The Hilliard Collection

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DISCOGRAPHY
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01-Music for Tudor Kings. Henry VII and Henry VIII - New London Consort
02-The Romantic Englishman
03-Songs for a Tudor King (Fayrfax, Cornysh)
04-Power, Leonel - Missa Alma redemptoris mater & Motets
05-17th & 18th Century Songs & Catches
06-Monte, Philippe de - Sacred & Secular Works
07-Isaac, Heinrich - Sacred & Secular Works
08-Rore, Cipriano de - Le Vergine
09-Dunstable, John (DUNSTAPLE) (c.1390-1453) Motets
10-Medieval English Music
11-Marenzio Madrigals
12-36-Josquin Desprez - Motets et Chansons
13-Lassus, Orlande de - Motets & Chansons
14-Schutz, Heinrich - Matthaus Passion
15-Byrd, William - Masses for 3, 4 & 5 voices, Ave verum
16-Bach, J.S. - Motetten (1984)
17-Ockeghem, Johannes - Requiem (Missa pro defunctis) - Missa 'Mi-mi' (Missa quarti toni)
18-Sumer is Icumen in - Medieval english songs
19-The Singing Club - Ravenscroft, Lawes, Purcell, Arne
20-Palestrina, Giovanni - Canticum canticorum - Spiritual madrigals [2cd]
21-Schutz, Heinrich - Opus ultimum
22-Lassus, Orlande de - Penitential Psalms + Kees Boeke Consort
23-Dufay, Guillaume - Missa 'L'homme arme'. Motetts
24-Part, Arvo - Arbos
25-Byrd, William - Songs of Sundrie Natures + London Baroque
26-Tallis, Thomas - The Lamentations Of Jeremiah
27-Machaut, Guillaume de - Messe De Notre Dame
28-Sacred and Secular Music from Six Centuries
29-Music from the time of Christian IV, Church music at court and in town
30-44-English and Italian Renaissance Madrigals
31-Mozart - Vespers k321 & 339. Ave Verum Corpus
32-Part, Arvo - Passio
33-Ockeghem, Johannes - Missa Prolationum - Marian motets
34-Dowland, John - Ayres (with score)
35-Perotin (c. 1160-1240)
36-12-Desprez, Josquin - Missa Hercules Dux Ferrariae. Motets et Chansons [2cd]
37-German romantic partsongs - Lieder fur Mannerstimmen
38-Gesualdo Principe Di Venosa, Carlo - Tenebrae - Responsoria
39-Part, Arvo - Miserere + Orchester der Beethovenhall Bonn
40-Rue, Pierre de La - Missa Cum iocunditate, Motets
41-The Old Hall Manuscript
42-Spain & The New World
43-Morales, Cristobal De - Missa Mille Regretz (1991 Sevilla)
44-30-English and Italian Renaissance Madrigals
45-Frye, Walter - Walter Frye
46-Codex Specialnik
47-Gavin Bryars Vita Nova
48-Jan Garbarek & The Hilliard Ensemble (1994) Officium
49-Lassus - Missa pro defunctis
50-Giya Kancheli - Abii ne viderem
51-Rolf Riehm Aprikosenb„ume gibt es, Aprikosenb„ume
52-A Hilliard Songbook - New Music For Voices
53-Part, Arvo - Litany
54-Lilies - Soundtrack By Mychael Danna
55-Sweet Love, Sweet Hope
56-Hilliard Live 1 - Perotin and the ars antiqua
57-Hilliard Live 2 - For Ockeghem
58-Hilliard Live 3 - Antoine Brumel
59-In Paradisum - Music of Victoria and Palestrina
60-Bryars, Gavin - Cadman Requiem, Adnan Songbook, etc.+ Fretwork
61-Hilliard Live 4 - Dufay - Se la Face ay Pale
62-Jan Garbarek & The Hilliard Ensemble - Mnemosyne
63-Andrew Keeling Quickening the Dead
64-Lockerby Memorial Concert
65-Bondt, Cornelis De - Bloed + Nederlands Blazers Ensemble
66-Bach, J.S. - Morimur
67-Bach, J.S., Webern, Anton - Ricercar
68-Machaut, Guillaume de - Motets
69-Tigran Mansurian Monodia
70-Gombert, Nicolas - Missa Media Vita In Morte Sumus
71-Hartke - Tituli - Cathedral in the Thrashing Rain
72-Internationale Barocktage Stift Melk 2003 - 2004
73-Rihm - Sciarrino - Moody - Metcalf (Singer Pur)
74-Thomas Druckman Hartke
75-Bach, J.S. - Motetten 2003
76-Luca Belcastro ... germinacion y canto
77-Thy Kiss Of A Divine Nature - The Contemporary Perotin (Bonus CD)
78-Audivi Vocem (English Renaissance Music)
79-Arvo Part Lamentate
80-Roger Marsh Albert Giraud's Pierrot Lunaire
81-James MacMillan Quickening Three Interludes from 'The Sacrifice'
82-Trigonale 2007 - Festival der Alten Musik
83-Schnittke - Symphony No.9
84-Guido Morini - Una Iliade
85-Officium Novum
86-Boris Yoffe - Song of Songs
87-Gesualdo - Quinto Libro di Madrigali
88-Night Music Voice in the Leaves

