La Barca d'Amore

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Sixteenth-century Italian virtuoso music for the Renaissance cornett, a tube-shaped (or snake-shaped) wind instrument that produces a sound somewhere between that of an oboe and a horn. It's difficult to play to begin with, and the performer here, William Dongois, delved into treatises and uncovered some of the instrument's improvisatory traditions. The result is some very exciting playing, an example of which can be heard in the Sonata seconda ("La cesta"), track 13. All of the music involves considerable ornamentation, and Dongois' notes don't make the procedures used totally clear. Much of his essay discusses the procedure known as division, a type of variation form that was partly left to the ingenuity of the player. The divisions here (not thus marked in the tracklist) are the pieces based on preexisting models, such as Jouissance vous donneray (track 4), with a model by Willaert elaborated by one G. dalla Casa. Other genres represented are sonatas, which at this point were instrumental analogues to the keyboard toccata, and dance pairs. All, according to Dongois, were vigorously ornamented, although the style would differ in each case. It requires a little work to figure out what's going on in the music, but it's enjoyable and smoothly done, and the album remains an important step in rescuing Renaissance instrumental music from the dry bones of its notated versions. 

James Manheim

contents:


Giacomo Gorzanis - La barca d'amore, galliarde for lute
Giovanni Bassano - Susanne un jour, diminution after Lassus
Anonymous, Italian - Pavane & Saltarello, for ensemble
Giovanni Della Casa - Jouissance vous donneray, diminution after Adrian Willaert
Pierre Attaingnant - Pavane - Galliarde No. 4
Giovanni Bassano - Vestiva i colli, diminution after Palestrina
Pierre Attaingnant - Pavane & sauterelle, for lute
Giovanni Bassano - Mirami vita mia, diminution after Claudio Merulo
Giovanni Battista Fontana - Sonata Quarta
Giovanni Battista Bovicelli - Variations on Palestrina's "Io son ferito"
Giovanni Battista Fontana - Sonata 6 per il violino o cornetto
Riccardo Rognoni - Anchor che col partire (after Cipriano de Rore)
Giovanni Mealli - Sonata for violin & continuo, Op. 3/2 "La Cesta"
Riccardo Rognoni - Pulchra es amica mea, diminution
Benedetto Ferrari - Ciaconna for solo voice


William Dongois, cornett
Le Concert Brisé

William Lawes - Consort Music

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Laurence Dreyfus and his viol consort Phantasm explore the extraordinary expressive puissance of 17th-century English composer William Lawes, in a disc featuring some of his four- and five-part consort music. Here are pieces of subtlety, full of passionate gesture and often deeply introspective. Individuality abounds, and I cannot readily call to mind an English composer during the 1620s and 1630s who had as rich a musical vocabulary as this composer whose life was cut short fighting for the royalist cause at the Siege of Chester in 1645. What I like about Dreyfus’s approach is an absence of preciosity and rigid orthodoxy. Neither serves the cause of honest expression, and Dreyfus’s involvement in the details which adorn the composite structure of the music – very often far from straightforward – draws the listener into a world of sound which Dreyfus himself describes as ‘inscrutable, bizarre and anarchic’. For too long, English consort music has had a specialist image, seen as the preserve of the enlightened few, or an indulgence by rarified amateur gatherings in north Oxford. Phantasm’s spirited playing blows all these cobwebs away, and readers will find that they need no multi-syllable password to the wholehearted enjoyment of this wonderful music.

Nicholas Anderson 

contents:


Consort Setts in Five Parts

Set a5 in a
1 Fantazy
2 Fantazy
3 Aire

Set a5 in F
4 Fantazy
5 Paven
6 Aire

Set a5 in c
7 Fantazy
8 Aire
9 Paven
10 Aire

Set a5 in C
11 Fantazy
12 Paven
13 Aire

Set a5 in g
14 Fantazy
15 On the Playnsong
16 Aire

For the Violls a4
17 Fantazy in c (VdGS #108)
18 Aire [Fantazy] in C (VdGS #111)
19 Aire in c (VdGS #109)
20 Aire in C (VdGS #112)
21 Aire in c (VdGS #110)
22 Aire in C (VdGS #113)



