760, so in Hasse's case it is hard to know where the good stuff is and how much of it is left. Epoca Barocca is to be commended for making this effort, and its interpretation of this music is top drawer.

contents:


Trio Sonata in F major (arr. for oboe, violin & BC)
Trio Sonata in E minor (arr. for oboe, violin & BC)
Violin Sonata in E minor, Op. 5, No. 5
Violin Sonata in G major, Op. 2, No. 4 (arr. for oboe & BC)
Sonata in F major for Chalumeau, Oboe, Bassoon & BC
Trio Sonata in D major (arr. for oboe, violin & BC)


Epoca Barocca

Vivaldi - New Discoveries II

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VIVTDPND2.rar

Will we ever hear Feraspe, the last opera Vivaldi composed for Venice, in the autumn of 1739? Or the patriotic strains of the Adelaide he presented in Verona in 1735? Will we have the good fortune of discovering at last those 'Brno' violin concertos of whose existence we learn and whose incipits we may read in an inventory of 1752 but which, like the two operas mentioned, are today lost? Examination of the Ryom catalogue1 reveals so many losses amid the prolific output of the indefatigable Venetian that one catches oneself dreaming of all those buried treasures, hopelessly missing pieces from one of the most fascinating jigsaw puzzles in musical history. Fortunately, the most recent discoveries, some due to kindly chance, others to the tireless prospecting work of Vivaldian archaeologists, keep one's optimism alive. It must be said that the new millennium began under favourable auspices with the unearthing of the score of Motezuma in Kiev and the arias of La costanza trionfante in Gloucestershire, then a Dixit Dominus and a Nisi Dominus in Dresden, followed by the discovery of fragments of Argippo in Regensburg. And the pace has shown no signs of slowing down since then. Three years after the release of the CD New Discoveries, which enriched the Vivaldi Edition with an initial selection of miraculously recovered gems, the harvest is again abundant enough to nourish a second volume of Vivaldian revelations. And we may marvel anew at these jewels that have escaped from their long oblivion and have been unearthed for us all over Europe.

contents:


Concerto in re minore ‘Il Gran Mogol’ RV 431a
per flauto traversiere,archi e basso continuo
Aria ‘Son nel mar d’aspri tormenti’
da L’Inganno trionfante in Amore, RV 721, II.10
Aria ‘S’odo quel rio che mormora’
da L’Inganno trionfante in Amore, RV 721, II.2
Concerto in la maggiore RV 817
per violino principale, archi e basso continuo [Dresda]
Aria ‘Palpita il core, e freme’
da L’Inganno trionfante in Amore, RV 721, I.8
Aria ‘Langue il fior su l’arsa sponda’
da L’Inganno trionfante in Amore, RV 721, II.13
Sonata in re maggiore RV 816
per violino e basso continuo
Aria ‘Vaghe luci, luci belle’
da Ipermestra, RV 722, I.1
Sonata in do maggiore RV 815
per violino e basso continuo

Ann Hallenberg, soprano
Anton Steck, violino
Alexis Kossenko, flauto traversiere

Modo Antiquo
Federico Maria Sardelli, direttore


INDEX:

VIVTDP00 - Il Furioso
VIVTDP07 - Stabat Mater Concerti sacri Clarae Stellae, Scintillate
VIVTDP08 - Concerti da Camera
VIVTDP10 - Juditha Triumphans
VIVTDP11 - Concerti per Flauto Traversiere
VIVTDP12 - La Senna Festeggiante
VIVTDP13 - Concerti e Cantate da Camera I
VIVTDP14 - l Concerti di Dresda
VIVTDP15 - L'Olimpiade
VIVTDP16 - La Verità In Cimento
VIVTDP17 - Mottetti
VIVTDP18 - Vespri per l'Assunzione di Maria Vergine
VIVTDP19 - Sonate da Camera
VIVTDP20 - Concerti per Archi
VIVTDP21 - Orlando Finto Pazzo
VIVTDP22 - Concerti per Fagotto e Oboe
VIVTDP23 - Concerti e Cantate da Camera II
VIVTDP24 - Orlando Furioso
VIVTDP25 - Concerti per vari strumenti
VIVTDP26 - Concerti e Cantate da Camera III
VIVTDP27 - Arie d'Opera
VIVTDP28 - Tito Manlio
VIVTDP29 - Concerti per Violino I - "La Caccia"
VIVTDP30 - Arie Per Basso
VIVTDP31 - In Furore
VIVTDP32 - Griselda
VIVTDP33 - Musica per Mandolino e Liuto
VIVTDP34 - Concerti per Violoncello I
VIVTDP35 - Concerti per violino II - "Di Sfida"
VIVTDP36 - Atenaide
VIVTDP37 - Arie Ritrovate
VIVTDP38 - Concerti per violoncello II
VIVTDP39 - La Fida Ninfa
VIVTDP40 - Concerti per Violino III - "Il Ballo"
VIVTDP41 - Farnace
VIVTDP42 - Concerti per Oboe
VIVTDP43 - Gloria
VIVTDP44 - Armida al Campo d'Egitto
VIVTDP45 - Concerti per Fagotto I
VIVTDP46 - Ottone in Villa
VIVTDP47 - Arie per Tenore
VIVTDP48 - Concerti per Fagotto II
VIVTDP49 - Teuzzone
VIVTDP50 - Sonate da Camera a tre, opus 1
VIVTDP51 - Concerti per violino vol. IV "L'Imperatore"
VIVTDPND - New Discoveries
VIVTDPND2 - New Discoveries II
VIVTDPOP - Operas
VivFolViv - La Folie

Antonio Vivaldi - Cantate Italiane e Sonate

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Contents:

Cantata 'Cessate, Omai cessate' per alto RV 684
Cantata 'Perfidissimo Cor' per alto & bc RV 674
Sonate n° 3 Op 2 per violino & BC
Cantata 'Amor hai vinto' per alto RV 683
Cantata 'Qual per ignoto' per alto & bc RV 677

Gerard Lesne, alto
Fabio Biondi, violin
Il Seminario Musicale

Antonio Vivaldi - Le Cantate (Modo Antiquo)

Parte prima

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Amor, hai vinto RV 651
Elvira, anima mia RV 654
Aure, voi più non siete RV 652
Nel partir da te, mio caro RV 661
T'intendo sì mio cor RV 668
Se ben vivono sen'alma RV 664

Rossana Bertini, soprano
Modo Antiquo
dir. Federico Maria Sardelli

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Parte seconda

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Tra l'erbe i zeffiri - RV 669
Era la notte quando i suoi splendori - RV 655
Geme l'onda che parte dal fonte - RV 657
Il povero mio cor - RV 658
Indarno cerca la tortorella - RV 659
La farfalletta s'aggira al lume - RV 660

Elena Cecchi Fedi, soprano
Modo Antiquo
dir. Federico Maria Sardelli

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Parte terza

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Si levi dai pensier RV 665
Sorge vermiglia in ciel la bella Aurora RV 667
Par che tardo RV 662
Fonti del pianto RV 656
Usignoletto bello RV 796
Del suo natio rigore RV 65

Nicki Kennedy, soprano
Modo Antiquo
dir. Federico Maria Sardelli

Henry Purcell - Fantazias

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Contents:

1.: Fantasia "3 Parts Upon a Ground"
2.: Pavan à 4
3.: Here Begineth Ye 3 Part Fantazia's
4.: Nr. 2: Brisk - Slow
5.: Nr. 3: Brisk
6.: Here Begineth Ye 4 Part Fantazia's
7.: Nr. 5
8.: Nr. 6: Slow - Quick - Slow
9.: Nr. 7
10.: Nr. 8: Brisk - Slow
11.: Nr. 9: Quick
12.: Nr. 10: Slow - Quick
13.: Nr. 11: Drag - Brisk
14.: Nr. 12
15.: Here Begineth Ye 5 Part Fantazia's
16.: In Nomine à 6
17.: In Nomine à 7


