William Lawes - The Harp Consorts

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William Lawes was one of the most prolific composers of chamber music during the Caroline Era, whose life ended not long after the era itself did. A committed Royalist whose music was written for the lavish entertainments of the Royal Court, Lawes died defending his king at the Siege of Chester, which began in September 1645. Toward the end of his career as a court composer, Lawes composed 11 remarkable consort sets for harp, violin, viol, bass viol, and continuo that are absolutely unique in whole of English consort music, but they remain among the most obscure of his instrumental compositions overall, of which some 200 remain. This is partly due to the condition of the manuscripts from which they come, two of which lack the harp part altogether and others where the bass viol line merely mirrors the continuo part. There is also the crucial issue as to whether by "harp" Lawes means the Irish harp already long established in the British Isles or the French triple harp, relatively new to the kingdom at the time. Editor Jane Achtman, who also plays the viol in the group named after this Lawes cycle, the Harp Consort, has edited the set for PRB Productions and in preparing the work called upon the expertise of Harper Maxine Eilander, Baroque guitar specialist Stephen Stubbs, and his outstanding historic chamber group Les Voix Humaines. The providential by-product of this association is ATMA Classique's William Lawes: Harp Consorts, and it brings these startling chamber works to recordings for the first time. Lawes' odd choice of instrumentation combined with ATMA's excellent recording and Les Voix Humaines' nuanced and well-studied interpretation of these pieces results in a sound that has an almost orchestral arc to it. Rather than being highly musical but not very differentiated, as some of John Jenkins' consort music tends to be, each of these consort sets has a distinct character -- Consorts 5 and 6 are distinguished by their swinging and almost jazzy rhythmic flavor, Consorts 9 and 10 by their highly dissonant and eccentric harmonic profiles. While at first listen one will be struck by the overall beauty of the sound of Les Voix Humaines, the expressive depth and compositional gifts of Lawes gradually unfold with repeated listening. One will be attracted to listen repeatedly; it's a beautiful sound, and by virtue of releasing William Lawes: The Harp Consorts, ATMA Classique has filled a major repertory hole in the field of early chamber music.

Uncle Dave Lewis

contents:


Consort 8 in G
Consort 7 in G
Consort 3 in G
Consort 11 in d
Consort 4 in d
Consort 9 in D
Consort 5 in D
Consort 6 in D
Consort 10 in g
Consort 2 in g
Consort 1 in g
Duo for guitar and harp


Maxine Eilander, harp

Les Voix Humaines
Stephen Stubbs, theorbo & guitar
David Greenberg, baroque violin
Susie Napper & Margaret Little, violas da gamba

Arcangelo Corelli - Sonatas Op 5

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Sonata I. D major
Sonata II. B flat major
Sonata III. D major (orig. C major)
Sonata IV. G major (orig. F major)
Sonata V. G minor
Sonata VI. A major

Benedek Csalog, flute 
Léon Berben, harpsichord

G.F.Handel - L'Allegro Il Penseroso ed Il Moderato

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Booklet & Score - 86 Mb

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L'Allegro, Il Penseroso, Ed Il Moderato is one of Handel's most unjustly neglected masterpieces. The reasons for its relative obscurity are not difficult to fathom: It falls into the rather ill-defined category of "Ode," and its concluding segment (Part III) is well below the rest in inspiration--largely because the text here is doggerel by Newburgh Hamilton, whereas the poetry set in Parts I and II is by John Milton (as rearranged by Hamilton). Great poetry always elicited the best from Handel, and at least the first two segments of this work represent Handel's genius at full stretch. The way Handel depicts Milton's imagery--particularly the pastoral scenes--anticipates similar text-painting in Haydn's Creation and Seasons. In fact, the latter work is in places explicitly modeled on L'Allegro: both have "laughing" choruses, merry dancing followed by a curfew call, tolling bells, avian songsters of various species, hounds and horns, etc.