Phantasm

Laurence Dreyfus, treble viol and director
Wendy Gillespie, treble and tenor viols
Jonathan Manson, tenor viol
Markku Luolajan-Mikkola, bass viol

were joined by:
Sarah Cunningham, bass viol



-O-




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William Lawes was one of the greatest composer's during the first half of the 17th century. His consort of 6 parts was his last major work before he was tragically killed in 1645 fighting for his patron King Charles I. It robbed the musical world of a creative genius and one only wonders what more lavish compositions would have flowed from his pen. Lawes 5 part consort is good but it's in his 6 part consort that he shines the brightest, which the superb ensemble Phantasm take full advantage of. Their playing is immaculate,which is exactly what this music demands and they are recorded with great care. Lawes consort music is more experimental than his distinguished contemporary John Jenkins. English 17th century consort music continued to flourish after Lawes and Jenkins with Matthew Locke's 4 part consort before reaching it's peak with Henry Purcell's trio sonatas. 

contents:


Set a6 in g
1 Paven
2 Fantazy
3 Aire

Set a6 in C
4 Fantazy
5 Fantazy
6 Aire

Set a6 in F
7 Aire
8 Fantazy
9 Aire
10 Fantazy

Set a6 in B flat
11 Fantazy
12 Inominy
13 Aire

Set a6 in c
14 Fantazy
15 Fantazy
16 Inomine
17 Aire
18 Fantazy a6 in F (early version of Fantazy, Track 8)



Phantasm

Laurence Dreyfus, treble viol and director
Wendy Gillespie, treble and tenor viols
Jonathan Manson, tenor viol
Markku Luolajan-Mikkola, bass viol

were joined by:
Varpu Haavisto, tenor viol
Susanne Braumann, bass viol

Claudio Monteverdi - Combattimento di Tancredi e Clorinda

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Tasso’s major poetical work, Gerusalemme Liberata, has inspired many musicians over the centuries but few capture the immediacy of the imagery so perfectly as Monteverdi in his celebrated ‘madrigal-scena’, Il combattimento. Gabriel Garrido approaches the work with steamy imagination and directs a deliciously wafted group of strings who commentate on events with sepia-like nostalgia.

contents:


01 - Monteverdi -Combattimento di Tancredi e Clorinda
02 - Monteverdi -Sinfonia
03 - Sigismono D'India -Forsennata gridava
04 - Monteverdi -Vattene pur, crudel
05 - Eredi -L'Armida del Tasso -Rimanti in pace (I parte)
06 - Eredi -L'Armida del Tasso -Vattene pur, crudel (II parte)
07 - D'India -Là tra 'l sangue e le morti
08 - Mazzocchi -Chiudesti i lumi, Armida
09 - Eredi -L'Armida del Tassa -Or che farà? (V parte)
10 - Eredi -L'Armida del Tassa -Poi ch'ella in sé tornò? (VI parte)
11 - Eredi -L'Armida del Tassa -Che fa più meco il pianto? (VII parte)
12 - Eredi -L'Armida del Tassa -Misera Armida (VIII parte)
13 - Eredi -L'Armida del Tassa -Questo bellezza mia (IX parte)
14 - Bernardi -Sinfonia prima a 6
15 - Cifra -Era La Notte
16 - Monteverdi -Piagn'e sospira
17 - D'India -Ma che? Squallido e oscuro
18 - Biagio Marini -La bella Ermina

Marinella Pennicchi, soprano (Clorinda)
Giovanni Caccamo, tenor (Tancredi)
Furio Zanasi, baryton (testo)

Ensemble Elyma
dir. Gabriel Garrido

Dictionary of Medieval & Renaissance Instruments

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See Medieval.org for contents

No booklet in the RAR.

Cantus has performed an invaluable service for fans of early music by assembling a CD that demystifies the assortment of archaic instruments found in historically correct performances of Medieval and Renaissance repertoire. For anyone who has puzzled over the difference between a shawm and a bombard, a vielle and a vihuela, as well as anyone just curious about the wealth of wonderful but unfamiliar sounds in early music, this CD is a treasure. The collection groups the instruments by families (bowed strings, plucked strings, keyboards, winds, etc.), and offers tracks not only of each instrument playing by itself, but with other instruments and with voices in the most common period groupings. The performances, mostly taken from recordings in the Cantus catalog, but some made especially for this project, are clean and direct -- nothing fancy, but just right for doing the job of familiarizing the listener with the sounds of the instruments.