Ricercar Consort
Philippe Pierlot

La Baxa Danza y la Alta (S. XV - XVI)

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contents:


1. Francesco de la Torre - Alta
2. Anon. (15th c.) - Baxa Castilla
3. Domenichino - España
4. H. von Constanz - Danza "La España"
5. Kochesperger - Danza "La España"
6. Anon. - Baxa Danza
7. Anon., 16th c. - España
8. Francesco Canova - Spagna
9. Antonio de Cabezon - Tres, Sobre el Canto Llano de la Alta
10. Anon., 1430 - Torneo de Castilla
11. Anon., 1430 - - Barcelona
12. Anon., 1430 - - Navarra
13. Anon., 1430 - Baxa Danza del Rey de España
14. Luys de Narvaez - Baxa de Contrapunto
15. E de Valdebarrano - Contrapunto Sobre el Tenor de la Baxa
16. Guillaume Dufay - Aragonesa
17. H.Weck - Baxa Danza Española
18. Vincenzo Capirola - Baxa Danza "La Spagna"

Sources:
[1] Cancionero Musical de Palacio, 321
[2] Museo Bibliogr´ de Bolonia, cod. 109, q. 16, fs. LIX-LX
[3] De la Arte di ballare et danzare (?)
[4] Basel University Library, f. IX, 58, f. 6-7
[5] Basel University Library, f. IX, 58, f. 14-15
[6] Ottavio Petrucci, 1503
[7] MS Leipzig
[8] Bibliothèque Royale de Bruxelles, f. 36v
[9] Libro Nueva de Venegas de Henestrosa
[10]-[13] Manuscrits dit des basses danses, Bibliothèque de Bourgogne
[14] Los seys Libros del Delphin
[15] Silva de Sirenas
[16] Munich Library
[17] Buxheimer Orgelbuch
[18] Newberry Library, Chicago

Rodrigo de Zayas (vihuela)
Conjunto instrumental "Pro Música Hispaniarum"
dir. Roberto Pla

Schubert - Sonate für Arpeggione

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Franz Schubert - Sonate für Arpeggione und Klavier D.821
Robert Schumann - Fantasiestücke für Cello und Klavier Op.73
Robert Schumann - 5 Stücke im Volkston für Klavier und Cello Op.102

Mischa Maisky - Cello
Marta Argerich - Piano

Del Sonar Pitoresco

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Knowledge of wind instruments during the “Age of Enlightenment” is sparse, particularly in contrast to string instruments. With this release Dynamic attempts to redress this balance, concentrating on trio sonatas and sonatas composed by musicians associated with the Venetian area at the time. The Ensemble Barocco Sans Souci, founded in 1986, devotes itself especially to performing works from the mid-17th to the late-18th century. Includes world premiere recordings.

Dominato dal teatro d’opera e dal repertorio per strumenti ad arco, il panorama musicale italiano del ‘700 denuncia una quasi totale mancanza di composizioni per strumenti a fiato, un vuoto che si giustifica data la loro scarsa popolarità e la conseguente mancanza di scuole e di costruttori.All’epoca, infatti, Francia, Inghilterra e Germania vantavano una sorta di monopolio in questo campo potendo contare su eccellenti costruttori e su schiere di abili strumentisti. I musicisti italiani interessati a questo tipo di strumenti dovettero quindi emigrare all’estero o cercare di entrare in contatto con i colleghi d’oltralpe. Un ruolo importante ha avuto la Repubblica di Venezia intesa come area culturale aperta verso i paesi del nord da cui richiamava musicisti e abili virtuosi. A. Lotti, G.B. Platti, A. Vivaldi, G.A. Brescianello, A. Steffani, F. Montanari sono gli autori considerati, tutti di area o di formazione veneta, e l’oboe ed il fagotto gli strumenti protagonisti. Si tratta di Sonate,Triosonate e Sonate a 4, alcune in prima registrazione mondiale, in cui l’oboe o i due oboi si uniscono al fagotto in uno stile concertante tipico della cultura strumentale del Nord Europa e di Dresda. Probabilmente proprio al soggiorno di Lotti in questa città si devono le due Sonate a 4 per due oboi e fagotto in programma, in quattro tempi la prima, in tre tempi con particolari effetto d’eco la seconda. Seguono le due Sonate di Platti ed il Concerto di Brescianello per oboe e fagotto, la breve Triosonata RV 81 di Vivaldi e la Sonata di Montanari per due oboi e b.c..