Jennifer Smith (Soprano)
Maldwyn Davies (Tenor)
Marie McLaughlin (Soprano)
Martyn Hill (Tenor)
Michael Ginn (Treble/boy soprano)
Patrizia Kwella (Soprano)
Stephen Varcoe (Baritone)


Monteverdi Choir
English Baroque Soloists
dir. John Eliot Gardiner

Telemann a Fagotto solo

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Of all the instruments that were being developed at the beginning of the 18th century, the role of the bassoon in music of that time is still insufficiently recognised. Telemann and his German contemporaries composed true solo passages for the instrument and also used it in combination with the violin, the flute, the oboe and the harpsichord. Musicians have now
been performing on ‘original instruments’ for fifty years; during this time they have refashioned their techniques by combining what they have learnt from period sources with modern instrumental usage. For the oboe and bassoon, however, the two fundamental issues of historical reeds and fingerings have not yet been fully explored: modern techniques of reed-making have been adapted to historical instruments primarily for reasons of convenience. If, however, we take our lead from historical texts, from depictions of the instruments in contemporary art and from the instruments themselves that have survived, the sound that we then obtain is astonishingly different: it has more freedom and more timbre and the instrument’s production of this sound is much facilitated. This flexibility of the reed can disconcert a player who is used to a modern instrument; he simply has to become accustomed to it! The fingerings that we have used for this recording have been taken from fingering tables dating from the first half of the 18th century. Our tuning system is naturally linked to the ‘unequal’ tunings used by keyboards of the time. The highest notes in the instruments’ ranges require much more control from the player — they are difficult to produce
cleanly — to the great benefit of the music’s virtuosity, brilliance and homogeneity. We have already demonstrated that these techniques increase the colours and expressive potential of even earlier forms of the oboe and bassoon in our recordings; in this recording we employ them for the first time on the instruments as they were known in the Baroque era.

Jérémie Papasergio

contents:


Telemann - Quartet in D-Moll, TWV 43:d1
Telemann - Sonata in F-Moll, TWV 41:f1
Telemann - Trio in F-Dur, TWV 42:F1
Telemann - Trio in A-Moll, TWV 42:a6
Zelenka - Trio in B-Dur, ZWV 181/3
Telemann - Trio in B-Dur, TWV 42:B5
Schaffrath - Duetto in G-Moll


Syntagma Amici
Jérémie Papasergio

J.S.Bach - Cantates Pour Alto BWV 35, 54, 170

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Three of Bach's four cantatas for solo alto were written within the period of a few months in the year, 1726. It is surmised by musicologists that they were written for a specific singer, for they are very difficult, and not easily sung by the moderately skilled personage. There are strenuous technical demands on the vocal and expressive qualities of the singer, who must be an accomplished coloratura capable of expressive cantible singing as well as possessing accurate intonation. A female or a castrato voice were out of the question, but a high falsetto was not.

German theological tradition reaching far back into the 17th century endowed each of the 4 human voice types with symbolic connotation. The theologian Theodor Schneider writes:"The bass is appointed/that was the belief/to be seen by Jesus/who is the basis and foundation of our salvation; you Descants/trebles,sopranos/soar on high/and thus/let your prayer penetrate the clouds/and do not erase/until you reach the Almighty Trinity; see/they open up the roof on high and set poor man down before the feet of the Lord Jesus; the Holy Ghost himself bore the Alto(s) and caused them/if not with their mouths/ yet with their hearts to cry: Jesus/ you Son of David/have mercy on us!" The alto was accorded the voice of the Holy Ghost. All three of these cantatas are very attractive and quite interesting.

contents:

"Vergnügte Ruh, beliebte Seelenlust," BWV 170
"Widerstehe doch der Sünde," BWV 54
"Geist und Seele wird verwirret," BWV 35


Andreas Scholl (Countertenor)
Marcel Ponseele (Oboe)
Markus Markl (Organ)

Collegium Vocale Orchestra
dir. Philippe Herreweghe

W.A.Mozart - Complete Works For Flute And Orchestra

10 tracks | MP3 192 Kbps | RAR 118 Mb

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Konzerte fur Flöte und Orch. Nr. 1 G-dur KV 313
Konzerte fur Flöte und Orch. Nr. 2 D-dur KV 314
Andante fur Flöte und Orch. C-dur KV 315
Konzerte fur Flöte, Harfe und Orch. C-dur KV 299

Konrad Hunteler (flute) 
Helga Storck (harp) 
Orchestra of the 18th Century
dir. Frans Bruggen