J.S.Bach - Violoncello Piccolo

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contents:

Partita E-dur BWV 1006
Sonata g-moll BWV 1013
Sonata a-moll BWV 1003

arranged by

 Anner Bylsma, violoncello piccolo 

Vivaldi - Concerti Pour Hautbois, Basson Et Cordes

"Adí 6 Maggio 1678 Antonio Lucio figliolo del signor Giu. Battista quondam Agustin, Vivaldi sonador et della signora Camilla figliola del quondam Camillo Calicchio sua consorte, nato il 4 marzo ultimo caduto, qual hebbe l'acqua in casa per pericolo di morte dalla comare allevatrice Madonna Margarita Veronese, hoggi fu portato alla Chiesa, ricevé gli essorcismi et ogli santissimi da me Giacomo Pacacieri Piovano, a quali lo tene il signor Antonio qd. Gerolamo Vecchio specier all'Insegna del Dose in contrà".

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Loin de tout conformisme, cette slendide interprétation des concertos du Maître vénitien nécessite de la part de son auditeur, un minimum d’ouverture d’esprit. Une fois accoutumé, c’est une écoute intense qui s’offre à nous. La vélocité du jeu des solistes traduit bien l’esprit de ces compositions. Leur écriture est enjouée et bondissante et ces œuvres nous rappellent avec bonheur la grande scène lyrique vivaldienne. Ce disque est bien évidemment une réussite technique. Naturel, précision et respect des timbres ne sont qu’une partie des nombreuses qualités d’un enregistrement du plus haut niveau. Il doit désormais être considéré comme prioritaire au sein de toute discothèque baroque. C'est ainsi. 

contents:


Concerto per oboe in Fa maggiore RV 455
Concerto per fagotto in la minore RV 498
Concerto per oboe in Re maggiore RV 453
Concerto per oboe e fagotto in Sol maggiore RV 545
Concerto per fagotto in Do maggiore RV 477
Concerto per oboe in la minore RV 463
Concerto per fagotto in Fa maggiore RV 488


Alfredo Bernardini, oboe
Josep Borras, fagotto

L'Armonia e l'Inventione
dir. Alfredo Bernardini

G.F.Handel - Messiah

3 CD - MP3 192 Kbps - RAR (102+107+69Mb)

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Lorraine Hunt Lieberson, soprano
Janet Williams, soprano
Patricia Spence, mezzosoprano
Drew Minter, controtenor
William Parker, bass

U.C.Berkeley Chamber Chorus
dir. Jeffrey Thomas

Philharmonia Baroque Orchestra
dir. Nicholas McGegan

Mare Nostrum, un projet pour la paix

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A pre-eminent musician of our time, Jordi Savall adds another gem to his already extensive catalogue with Mare Nostrum (Latin for ‘Our Sea’). Savall looks to the Mediterranean Sea as a centre for ancient culture, the sea that brings us together, a dialogue of souls, performing music from Morocco, Israel, Spain and Lebanon with the usual line-up of musicians including Montserrat Figueras and Lior Elmaleh.

contents:


CD 1

1. La Guirnalda de rosas (M. Figueras, L. Elmaleh). Romance Sépharade (Espagne XVe s./Rhodes)
2. Saltarello [Mss. CSM 77-119]. Alfonso X El Sabio (Espagne)
3. Kamti Beivshan Layla (L. Elmaleh). Chant Hébreu (Israël)
4. Gagauski (kaval, morisca & percussion). Danse turque (Balkans)
5. Berceuse Amazig (M. Figueras, D. El Maloumi). Tradition Berbère (Maroc)
6. A la una yo nací (inste.). Sépharade (Sarajevo)
7. Üsküdar (G. Dinçer). Chant traditionnel (Turquie)
8. Las Estrellas de los cielos (improvisation instr.). Sépharade (Alexandrie)
9. LaMoledet shuvi roni (L. Elmaleh). Asher Mizrahi (Jérusalem)
10. Taksim & Makam Kurdi Pesrev (instr.). Angeli (Grèce ca.1680)
11. Alef, mem shin (M. Figueras). Sépharade (Turquie)
12. Taksim - Pesendîde « Saz Semârsi » (instr.). Selim III. Istanbul (1800)
13. Noumi noumi yaldati (M. Figueras, L. Elmaleh). Berceuse Hébraïque (Israël)
14. La Armada Turca (instr.). Mélodie Sépharade (Istanbul)