J.S.Bach - Motets BWV 225-229

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01 - Singet dem Herrn ein neues Lied - BWV 225
02 - Der Geist hilft unser Schwachheit auf - BWV 226
03 - Jesu, meine Freude - BWV 227
04 - Furchte dich nicht - BWV 228
05 - Komm, Jesu, komm - BWV 229


Regensburger Domspatzen
Hanns-Martin Schneidt

J.S.Bach - Cantatas BWV 211 & 212

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Coffee cantata (Kaffee-kantate)
Peasant cantata (Bauern-kantate)


Kammerorchester Berlin
Peter Schreier

G.P.Telemann - Concerto in D

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Concerto for 3 Horns, Violin and Orchestra
"La Bouffonne" Suite
Grillen-Symphonie
Aelster-Ouverture


Collegium Musicum 90
dir. Simon Standage

Antonio Vivaldi - Concerto Rustico

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Concerto in Sol maggiore per archi e BC RV 151 'Alla Rustica'
Concerto in Do maggiore per flautino, archi e BC RV 441
Concerto in Re maggiore per viola d'amore archi e BC RV 392
Concerto in re minore per viola d'amore, liuto, archi e BC RV 540
Concerto in Re maggiore per liuto, 2 violini e BC RV 93
Concerto in re minore per 2 oboi, archi e BC RV 535

Academia Montis Regalis
dir. Alessandro de Marchi

J.S.Bach - Cantatas & Arias

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Cantata "Ich habe genug," BWV 82 (BC A169)
Cantata No. 4, "Christ lag in Todes Banden," BWV 4 (BCA 54): Sinfonia
BWV 43 (BC A77): Recitativo: Es will der Höchste sich ein Siegsgepräng bereiten
BWV 43 (BC A77): Aria: Ja tausend mal tausend begleiten den Wagen
BWV 55 (BC A157)
BWV 18 (BC A44): Sinfonia
Trauer-Ode: BWV 198 (BC A120): Aria. Der Ewigkeit saphirnes Haus
Easter Oratorio BWV 249 (BC D8): Aria. Sanfte soll mein Todeskummer
BWV 7 (BC A177): Recitativo: Dies hat Gott klar
BWV 7 (BC A177): Aria: Des Vaters Stimme ließ sich hören
BWV 139 (BC A159): Aria: Gott ist mein Freund
Peasant Cantata BWV 212 (BC G32): Sinfonia

Ian Bostridge, tenor
Europa Galante
dir. Fabio Biondi

George Frideric Handel - Concerti Grossi Opus 3

Here, in my humble opinion, we're talking about the Encyclopedia of Concerto Grosso: everything one wants to know about this musical form is depicted in these masterpieces courtesy of the Caro Sassone. So I decided to scout the net trying to find out some interesting versions of this masterpiece.