Joyssance vous donneray

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The program brings together two related repertoires that are often performed separately (when they are performed at all): the French chanson of the sixteenth century, and the instrumental versions of them, somewhere in a fascinating space between arrangement and new music, that issued from the presses of French music publishers. Most of the instrumental pieces are played by groups of recorders, perhaps with a harp (played by vocalist Arianna Savall herself) or other stringed instruments. The songs involved are very famous; they're the ones that anyone who has taken a Renaissance music survey course will have encountered (such as Claudin de Sermisy's "Tant que vivray"). Most of them are heard in several different versions, one sung by Savall with instrumental accompaniment, then followed by the instrumental versions. As each tune is split apart and put back together anew, the program gives the listener a gentle way into the understanding of just why it was that these particular tunes spread all over Europe. (There is, it must be said, plenty to learn from the booklet as well, for the persistent.) Savall is developing a voice as gorgeous as that of her mother, Montserrat Figueras, and the instrumental work of the ensemble Il Desiderio is impressive in its cleanness and clarity. This is a disc with numerous applications for education or simply for quiet Renaissance listening.

contents:

Recercada tercera - Diego Ortiz (c.1510-c.1570) 

Recercada segonda - Diego Ortiz (c.1510-c.1570) 

Susanne un jour - Giovanni Bassano (c.1558-1617) 

Improvisation - Thomas Kügler 

Martin menoit - Clément Jannequin (c.1485-1558) 

Je suis déshéritée - Jacotin 

Je suis déshéritée - Pierre Cadéac (c.1510-c.1560) 

Pavane passamaize - Claude Gervaise 

Joyssance vous donneray - Adrian Willaert (c.1490-1562) 

Doulce mémoire - Tylman Susato (c.1500-c.1564) 

Je suis déshéritée - Claude Le Jeune (1527-1600) 

Que je porte d'envie - Claude Le Jeune (1527-1600) 

Susanne un jour - Claude Le Jeune (1527-1600) 

La nuict froide et sombre - Orlando di Lasso (1532-1594) 

Susanne un jour - Orlando di Lasso (1532-1594) 

Fantaisie XXXXII à 6 - Eustache du Caurroy (1549-1609) 

Fantaisie XXV à 4 - Eustache du Caurroy (1549-1609) 

Fantaisie XXIX à 3 & XXXIII à 5 - Eustache du Caurroy (1549-1609) 

Arianna Savall (Harp, Soprano)

Il Desiderio

dir.Thomas Kugler

Marcello Gatti (Traverse flute)

Thomas Kügler (Traverse flute)

Ursula Thelen (Mezzo-soprano, Traverse flute)

Ildikó Kertész (Traverse flute)

Laurence Dean (Traverse flute)

Imke David (Bass viol, Lirone)

André Henrich (Lute)

Heike Johanna Lindner (Bass viol)

Gebhard David (Cornetto muto)

Per Chiara

Festive Hanseatic Music

18 tracks - Mp3 192 Kbps - RAR 110Mb

The term "Hanseatic" in this program titled Festive Hanseatic Music originates from the word Hansa, which simply means a company of merchants trading overseas. The selections here were mostly composed during the waning years of the so-called Hanseatic league--an alliance of primarily prosperous northern European cities that began in the 13th century and ended in the 17th. While commerce for the Hanseatic league may have been on the decline during this period, the quality of the works offered on this new CPO CD clearly gives the impression that its musical life was thriving.
While a few of the major composers of the time are represented (Weckmann, Obrecht, Orlando di Lasso and Clemens non Papa) the program is devoted mostly to the lesser known. For example, the opening selections are three sacred concerto excerpts by Julius Johannes Weiland, a composer new to me and otherwise not currently represented on CD. Though obviously indebted to Schutz, Weiland's lovely settings are similarly rich in polyphonic variety and instrumental texture. While Julius Ernst Rautenstein also was well known in his time, little of his prolific output remains today. What a shame! His represented work, Ich schlafe, aber mein Herz wachet, based on a text from the Song of Songs, combines expertly crafted instrumental subtlety with operatic duet writing worthy of Monteverdi. I especially enjoyed how tenor Harry Geraert's relentless calls "Tu mir auf, meine Freundin" (Open up to me, my lady!) eventually find little reprieve, rendered in the lusty solace of the final line "Ja, ja ich komme in meinen Garten" (Yes, yes, I'm coming into my garden).
Equally satisfying are the Canzoni by Dietrich Becker and a rare "T'Andernaken" by Flemish vocal master Jacob Obrecht, the only instrumental works represented. About five years ago I was fortunate enough to happen on another CPO CD devoted entirely to Becker (still available!), a charming collection of his Suites and Sonatas beautifully performed by Parnassi Musici--so these Canzoni are especially welcome. While these quiet gems again derive their original inspiration from Italian models, Becker's counter-melodies, particularly in the strings, owe more to northern folk dance than to the Venetian court in the south. Obrecht's arrangement of the popular Flemish folk song "T'Andernaken" is as inventive as it is unusual, a spirited tune that must have provided Hanseatic town pipers many opportunities to demonstrate their virtuosity. CPO's sound is exemplary, with the performers all sufficiently detailed yet never unnaturally highlighted. Also, the outstanding collective Weser-Renaissance Bremen and its director Manfred Cordes deliver peerless, expert performances. Heartily recommended, especially to adventurous Renaissance music enthusiasts who delight in discovering off-the-beaten-path treasures.