CD 2

1. En la Santa Helena (instr.). Sépharade (Sophie)
2. Shaar petach Dodi (L. Elmaleh). Chant Hébreu (Israël)
3. Taksim Kanun (improvisation). Hakan Güngör (Istanbul)
4. Nana andaluza : Duerme mi niña (M. Figueras). Traditionnel (Espagne)
5. El Rey que tanto madruga (instr.). Sépharade (Maroc)
6. Ana Av Rajman (L. Elmaleh). Chant Hébreu (Maroc)
7. Chominciamento di gioia (Istanpitta) (P. Hamon, P. Estevan). Mss. Trecento (Italie ca.1300)
8. Berceuse Κοιμησου Χαiδεμενο Μου (M. Figueras). Chant traditionnel (Grèce)
9. El cant dels Aucells (instr.). Chant traditionnel (Catalogne)
10. Hon Tahon (L. Elmaleh). Chant Hébreu (Israël)
11. Taksim & Makam «Rast Murass’a» Mss. D. Cantemir n.214 (Istanbul, 1690)
12. Adonenu Elohenu (M. Figueras). Sépharade (Tunisie)
13. Taksim & danse Bulgare. Traditionnel (Bulgarie)
14. Mireu el nostre mar (F. Savall) improvisation, M. Forcano (texte) F.Savall (mus.)

Montserrat Figueras, Lior Elmaleh

HESPÈRION XXI
Y.Dalal, G.Dinçer, D.El Maloumi, P.Estevan, H.Güngör, P.Hamon, P.Memelsdorff, A.Lawrence-King, G.Mouradian, N.Nedyalkov, D.Psonis, H.Sarikouyoumdjian, F.Savall, M.S.Tokaç, Y.Tokcan, D.Türkan, F.Yarkın

JORDI SAVALL

A Guide to Period Instruments

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This Guide to Period Instruments endeavours to answer the questions that every lover of early music has about the instruments used in these periods of music history. Text and recorded excerpts describe the origin and the development of every musical instrument from the Middle Ages to the end of the 18th century and place them in their historical context. There is a completely new presentation booklet, over 200 pages long (83Mb) and abundantly illustrated, as well as eight CDs of recorded examples of the instruments that shed new light upon major periods of music history. These excerpts have been drawn from the Ricercar catalogue for the most part and are completed by new recordings made for the purpose as well as by material made available to us by other specialist recording labels. This Guide to Period Instruments is a perfect synthesis of the music lover’s thirst for knowledge with the sheer pleasure of hearing these historical instruments.

Performers:

Ensemble Millenarium, Continens Paradisi, Capilla Flamenca, La Caccia, Les Basses Réunies, Le Poème Harmonique, Les Agréments, La Gioa Armonica, The London Classical Players, La Fenice, Doulce Mémoire, Ricercar Consort, Bernard Foccroulle, Rolf Lislevand, Philippe Pierlot, Gustav Leonhardt, Christina Pluhar, Jérémie Papasergio, Jean-Marc Aymes, Marcel Ponseele, Guy Van Waas, Paul Goodwin, Roger Norrington...

Musica en Tiempos de Velazquez

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On this recording of Spanish instrumental and theatre music from the seventeenth century, both the instrumental playing and the solo singing are of a high order. Soprano Marta Almajano has a clear and well focused voice, that is both fuller and more nuanced with a wider range of expression than that of Montserrat Figueras; the singing is also less idiosyncratic but equally idiomatic. Almajano is at her most expressive, perhaps, in Jose Marin's Ojos, que me desdenais , and is scintillatingly alive to the drama of some of the other pieces by Juan Hidalgo, the Spanish equivalent of Purcell. In some items (for example, Hidalgo's Peynandose estaba un olmo ) the balance between voice and instruments is rather odd, with the latter too prominent or, at least, with the voice sounding curiously distant by comparison. At other times (in Hidalgo's Cuydado, pastor ) the balance seems better. Both Jose Miguel Moreno on vihuela and baroque guitar and Paolo Pandolfo on gamba are technically assured and imaginative players, and lead the rest of the team (Nuria Llopis on harp and Juan Carlos de Mulder on theorbo) in performances that are full of rhythmic zest and imagination. The music itself is charming and dramatic by turn, and certainly bears repeated listening. It is generally less harmonically adventurous than Purcell (despite some telling chromaticisms in Marin's Aquella sierra nevada ), but has a cogent harmonic idiom of its own and is full of rhythmic interest."