OK, Richter's recording could wrinkle some noses but please consider that it happened in 1971 and anyway this is the first version I ever listened to so I'm pretty partial about it.

Gardiner's is for Giovanni & Gustavo (if my memory's good).

Egarr's is really good and I posted it before.

Pinnock's is a Classic (Capital "C")

Lamon's is a mouthful of fresh air.

Harnoncourt's is what you expect...

Goodman's is my favourite, listen to it and let me know... let's start.

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English Baroque Soloists
dir. Sir John Eliot Gardiner
1981
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(89Mb)

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Concentus Musicus Wien
dir. Nikolaus Harnoncourt
1981
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(98Mb)

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The Brandenburg Consort
dir. Roy Goodman
1992
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(112Mb)

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The English Concert
dir. Trevor Pinnock
1992
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(123Mb)

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Tafelmusick
dir. Jeanne Lamon
(~1991)
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(87Mb)

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Academy of Ancient Music
dir. Richard Egarr
2007
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(100Mb)

Booklet (16Mb)
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Munchener Bach-Orchester
dir. Carl Richter
1971
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(98Mb)

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Early Minkowsi, when he and his Musicians du Louvre were becoming known. This version of the concerti grossi was awarded a diapason d'or by Diapason magazine in France.
1992
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(98Mb)

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G.P.Telemann - Harpsichord Overtures

21 tracks - MP3 192 Kbps - 2 RAR (80+29Mb)


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6 Ouverturen nebst zween Folgesatzen
bei jedweder , Franzosisch, Polnisch
oder sonst tandelnd und Welsch
TWV 32

Concerto in B minor
App. TWV 33:1

Harald Hoeren, harpsichord

Vivaldi - Mancini - Barbell - Flute Concertos

28 tracks - MP3 192 Kbps - RAR (112Mb)


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Antonio Vivaldi
Concerto for recorder, 2 violins & continuo in A minor, RV 108
Concerto for flute, violin & continuo in D major, RV 84
Concerto, for flute, 2 violins & continuo in G major (attr.), RV 102
Concerto for flute, 2 violins & continuo in D major (attr.), RV 89
Sonata for 2 violins & continuo in D minor ("La follia"), Op. 1/12, RV 63
Francesco Mancini
Sonata for recorder in E minor
Francesco Barbella
Sonata for recorder in C major
Francesco Mancini
Sonata for Recorder in d minor


Musica Antiqua Koln
Reinhard Goebel

Gudrun Heyens: Recorder (1-3,16-28)
Reinhard Goebel, Hajo Bass: Violins (15)
Wilbert Hazelzet: Transverse Flute (4-14)

Hesperion XX - El Barroco Espanol

14 tracks - MP3 192 Kbps - RAR 73


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Spanish music flourished in the 17th century, yet only now, after two centuries of neglect, are we beginning to realize the greatness of this music. Throughout the Iberian peninsula Spanish composers, singers and instrumentalists have always enriched the lives of their people, but so popular was the music of the 17th century that it was copied outside Spain in Italy, France, Holland, England and even America.

While not the only place, the court in Madrid was the focal point of this musical activity from the beginning of the 17th century. The capilla real included 30 or 40 men who sang, composed or played keyboard instruments, the harp, the "violon" (viola da gamba), the violin, and various wind instruments. It provided music for all religious and nonreligious occasions at court, sometimes supplemented by city musicians from Madrid and elsewhere in the realm; and it also assisted at municipal festivities outside court whose magnificence required the skills and numbers of the best musical group in Spain. There were also gifted musicians at the two chief royal monastery-convents: Descalzes Reales and Encarnacion. Men of much simpler outlook and ability served the five Madrilenean parroquial churches, several other monasteries, and the city. Outside Madrid elaborate capillas were to be found in Cathedrals and monasteries in such places as Valladolid, Segovia, Burgos, Palencia, El Escorial, Barcelona, Valencia, Seville, etc.