--John Greene, ClassicsToday.com

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contents:


Julius Johannes Weiland: Laudate Dominum, for 8 voices
Julius Johannes Weiland: Veni sancte spiritus, for 5 voices
Julius Johannes Weiland: Wohl dem, der ein tugendsam Weib hat, for 6 voices
Julius Ernst Rautenstein: Ich schlafe, aber mein Herz wachet, for 4 voices
Heinrich Albert: Auf und springet, for 5 voices
Andreas Hakenberger: Beati omnes, qui timent Dominum, for 12 voices
Philipp Dulichius: Omnis caro ut foenum, for 7 voices
Philipp Dulichius: Da pacem Domine, for 6 voices
Christoph Bernhard: Surrexit Christus, for 11 voices
Dietrich Becker: Canzon for 4 (or 5) parts in C major
Matthias Weckmann: Es erhub sich ein Streit, for 14 voices
Jacob Obrecht: Laudemus nunc Dominum/Non est hic aliud, motet for 5 voices
Jacob Obrecht: Tandernaken, chanson for 3 voices (text incipit only)
Orlande de Lassus: Heroum soboles, motet for 6 voices, M. i (S. xi/122)
Andries Pevernage: Clio, chantons disertement, for 6 voices
Jacobus Clemens Non Papa: Ick weet een vrouken amoreus, for 3 voices
Jacobus Clemens Non Papa: Fortuyne, wat heb dy ghebrouwen, for 3 voices
Andries Pevernage: Pleurez, Muses, for 5 voices

Weser-Renaissance
dir. Manfred Cordes

Esperar Sentir Morir

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Charivari Agréable's new CD, Esperar, Sentir, Morir is a collection of songs and dances from the Hispanic baroque era, with most of the pieces emerging from the courts of Philip III, Philip IV and Philip V. Everything Charivari touches turns to gold, and these dozen or so pieces were eloquently realized with a potent mix of exquisite musicianship, warm rapport and scholarly insight. Many of the songs dealt with the themes of solitude, unrequited love and melancholy -- such as Que se ausenta by Carmelite friar Francisco de Santiago, the anguished Filis, yo tengo by Clemente Imana and the title song of the concert and the CD, by prolific composer and royal harpist Juan Hidalgo. Kah Ming and Susanne underpinned proceedings with sensitivity, clarity and refinement. But the spotlight fell, perhaps inevitably, on the two singers. Clara Sanabras displayed a satisfying mix of technical assurance and tonal warmth, while Rodrigo del Pozo's alluringly sonorous tenor was the kind of voice I could listen to endlessly. Esperar, sentir, morir is a welcome addition to Charivari Agréable's already impressive discography, and a definite must-have for baroque enthusiasts.

Nicola Lisle

contents:

Juan Barter (c.1648-1706), ¡Hazo, Antón!

Anonymous, !Ay, mi Dios! ¿Qué fuera de mí sin vos?