Gramophone 

contents:


1 SANZ / MARTÍN Y COLL Folías
2 HIDALGO Peynándose estaba un olmo
3 HIDALGO ¡Tonante dios!
4 MARTÍN Y COLL Canarios
5 MARÍN Ojos, pues me desdeñáis
6 SELMA Susana passeggiata
7 HIDALGO De las luces que en el mar
8 HIDALGO Cuydado, pastor
9 SANZ Canarios
10 HIDALGO Ay que sí, ay que no
11 RUIZ DE RIBAYAZ Españoletas
12 MARÍN Aquella sierra nevada
13 SELMA Fantasía
14 MARÍN No piense Menguilla
15 GUERAU Marionas
16 DURÓN Sosieguen, descansen
17 HIDALGO Ay, que me río de Amor
18 SANZ Lantururú


Ensemble La Romanesca
dir. José Miguel Moreno

Marta Almajano, soprano
José Miguel Moreno, vihuela
Paolo Pandolfo, viola de gamba
Juan Carlos de Mulder, tiroba
Nuria Llopis, arpa
Toni Millán, clave

M.A.Charpentier - Tristes Déserts

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Marc-Antoine Charpentier's (1643-1704) deeply soulful vocal works are among the most immediately appealing pieces of the middle Baroque. He had a gift for grateful, lyrical vocal writing that's expressively expansive and avoids the patterned clichés that sometimes hobble music of that era. This collection features a variety of works, including songs, a cantata, and a short opera-like scene in the form of a motet, Epithalium Carpenterij, that's quite unlike anything else in the musical repertoire. It's a wickedly funny tombeau, or musical memorial tribute, which Charpentier writes in his own honor. Casting himself as a Shade wandering the earth after his death, he alternates passages of genuine religious devotion with diatribes against his rival, François Chaperon; the Shade and his companions end the piece singing "Blessed is he who, to wash away his sins, listens patiently to the asinine dissonances of Chaperon, for after death he will taste the joys of eternal life and drink the nectar of the concert of angels...." It's easy to imagine the scampish glee the tenor Charpentier must have taken in singing the role of the Shade in performances of the piece. Gérard Lesne describes himself as a contre-haute, or countertenor, but he has more the quality of a very high tenor, or male contralto, than of a genuine countertenor. His voice is natural sounding and unforced, and he sings with an unpretentious freedom that sounds almost casual, but it's refreshing in this kind of repertoire, which is sometimes the province of only the most polished and mannered voices. He's joined in several of the pieces by tenor Cyril Auvity and baritone Edwin Crossley-Mercer, who sing with comparable freshness and energy. Il Seminario Musicale, which Lesne directs, provides a lean and lively accompaniment. The variety and depth of Charpentier's imagination and the quality of the performances make this a disc that should be of interest to listeners who enjoy the discovery of obscure but rich musical treasures from the past.

Stephen Eddins 

contents:


Tristes deserts
Chaconne, H467
Non, je ne l'aime plus
Amour, vous avez beau redouble
Rendez-moi mes plaisirs
Oiseaux de ces bocages
Quoil je ne verrai plus...
Epitaphium carpentarii
Les stances du Cid
Celle qui fait tout
Aupres du feu
Veux-tu, compère Grégoire
Beaux petits yeux
Ruisseau qui nourrit
Orphée descendant aux enfers


Gérard Lesne, countertenor
Cyril Auvity, tenor
Edwin Crossley-Mercer, bass


Il Seminario Musicale
dir. Gérard Lesne

Antonio Vivaldi - Oboe Sonatas

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Goodwin and his accompanists treat each of these pieces as an individual, with impressive results. The Vivaldi sonatas include a number of extreme technical challenges, into which Goodwin throws himself with physicality and enthusiasm. The accompanying players (in RV 53 there is a large continuo group consisting of cello, harpsichord, and archlute) create a big sound that stands up to Goodwin's heroics. The disc includes two forgeries long attributed to Vivaldi but actually composed by French musette (bagpipe) player Nicolas Chédeville; they were certainly influenced by Vivaldi, and they shed some light on the still-emerging influence of Vivaldi on the mid-century galant style. Among the highlights of the two Chédeville sonatas are the bizarre, almost ragtime-like syncopations in the Allegro, ma non presto movement of the Sonata for oboe and continuo, RV 59.

James Manheim 

contents:


Sonata for oboe & continuo in C minor, RV 53
Trio Sonata for 2 oboes, bassoon, continuo & archlute in G minor (Lund), RV 81
Sonata for oboe, cello, organ & guitar in A major (Il pastor fido), RV 59
Sonata for oboe, violin, organ & chalumeau in C major (Salmoe), RV 779
Sonata for oboe, cello, continuo & archlute in G minor (Il pastor fido), RV 58
Paul Goodwin, oboe
Gail Hennessy, oboe
John Holloway, violin
Colin Lawson, chalumeau
Nigel North, archlute & guitar
Susan Sheppard, violoncello
Frances Eustace, bassoon
John Toll, harpsichord & organ