contents:


Lotti : Sonata a quattro for two oboes, bassoon & b.c.
Platti: Sonata in G Major for Oboe, obbligato bassoon & b.c
Vivaldi: Trio Sonata RV81 in G minor for two oboes & b.c
Brescianello: Concerto for oboe, obbligato bassoon & b.c
Steffani: Aria “Chomigioia” for two oboes & b.c
Lotti: “Echo” Sonata a 4 for two oboes, obbligato bassoon and b.c
Platti: Sonata in C minor for oboe, obbligato bassoon and b.c
Montanari: Sonata in C for two oboes and b.c

Ensemble Barocco Sans Souci

Capilla Flamenca - Désir d'aymer

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At the beginning of the twelfth century a new conception of love came in to being at the noble courts in the south of what is now France. In this conception, the woman was placed on a pedestal. The lyrical first person (usually a man, although there were also female versions) sings of love in countless ways. This concept of courtly love formed part of 'courtliness' or courtoisie.
The love lyric and its attendant notions of love spread like wildfire through all of Western Europe. Besides these narrative texts, lyric poetry also sang of courtly love. These texts were generally meant to be sung, with or without instrumental accompaniment. If a melody became popular, it could spread far and wide in no time. Professional musicians were able to play or sing a 'ditty' after hearing it just once. Much of this music, together with its text, has thus been lost for the very simple reason that it was never written down in the first place.
Ottaviano dei Petrucci started collecting these popular melodies and published three books of secular music: the Harmonice musices odhekaton A (roughly translated, 'One hundred polyphonic melodies, part A') and the subsequent Canti B & C.

The melodies and texts on this CD of love lyrics represent three stages of love. The first of these is the Minne verlangen (love's desiring), in which the lover yearns for a reward, for instance in the form of a kiss (as in Baisés moy on a melody by the Fleming Josquin Desprez). Minne plezier (love's pleasure) sings the praises of being together (as in Le grand désir). It can't be roses all the time, however: the lover can be spurned or ignored. Minne verdriet (love's sorrow) thus turns to the pain of love, as in O venus bant and also in the reprise of Baisés moy: the girl refuses to offer a kiss because her mother once became pregnant from such a kiss!
Eufoda 1369 (2007)

contents:


LOVE'S DESIRE
01 - Vincenzo CAPIROLA. Padoana belissima [1:40] inst.
02 - JOSQUIN. Baisés moy [1:12]
03 - Alexander AGRICOLA. L'home banni [2:56] inst.
04 - J'ay pris amour - De tous bien plaine
(ISAAC, an., GHIZEGHEM, JOSQUIN, MARTINI) [5:46]
05 - Ick byn zo elende inst. [2:50] inst.
06 - Alexander AGRICOLA. Je n'ay duel [5:58]

LOVE'S PLEASURE
07 - Joan Ambrosio DALZA. Calata ala spagnola [2:04] inst.
08 - Loyset COMPÈRE. Le grand désir [4:22]
09 - La stangetta [2:25] inst.
10 - Jean MOUTON. Jamés, jamés, jamés [1:17]
11 - Jacob OBRECHT. T'sat een meskin [1:55] inst.
12 - Loyset COMPÈRE. Lourdault, lourdault [4:11]
13 - Loyset COMPÈRE. Nous sommes de l'orde de Saynt Babuyn [2:05] inst.