Clemente Imaña (fl. 17C), Filis yo tengo

Francisco de Santiago (1578-1644), Que se ausenta

Anonymous, Solo, triste y ausente

Francisco Escalada, Canten dos jilguerillos

Francesc Valls (c.1671-1747), Gilguerillo que el ayre

Sebastián Durón (1660-1716), Tonada sola con flautas: Corazón, causatenéis

Anonymous/K-M Ng, The Charivari Canarios

Anonymous, Chacona

Anon. (K-M Ng/C. Sanabras), Quiero, y no saben que quiero

Juan Hidalgo (c.1612-1685)/ arr. K-M Ng, Esperar, sentir, morir

Anonymous, Tarambote

Anonymous, San Juan de Lima

Ruiz de Ribayaz/Allanic, Spagnoleta

E Mn M.1357 pp. 219-22 (c.1706), Differenzias sobre la Gayta

Charivari Agreable

dir. Kah-Ming Ng

Clara Sanabras, soprano 

Rodrigo del Pozo, tenor 

Susanne Heinrich, treble & bass viols 

Richard Sweeney, lute, guitar & theorbo 

Kah-Ming Ng, harpsichord & chamber organ 

Constance Allanic, triple harp

J.S.Bach - Oster Oratorium, BWV 249

17 tracks - MP3 192 Kbps - RAR 107Mb

Bach's Easter Oratorio isn't really an oratorio along the lines of the Christmas Oratorio and the St. Matthew and St. John Passions. There's no Evangelist reciting passages from the Gospels, for example. While Bach did assign characters' names (Mary Magdalene, Peter, John, etc.) to the solo parts in his first version (itself adapted from a secular cantata), he removed those names later. Basically, it's a lavish Easter cantata, with two instrumental sinfonias before the first jubilant chorus and more contemplative arias for soprano (sung here by an unusually warm Barbara Schlick) and for tenor with flutes. The "oratorio" is paired with a similarly joyful but smaller-scale cantata, Erfreut euch, ihr Herzen, BWV 66. This 1995 recording shows typical Herreweghe strengths (warm sound and a gentle, soulful quality) and weaknesses (a certain reserve in the exuberant passages--a tendency that has subsequently lessened, as evidenced by his wonderful B-Minor Mass). Ton Koopman's Easter Oratorio may be more satisfying, but at such a reasonable price, this one is certainly worth having if you're a Herreweghe fan, even if it isn't his best work. --Matthew Westphal

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Oster Oratorium, BWV 249
Kantate "Erfreut euch, ihr Herzen" BWV 66


Barbara Schlick, soprano
Kai Wessel, alto
James Taylor, tenor
Peter Kooy, basse

Collegium Vocale
dir. Philippe Herreweghe

Nicola Antonio Porpora - Passio

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Nicola Porpora (1686-1768) was a Neapolitan composer, predominantly of operas, who enjoyed a long, itinerant and fashionable career. He famously gave Handel a run for his money during a stint in London, from 1733 to 1737. This disc aims to reveal a different side to Porpora's character: under the title Passio, it interweaves his Six Latin Duets on the Passion of Our Lord Jesus Christ, written for the Saxon court in 1754, with Fugues from a collection of keyboard works he composed the same year. The Duets – shared between two sopranos, mezzo and baritone, and accompanied only by organ and cello – are sparse liturgical scenas in which operatic form is stripped down to its absolute essentials. The Fugues, performed here in an edition by Muzio Clementi (1752-1832), are more conventional, but still stray into austere and uncompromising harmonic territory. They're gracefully played on the harpsichord by Andrea Friggi, who is also the organist for the Duets. The latter are conducted by Stefano Aresi and sung, with great forthrightness and not a whiff of sensuality, by Emanuela Galli, Francesca Cassinari, Marina de Liso and Fulvio Bettini. An acquired taste, but nicely done.

contents:

Duetto 1: Crimen Adae quantum constat

Duetto 2: Rigate lacrimis

Duetto 3: Mortis causa tu fuisti

Violin Sonata No. 5 in G Minor: II. Fuga

Duetto 4: In hoc vexillo Crucis

Duetto 5: Tamquam agnus immolatur

Duetto 6: Ab imo pectore

Violin Sonata No. 6 in C Major: II. Fuga

Miserere

Stile Galante

dir. Stefano Aresi

Frantisek Tuma - Partite, sonate e sinfonie

27 tracks - MP3 192 Kbps - RAR 126 Mb

Frantisek Ignác Antonín Tuma, a Viennese of Czech origin, was, thanks to his status as one of the earliest composers to designate independent instrumental pieces as sinfonias, among the few composers of the middle eighteenth century to get recorded back in the days when it was all Bach, Mozart, and Haydn, and maybe Vivaldi. In later years he partly disappeared from view, perhaps because his music didn't fit into any of the city styles -- sweet Paris, muscular Mannheim, sophisticated Vienna -- on which performers have focused. It fits the mercurial temperament of Baroque specialist Rinaldo Alessandrini and his Concerto Italiano historical-performance ensemble, even if it's not entirely suited to his style. Tuma was a transitional composer of the best kind: he reveled in sharp clashes of style. A student of Fux, he could write Bachian counterpoint with the best of them; several of his sonata or sinfonia movements here are fugal or even strict fugues. But he uses counterpoint in a way that points forward to how Mozart and Haydn used it: as a way of generating tension through textural density. He delights in juxtaposing a fast contrapuntal movement with a limpid galant melody that the young Haydn could have written. Other movements sound a great deal like Vivaldi, who worked in Vienna toward the end of his life and whose music Tuma would certainly have known as a young man. Alessandrini's performance, full of his usual slashing strings and tense phrasing, catches these contrasts very well, and he brings out Tuma's liking for the unexpected and fantastic, somewhat akin to that of Buxtehude half a century earlier. The work that exemplifies this quality is the Partita a tre in C minor (tracks 16-20), with its startling exclamations from the low strings in the opening Adagio and the emancipation of the harpsichord continuo in the second Adagio. At the Classical end of Tuma's stylistic continuum, Alessandrini, like so many other Baroque specialists, is less sure of his footing. Consider the Sinfonia a tre in B flat major (track 12-15). After an imposing Adagio, a fugal Allegro, and an Andante that keeps up the pressure by adding complicated counterpoint to simple tunes, it seems pretty clear that the final Allegretto was intended to be a light, transcendent thing in which all the tensions vanish into air. Alessandrini can't relax enough to bring this off, and there are other "Classical" movements that don't work as well as they should. Too, with the example of the mighty Mannheim orchestra in the air by this time, to perform a piece called a sinfonia with just one instrument per part is a questionable decision. On balance, though, this is a valuable work of rediscovery by one of today's most exciting thinkers about the sound of Baroque music.

Review by James Manheim

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contents:

Sonata a 4 in A minor
Partita for chamber orchestra in D minor
Sinfonia a 4 in B flat major    
Sinfonia a 3 in B flat major    
Partita 3 in C minor    
Sonata a 4 in E minor    
Sonata a 3 in A minor   


Concerto Italiano
dir. Rinaldo Alessandrini

In Taberna - Medieval Songs and Dances

31 tracks - MP3 192 Kbps - 96 RAR Mb

Detailing a multitude of recited, sung and played works, this absorbing release offers a fascinating insight into the rich world of medieval entertainment.

Much of the music is based on comic, parodic and satirical poetry, and this is nowhere better exemplified than in the earthily humorous 15th-century sonnets – which, cast in Paduan dialect, lie at the heart of the compilation. From the troubadours’ and trouvères’ refined tales of chivalry and love, to the Goliards’ ‘updated’ Latin texts discussing wine, women and general joie de vivre with rude vigour, the collection draws on many different parts of Europe as well as illuminating the ever-increasing attractiveness of secular literature at that time. It also features a series of courtly dances (among them the French estampies) that call upon the wonderful assortment of instruments comprising the release. Music clearly had an important role to play in everyday life during the Middle Ages, whether in accompanying battles, banquets or festivities. Combining anonymous works with new discoveries as well as classics – such as the extract from the Carmina burana of Codex latinus 4660 – Corte Antica’s lively performance conjures up a crossroads at which all manner of musicians, poets and dancers are able to meet.