At The Sign of the Crumhorn

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 This disc offers an approach to performance that emphasizes the music’s popular context and secular function. In other words, the singing style is plain, somewhat earthy, and full of energy and a sort of naïve expressiveness. The instrumental pieces carry their own distinctive character, owing to the unique timbres of the instruments themselves–crumhorn, trombone, shawm, recorder, gamba, lute–and to the liveliness of the arrangements, which primarily are in the form of dances. The musical sources are the published collections of Tielman Susato, a noted 16th-century composer, performer, arranger, and music publisher. His extensive volumes contain excellent examples of Flemish vocal and instrumental music of the period from a variety of composers. As you might expect, the songs and dances come in all variety of performing configurations, and the members of the ensemble Convivium Musicum Gothenburgense excel at keeping the program moving and have good instincts for appealing instrumental and vocal groupings. Although for my taste their “unpolished” manner emerges a bit too prominently on some of the vocal selections, these are solid, savvy musicians who obviously are having fun with their material–just as the original performers undoubtedly did.

contents:


1. Hellinc - Come out all
2. Baston - Needles, needles
3. Susato - Den 3 Ronde + Den 4 Ronde + Les quatre Branles
4. anon - In sorrow must I die
5. anon - I carry in my heart
6. Souliaert - Be sure to drink in moderation
7. Appenzeller - A Venus creature
8. anon - How sorrowful is my heart
9. Hellinc - New Almanack
10. Susato - In the middle of May
11. Baston - A Guild has its wench
12. anon - My heart has secretly departed
13. Susato - My beloved's brown eyes
14. anon - Ye noble young spirits
15. Susato - Ronde 4-1-6
16. Susato - Fool's entr'acte
17. Clemens non Papa - Beautiful Venus
18. Susato - Hoboken Dance
19. Souliaert - I went out last night
20. Susato - Allemande 4-3-6
21. Susato - Gaillarde 1-2-3
22. Verbonnet - You are the most precious
23. Souliaert - Pain and sorrow + I mourn
24. Susato - O time so heartily full of melodies
25. anon - Now take note
26. anon - Here we come
27. anon - A girl came walking by I
28. anon - A girl came walking by II
29. Susato - Ronde 3-4

Convivium Musicum Gothenburgense

J.D.Heinichen - Galant Court Music

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Heinichen becane a atudent at the St. Thomas School under Bach's predecessor, Kuhnau, and later teacher of Graupner. Heinichen continued in Leipzig to study law at the university there. In 1710 he visited Italy, where, in 1711, he produced an important book on the thoroughbass that was later revised as Der Generalbass in der Composition (1728). After six years in Italy, Heinichen worked briefly for Prince Leopold of Anhalt-Cöthen (1717, the same year that Bach began his appointment in the same court). Heinichen soon became Kapellmeister to the Elector of Saxony and King of Poland in Dresden. Although he composed more than 150 sacred choral works, Heinichen is remembered today mainly for his contributions to music theory. 

contents:


Concerto a 7, G-Dur Seibel 214
Concerto g-moll, Seibel 237
Overture G-Dur, Seibel 206
Concerto A-Dur, Seibel 228
Concerto D-Dur, Seibel 224
Concerto G-Dur, Seibel 205


Il Fondamento
dir. Paul Dombrecht

Roots of the Balkan

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The twelve members of Ensemble Renaissance perform these pieces with true authority and, to this listener, they are authentic to the last. The group utilises upfront fiddles and bagpipes in addition to more local/regional instruments (saz, kaval etc.). The dance tunes, with their unusual and shifting time signatures, are everything you might imagine had sparked the imagination and creative impulse of Bartók on his field excursions to research the folk music of this and adjacent areas. (continue HERE:)

contents:


Easter Serbia
01 - Igra i pesma 'Sitan biber' (Wedding dance & song)
02 - Nocna putnicka melodija (Night travel melody)
03 - Putnicka pesma 'Visoko drvo, lad nema' (Travel melody)
04 - Tri igre- Ostroljanka, Polomka, Cigancica (3 Dances)
Kossovo & Metochia
05 - 'Marijo, deli, bela kumrijo (Ah! Mary my Sweet Dove)
06 - 'Crna zemljo, sestro' (Black Earth my Sister)
07 - 'Oh, jabuko, zeleniko' (Hey You! Green Apple-Tree)
08 - 'Izvor voda izvirase' (Spring Water)
09 - 'Soko bira, gde ce naci mira'
10 - 'Oj, mori vrbo, zelena (Hey You! Green Willow)
11 - 'Svunoc mi sanak ne dodje'
12 - 'Kisa pada, trava raste' (Come the Rain, Grow the Grass)
13 - 'Gusta mi magla pandala' (The Dense Fog Came Down)
Central Serbia
14 - Cetiri igre- Stara setnja, Zavrzlama, Siljcici - Poljanka
15 - Tri igre- Cigancica, Stara cranjanka, Zavrzlama (3 Dances)
16 - Dve igre- Gajdica, Sareno oro (2 Dances)
17 - Sedam igara iz Levca (7 dances from Levach)
South Serbia
18 - Pesma 'Sadila moma lojze' (The Maidin Puts the Grepevine in)
19 - Kasapsko kolo (Buthcher's Wheel Dance)
20 - Skomraska igra (Jugglers' Play)
21 - Devojacko kolo (Maidens Wheel Dance)