Religious music dominated. Besides Latin liturgical pieces there were primarily the countless villancicos, and Spanish sacred organ music reached new heights in the hands of Correa de Arauxo (c. 1576-1654) in Jaen and Seville and Cabanilles in Valencia. But there was also much secular music. The tono humano (secular song), which often was intended to be sung as part of a zarzuela or opera, consists of a series of stanzas (coplas) sung to the same music; usually there is also a refrain (estribillo) which precedes and follows each copla. Most tonos are for one voice with accompaniment of basso continuo (lute, harp, guitar or harpsichord with violon) and occasionally obligato instruments (violin, oboe). Early in the 17th century, however, secular songs are usually polyphonic vocal pieces (romances, letras and other poetic types), collected in cancioneros, or guitar pieces with improvised vocal lines. They customarily have instrumental ritornellos (frequently termed pasacalla, folia, ruggiero, or chacona), a practice which was less common in the second half of the century. Only in the middle of the century did the classical tono humano as described above begin to appear, and it is this song which is represented in this recording.

One of the most popular composers in the 17th century in Spain was Juan Hidalgo. A member of the capilla real from about 1631 until his death in 1685, he was primarily a harpist and harpsichordist As a composer he attained considerable fame for his tonos humanos and for his dramatic music. He worked closely with Calderon de la Barca, the principle mid-century court poet and dramatist, with whom Hidalgo helped create the earliest Spanish operas c. 1600. In the operas Hidalgo incorporates the Italian recitative style as well as more traditional strophic arias and choruses. For the Spanish Queen Mother's birthday on December 22,1672, Hidalgo composed music for Juan V6lez de Guevara's "Los celos hacen estrellas", which may be the earliest zarzuela whose music survives intact The five tonos humanos on this recording are typical of Hidalgo's music. On the one hand the short "Ay que me rio de amor" (3 coplas and estribillo) is folklike: triple dance rhythm with hemiolas, small range, syllabic. On the other hand the long "Ay corazon amante" (6 coplas and estribillo) is Italianate: ornate runs that paint the words "exciting the sea into waves" (alborotado el mar en olas). "Con tanto respecto adoran" (5 coplas and estribillo), "Peynandose estaba un olmo" (only 1 copla and the estribillo survive), and "Atiende y da" (6 coplas and estribillo) have considerable motivic development that demonstrates Hidalgo's artistic virtuosity.

Few musicians can claim the notoriety that surrounds the name of Jos6 Marin, perhaps the greatest Spanish song writer. Born c. 1619, he was an ordained priest serving in the Encarnacion Monastery when, in 1654 and again in 1656, as legend has it, he was imprisoned, accused of robbery and several murders, whipped, unfrocked, and banished from Madrid for ten years (the last sentence of which was not completely carried out since he was again in Madrid in 1657). Little else is known about him, but he was sufficiently worthy to merit an obituary in the Gaceta de Madrid on March 17,1699, where his age is given as 80 and it is stated that he was "known in and outside Spain for his rare skill in composition and performance." All Marin's surviving works are tonos humanos, about 60 for one voice and two for two voices, accompanied by guitar or basso continuo. "Aquella sierra nevada" survives in two versions. The one used here is for solo soprano accompanied by a guitar of 5 strings (Fitzwilliam Ms.); it has 6 coplas with an instrumental ritornello at the end of each copla, and there is no estribillo. The other version is a duo for soprano and tenor with basso continuo accompaniment (Madrid Bibl. nac. Mus. 3881, no. 33); it has no ritornello but, in addition to the 6 coplas, whose soprano music is the same as that in the Fitzwilliam Ms., it does have an estribillo, Marin sings in glorious rapture over the seasonal changes in nature, "but in my sorrow there is no change."