LOVE'S SORROW
14 - Alez Regret (CAPIROLA, GHIZEGHEM, AGRICOLA) [9:41]
15 - Francesco SPINACINO. Recercare [3:42] inst.
16 - O Venus bant (AGRICOLA, JOSQUIN, an.) [5:46]
17 - JOSQUIN. Baisés moy (à 6) [2:28]
18 - Joan Ambrosio DALZA. Tastar de corde - Ricercar dietro [2:49] inst.


Capilla Flamenca
dir. Dirk Snellings

G.P.Telemann - Concertos for Viola da Gamba

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contents:


Sonata in B minor for violin, viola da gamba and b.c.
Concerto in E for violin, viola da gamba and b.c.
Concerto in A for viola da gamba, 2 violins and b.c.
Suite in D for viola da gamba, strings and b.c.
Concerto in G for viola (da gamba), strings and b.c.


Hille Perl - Viola da gamba
Freiburger Barockorchester, dir Petra Mullejans

W.A.Mozart - Concertos

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contents:

Flute & Harp Concerto K299
Andante for Flute in C K315
Bassoon Concerto K191
Flute Concerto K313

Lisa Beznosiuk, flute
Frances Kelly, harp
Danny Bond, bassoon

The Academy of Ancient Music
dir. Christopher Hogwood

Aines. Mistero Provenzale Medioevale

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contents:


1 - Festa Celebria - Ymnus
2 - Rithmus instrumentalis
3 - Amors m'ard com fuoc - plain
4 - Ihesu Christi filh de Dieu - plain
5 - Rei Glorios - plain
6 - Rei poderos - plain
7 - Tal dolor - plain
8 - Michael vai vesitar - Aines la tiens maritz
9 - Aves ausit - plain
10 - Bell senher - plain
11 - Gabriel vai - Bell senher - plain
12 - Seinher mil gratias - plain
13 - Ai verge Sant'Aines - plain
14 - Christians vei perilhar - plain
15 - Malvaisa mort - plain
16 - A que faro - Ai marida - Ai puta - plain
17 - Ja non ti quier - Raphel vai recitar - plain
18 - Diable guaras - plain
19 - Solamientz Deus - plain
20 - Umils forfachs - plain
21 - Senher quel mont - plain
22 - Raphel vai conortar - Filla de Dieu - Plain
23 - Veni Sponsa - Hec est virgo - antiphona


Ensemble Cantilena Antiqua
dir. Stefano Albarello

Domenico Scarlatti - Sonatas for Viola d'Amore

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A deep musicological research concerning Domenico Scarlatti solo sonatas was done in 2008 by Valerio Losito and Andrea Coen: this work has determined that at least four sonatas for solo instrument and basso continuo are actually written for Viola d'amore. This discovery makes possible to relocate in a unified view the apparent incongruities of these sonatas, attributed over the years to many different instruments, like violin, mandolin, flute, oboe, etc.
This discovery has already been acquired by the musicological literature in an essay by Coen and Losito (COEN, Andrea LOSITO, Valerio Ipotesi sulla destinazione strumentale di cinque sonate per strumento melodico e basso continuo di Domenico Scarlatti, in Domenico Scarlatti Adventures, Essays to commemorate the 250th Anniversary of His Death, a cura di Massimiliano Sala e W. Dean Sutcliffe, Ad Parnassum Studies vol. 3, Bologna, Ut Orpheus, 2008, pp. 225 - 240).

contents:


1. Sonata in D minor, K. 90 (L. 106)
2. Sonata in G major, K. 91 (L. 176) (7:19)
3. Sonata in C minor, K. 73 (L. 217) (2:29)
4. Sonata in F major, K. 78 (L. 75) (2:11)
5. Sonata in D minor, K. 77 (L. 168) (5:38)
6. Sonata in G major, K. 79 (L. 80) (2:45)
7. Sonata in G major, K. 80 (1:29)
8. Sonata in G minor, K. 88 (L. 36) (7:57)
9. Sonata in D minor, K. 89 (L. 211) (11:58)


Valerio Losito, viola d'amore
Andrea Coen, harpsichord