Ensemble Renaissance

W.A.Mozart meets Mr.Hogwood

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L'Oiseau Lyre's Mozart: The Symphonies, performed by the Academy of Ancient Music under Christopher Hogwood, is the ne plus ultra of Mozart symphony sets. Many "complete" collections of this cycle omit Symphony No. 37 as the better part of it is composed not by Mozart but by Michael Haydn as the result of a backroom trade of compositions between the two old friends. Most do not address the Mozart symphonies that are considered doubtful or that fall outside the accepted canon of Numbers 1-41, and few more contain orchestral Mozart works related to his symphonic output but are technically not symphonies. Hogwood's set, however, contains everything of Mozart's symphonic or near-symphonic music -- excepting most opera overtures, dances, and divertimenti -- as was understood at the time of its release in 1997.

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This is an opera seria, the same kind of opera composed by Handel a half-century earlier and many others in the century before him. It was already very old-fashioned when Mozart took it up (on a royal commission, an offer he couldn't refuse), finishing it only a few months before his death. The unlikely plot inspired some of the greatest music Mozart ever composed--music that breathed new life into the rickety opera seria form. Christopher Hogwood has assembled a superb array of specialists to perform with his period-instrument orchestra and do this underappreciated opera musical and stylistic justice.Joe McLellan

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Christopher Hogwood has previously released recordings of music by Bach and Handel on the clavichord. Each of these is called "The Secret ..." because it represents private and personal music making in one's home. This wonderful disk presents music by Mozart, which is particularly nice because we associate his music so much with the piano (though his piano was vastly different than the usual iron framed, long ringing piano we play on today).

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These two serenades used to be practically unknown fifty years ago, except to specialists and the public at the Salzburg Festival: now they are among Mozartian favourites.

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Hogwood chooses to use the Maunder edition which substitutes key sections with pieces from other Mozart compositions in an effort to keep the composition as purely Mozart as possible. In doing so, he may have achieved to some degree a more "pure" Mozart authorship, but on the other hand the piece has lost it's overall musical structure and proportion and in this respect it is clearly less "Mozartian".

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“Mozart left unfinished the work that ought to have been the choral masterpiece of his early Viennese years but there's enough of it to make up nearly an hour's music – music that's sometimes sombre, sometimes florid, sometimes jubilant. Hogwood avoids any charge of emotional detachment in his steady and powerful opening Kyrie, monumental in feeling, dark in tone; and he brings ample energy to the big, bustling choruses of the Gloria – and its long closing fugue is finely sustained. The clarity and ring of the boys' voices serve him well in these numbers. There's a strong solo team, headed by the late Arleen Auger in radiant, glowing voice and, as usual, singing with refined taste; Lynne Dawson joins her in the duets, John Mark Ainsley too in the trio. But this is essentially a 'soprano mass' – Mozart wrote it, after all, with the voice of his new wife (and perhaps thoughts of the much superior one of her sister Aloysia) in his mind – and Auger, her voice happily stealing in for the first time in the lovely 'Christe', excels in the florid and expressive music of the 'Et incarnatus' (where Richard Maunder has supplied fuller string parts than usual, perhaps fuller than Mozart would have done had he finished the work). Hogwood directs with his usual spirit and clarity.”

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Mozart's Horn Concertos, along with his earlier Symphonies and Violin Sonatas, Church Sonatas and the two Piano Quartets, are among his most underrated compositions, if not the most underrated.

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If you respond to Kirkby's elegant voice, which has the character almost of a boy soprano, you will love this album. This Exsultate Jubilate is a slight variant of the familiar staple. Oboes are replaced with flutes and the words are slightly altered, but these changes are minor. Kirkby's angelic soprano sails through the work with effortless skill and a beauty that will have you listening with rapt attention to every note. The three rarities included, the Ego interest and the two Reginas, are real gems, especially the charming Regina K. 108, which alone would be worth the price.