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contents:

Nicolò de' Rossi (1290-c.1350): Paduanus

Anon: Tre fontane

Anon: A l'entrada del tens clar

Anon: VII Estampie royale

Anon., Codice Ottelio (after 1470): Amor con un carcasso

Anon., Ludus Danielis: Astra tenenti

Raimbaut de Vaqueiras: Kalenda Maya

Moniot d'Arras: Ce fu un mai

Anon: Saltarello

Anon., Codice Ottelio: E vussi' rebaltar

Anon., Ludus Danielis: Conductus

Anon: Ductia I

Richard the Lionheart: Ja nuns hons pris

Anon: Trotto

Anon., Codice Ottelio: Frelo, el me vien

Anon., Carmina Burana: In taberna

Colin Muset: In may

Cantigas de Sancta Maria: Quen a festa

Anon., Codice Ottelio: Sonetus domini Elisei patavini

Anon: Lamento di Tristano

Anon: Rotta

Anon: V Estampie royale

Marsilio da Carrara (1294-1328): Dominus Marsilius de Carraria ad

Francesco di Vannozzo (c.1330-c.1389): Responso Francisci Vanocii

Anon., Codice Ottelio: Paduanus quidam

Anon., Codice Ottelio: Antedicuts

Anon., Codice Ottelio: Si no se ne ha ben

Anon., Codice Ottelio: Vilanesco

Anon., Codice Ottelio: Paduanus quidam 2

Anon., Codice Ottelio: E fu in su

Anon., Codice Ottelio: Sonetus domini Helisey patavini

Corte Antica

Francesco Bisetto (narrator)

Mario Campagnaro (voice)

Davide Carli (recorders, crumhorn, percussion)

Angelo Di Prima (recorders, crumhorn, percussion)

Arrigo Pietrobon (flutes, crumhorns, bombard, percussion)

Claudio Sartorato (voice, hurdy-gurdy, percussion)

Marco Squizzato (lute, percussion)

Sacred Songs of Sorrow

13 tracks - MP3 192 Kbps - 109 RAR Mb

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This is the first solo recital from the young Chilean tenor Rodrigo del Pozo. It really deserves your attention. The program is very well chosen. These are songs by some of the "lesser" German composers - hence they are not frequently recorded. The relative obscurity of these songs is reason number one to buy this CD. Reason number two: the singer. Rodrigo del Pozo started his early music career as a lutenist. It so happened, however, that in 1990 he won a scholarship to study voice with the celebrated British tenor Nigel Rogers, and so, luckily for all of us, Rodrigo switched to singing. Among tenors, Rodrigo's voice is one of the most beautiful and easily the most unusual. Not only is his voice meltingly sweet and luminous, but it also boasts an unusually wide range, spanning two adjacent registers - alto and tenor - with no register break. The pieces on this disc (some of which are in the low alto range) show Rodrigo's amazing vocal versatility. All of the pieces here are sung with elegant graces and, even more importantly, with keen attention to the meaning of the text. The most effective piece - by any measure - is Johann Christoph Bach's Ach daß ich Wassers g'nug hätte, exploring the full amplitude of human sorrow and hope, from the brooding beginning ("Oh, if only I had enough tears to lament my failings), to the emphatically pounding syllables on "denn der Herr hat mich voll Jammers gemacht," to the slowly dying note on "Am Tage seines grimmigen Zorns," to the lyrically floating repetition of the first stanza. The result is haunting. I can practically guarantee you that this piece will be etched in your memory for ever. --gggimpy@yahoo.com

contents:

1 - Dum tot carminibus - Johann Erasmus Kindermann

2 - Grablied Symphonia - Johann Erasmus Kindermann

3 - Lamentatio Prima du Jeudi Saint - Joseph-Hector Fiocco

4 - Lamentatio Prima du Jeudi Saint - Joseph-Hector Fiocco

5 - Symphonia - Johann Erasmus Kindermann

6 - Herzen -und Trostspruch: Herr Jesu Christ - David Schedlich

7 - 2nd movement - Johann Erasmus Kindermann

8 - Es ward aber an der Stätte, da er gekreuzigst ward - Christian Geist

9 - Drifache Fuga super Christ lag in Todesbanden - Johann Erasmus Kindermann

10 - Ach, daß ich Wassers genug hätte - Johann Christoph Bach

11 - Trost-Klang: Lamento - Johann Christian Fischer

12 - Sonata a tre viol da gamba - J. M. Nicolai

13 - Ciaconia - J. M. Nicolai

Charivari Agréable

Rodrigo del Pozo - tenor

Claire Salaman - baroque violin

Susanne Heinrich, Susanna Pell, Sarah Groser, Reiko Ichise - viols

Lynda Sayce - theorbo

Kah-Ming Ng - harpsichord & chamber organ