Juan del Vado flourished in Madrid from 1660 to the 1680's. He was both organist and violinist in the capilla real and came from a family of violinists (his brother Bernardo joined the capilla real as violinist in 1648 and Felipe del Vado, probably a relative and wrongly identified as Juan by some scholars, joined as violinist in 1633). Although famous as a composer of secular tonadas during his own lifetime, he is known today for a large amount of sacred music, principally in two large manuscripts in the Madrid Bibl. nac. His tonos can be found in the Cathedrals in Segovia and Valladolid and in libraries in Barcelona, Madrid, Munich and New York. "No te embarques" warns of the lure of Sirens, whose voice and harmony can destroy one. It consists of two coplas surrounded by an estribillo.

"Dexa la aljava y las flechas" by the unknown composer De Milanes, is a typical tono with a long estribillo and 4 coplas; it also has a final refrain. Syllabic except for a poignant "Ay" in the estribillo, it is addressed to Cupid, the all-powerful one.

The last great maestro in the 17th century capilla real was Sebastian Duron. After a successful career as organist in the Cathedrals of Seville (1680-1685), Burgo de Osuna (1685-1686) and Palencia (1686-1691), Duron became the successor to Jose Sanz as second organist of the capilla real. His fame as an organist, however, was greatly surpassed by his fame as a composer of sacred vocal music (archives in Spain, Latin America and elsewhere are full of these Latin and Spanish works) and as a composer of zarzuelas and operas for the royal theatre, of which he became a director. In 1706 when Carlos II was forced from the throne of Spain, the loyalist Duron was driven into exile in southern France, where he spent the remainder of his life. He was a prolific composer whose works sometimes are traditional Spanish types - semi-sacred villancicos and tonos humanos - but at other times new Italian types-cantatas resembling those of Alessandro Scarlatti with da capo arias and recitatives. The latter were often so florid that his contemporaries criticized Duron for introducing too many Italianisms into Spain, though surely Hidalgo and others had already made much use of at least some recitative and other Italian devices. "Sosieguen, descansen" is not so radical a departure from Dur6n's Spanish predecessors' music for zarzuelas. It is a segment of the comedia heroica "Salir el amor del mundo" (which may be the same as the very early 1680 zarzuela "Venir el amor al mundo"), a fiesta in two acts (jornados) with a preliminary loa, performed before the king. It is traditional in that it opens and closes with an estribillo and includes inbetween three coplas; it is forward looking in that it also includes a dramatic recitative after the three coplas and before the return of the estribillo. The estribillo uses expressive musical intervals, especially a downward leap. A change of meter from duple to triple distinguishes each copla here from the traditional copla which is in only one meter.

Juan Cabanilles was the greatest Spanish organist of the 17th century. Born in Algemesi (near Valencia) on September 5 or 6, 1644, he was appointed first organist at the Cathedral in Valencia in 1665, where he remained for the rest of his life.

Apparently a condition of his job was for him to become a priest, for one month after his appointment he started working on minor orders and was ordained on September 22, 1668. He was not only a famous composer and performer in his own time but also a highly respected teacher. Pupils came from all over Spain and France, and some of them helped fashion keyboard styles in the 18th century. Cabanilles's surviving compositions are almost exclusively sacred keyboard works, though there are eight liturgical vocal works (including a Mass) found today in Valencia and Barcelona. He wrote hundreds of organ verses (i.e., organ arrangements of or accompaniments to psalms, hymns, Mass sections, the Magnificat, etc.), 183 tientos, 6 toccatas, 5 galliards, pasacalles, batalles, paseos and 1 corrente. The keyboard instrument was probably organ for most of these pieces, but performance on the harpsichord would have been a likely option for any of them and the likely choice for the secular galliards and corrente. The two works performed here - a toccata and a galliard - demonstrate Cabanilles's extraordinary inventiveness in harmony and figuration. The short toccata is basically homophonic; in two sections, the first is with simple elaboration of the chords and the second, which begins without any break, is a faster, more complicated elaboration, with rapid modulations. The galliard is in duple meter and thus has no tie to the well-known 17th-century dance of that name in triple meter. It is a long set of variations, far exceeding the toccata in complexity and intensity, and it is one of Cabanilles's most brilliant works.