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Christopher Hogwood and company score again with a rousing yet reverant telling of two of Mozart's less frequently heard choral works. The Coronation Mass is a thrill; crisply sung with refreshingly clear intonation and toning. The solo quartet features uniformly strong singers who zip and soar with Mozartian ease. It's been quite a while since I've heard as strong a quartet as this. This production of the Mass alone would place Mozart on a pedestal!
The production of the Vesperae Solennes is also majestic and exuberant. The Laudate Dominum is clearly the strongest of the movements; the soprano solo literally floats above what must be heaven itself.
The latin is not the vulgare pronounciation usually heard in choral readings - but that quibbling can be left to scholars. The rest of us can just hook up and enjoy.

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This CD is a successful coming-together of two of Mozart's best concerti, two brilliant soloists and some very good conducting.
More often than not, the Oboe Concerto in C is heard in its flute version - transposed to the key of D. This recording presents Mozart's original layout of the oboe concerto played with period instruments or accurate replicas. The bold stability of the key of C major suits the optimism of this concerto, composed in what many call Mozart's mid-period. Fresh yet mature, the language is extremely expressive. The contrast between the three movements goes to the heart of 18th-Century theory on dramatic contrasts - with the confident Allegro, the lyric Adagio and the bouncy Allegretto.
The Clarinet Concerto brings the listener to another mood - that of Mozart's more somber "third period." Compared to the oboe concerto, the tones are darker, the melodic phrases longer and the counterpoint between the solo and the orchestral voices more complex and pronounced.

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This lovely collection, recorded in 1988 and '89, finds Emma Kirkby at her mature best. The voice is still silvery and smallish, but it has the low notes, although they are certainly not as impressively dramatic as the top and middle ones are lustrous. This problem is most noticeable in "Ah, lo prevedi", a huge aria filled with pain and anger, where a type of darkness simply not available to Kirkby would be welcome. But hearing her whip through "Aer tranquillo" and bathing in her liquidy silver tone in the gorgeous "L'amero saro costante" (both from Il re pastore) is a true delight, and Stephen Lubin's translucent pianoforte goes ideally with Kirkby's sound in "Ch'io mi scordi di te". "Nehmt meinen Dank" features Kirkby in concert with flute, oboe, and bassoon, and it is here that we truly appreciate the contribution of Christopher Hogwood and his Academy: singer, conductor, and band think and perform as one.
Robert Levine, ClassicsToday.com

contents:


Aer tranquillo e dì sereni (Il re pastore, K208)
L'amerò, sarò costante (Il re pastore, K208)
Voi avete un cor fedele (K217)
Ah, lo previdi (K272)
Ruhe sanft, mein holdes Leben (Zaide, K344)
Trostlos schluchzet Philomele (Zaide, K344
Nehmt meinen Dank, ihr holden Goenner! (K383)
Ch'io mi scordi di te (K505)



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The pianist Robert Levin is a man with a mission: "When improvisation regains its former position at the center of Classical music making, perhaps the gap between composer and performer, between old and new music, between vernacular and art music, and between Classical performer and audience will narrow." Levins growing number of collaborations with Christopher Hogwood's Academy of Ancient Music on the Mozart piano concertos brilliantly argues his case with clarity and conviction. Here, on the Piano Concertos No. 22 and No. 23, the sense of ensemble seems to have become even tighter and the element of improvisation more unexpected and, while always tasteful, more daring than in their previous recordings of the Mozart concertos. This is music making that is scrupulous and refined though never stuffy. Levin seems completely at home on the faithfully restored 1795 Anton Walter fortepiano. As always with Hogwoods recordings, the production quality is on a very high level, and the liner notes are ample and engagingly edifying. 

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This remarkable performance is all the more interesting for the presence of Mozart's own fortepiano. Its strong, clear tone is perfectly suited to the interpretation of Mozart, lending a magical aura to the proceedings.
Robert Levin's grace at the keyboard has earned him a worldwide reputation. His confident approach to Mozart's Piano Concertos Nos. 15 and 26, especially his improvised cadenzas, proves his merit. His skilled musicianship, paired with his unique instrument, make this album a novel experience.
Those familiar with recordings of these concertos made with contemporary instruments may be surprised by the difference period instruments make. The Academy of Ancient Music, led by conductor Christopher Hogwood, completes the effect with a full orchestra of instruments authentic to the era.
The heart of this recording is, of course, the music. The differing instruments highlight the core beauty of Mozart's work, shedding new light on his unwavering prominence as the world's favorite composer.