Antonio Martin y Coll was one of the leading Spanish organists of the next generation. He studied at the Franciscan Monastery San Diego in Alcala de Heneres where he also was organist, and later he served as first organist at the Monastery San Francisco el Grande in Madrid, remaining there until his death. He published five large volumes of music, mostly for the organ (1706-1709). Volumes 1-4 contain almost 2000 works by other, mostly anonymous composers, and present a good sampling of 17th-century Spanish organ music. Volume 5 contains Martin y Coil's own works, mostly verses. Not all the works are intended for the organ; volume 5 includes Martin y Coll's treatise on keyboard instruments in general and the harp, which suggests that many of the pieces might be performed on any keyboard instrument or the harp, and some of the pieces in the earlier volumes actually designate other instruments. Furthermore, it is possible that the secular works such as the three on this recording would have been just as appropriately played on gamba, with harpsichord or lute and violon as sustaining instrument, as on the organ. The first diferencias (variations) will immediately remind the listener of Corelli's more famous setting of the same harmonic bass "La Folia".

The Chacone and Canary are also harmonic bass patterns. The Chacone is based on the pattern G - F - E flat -D - D - G. The Canary, taken from a famous late-16th-century court dance, is the shortest of the three variations: the bass pattern is D - G - F sharp - E - D.

-John H. Baron, 1978


1 - Dexa Aljava - De Milanes
2 - Aquella Sierra Nevada - Jose Marin
3 - Peynandose Estaba Un Olmo - Juan Hidalgo
4 - Diferencias Sobre Las Folias - Antonio Martin y Coll
5 - La Chacona - Anonymous
6 - Canarios - Anonymous
7 - Atiende y Da - Juan Hidalgo
8 - Ay Corazon Amante - Anonymous
9 - Sosiegen Descansen - Sebastian Duron
10 - Toccata - Juan Cabanilles
11 - Gallarda - Anonymous
12 - Con Tanto Respecto Adoran - Juan Hidalgo
13 - No Te Embarques - Juan Del Vado
14 - Ay Que Me Rio De Amor - Juan Hidalgo


Hesperion XX

Christophe Coin (Violoncello)
Hopkinson Smith (Guitar)
Montserrat Figueras (Soprano Voice)
Ton Koopman (Harpsichord)
Jordi Savall (Viola Da Gamba)

Franz Joseph Haydn - Complete String Quartets

MP3 192 Kbps - 23 CDs - Notes, front & back covers


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CD 1: Opus 1, N°1-4
CD 2: Opus 1, Opus 2
CD 3: Opus 2, Opus 42
CD 4: Opus 9, N°1,3,4
CD 5: Opus 9, N°2,5,6
CD 6: Opus 17, N°1,3,4
CD 7: Opus 17, N°2,5,6
CD 8: Opus 20, N°1-3
CD 9: Opus 20, N°4-6
CD 10: Opus 33, N°1,2,5
CD 11: Opus 33, N°3,4,6
CD 12: Opus 50, N°1-3
CD 13: Opus 50, N°4-6
CD 14: Opus 54, N°1-3
CD 15: Opus 55, N°1-3
CD 16: Opus 64, N°1-3
CD 17: Opus 64, N°4-6
CD 18: Opus 71, N°1-3
CD 19: Opus 74, N°1-3
CD 20: Opus 76, N°1-3
CD 21: Opus 76, N°4-6
CD 22: Opus 76, N°1-2
CD 23: Opus 51, Opus 103


Kodaly Quartet