Antonio Vivaldi - I Concerti di Dresda

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"Vivaldi’s music enjoyed a cult following in Dresden after its introduction by the composer’s pupil Johann Pisendel, and listening to these works it is not hard to hear why. The two G minor concertos are scored for violin, two recorders, two oboes and strings (with an extra solo oboe in RV576), while the F majors both deploy a line-up of violin, two oboes, two horns and strings – rich stuff, reflecting the sumptuous sound-world of the Electoral orchestra.
Vivaldi revels in it all, the job of accommodating all the various solos in concise concerto movements inspiring him, it seems, to a joyously free-flowing stream of invention...the effect of this exhilarating and colourful parade is rather like that of walking through a busy circus ground, the eye constantly caught by the sight of different acts in rehearsal....It is conceivable, however, that no troupe could perform with the exuberant aplomb and skill of the Freiburg Baroque Orchestra. Their playing is buoyant, technically spot-on and alive with effortlessly

controlled energy, and they make every one of the music’s gestures count..."

GRAMOPHONE

contents:
Concerto in G Minor, RV577
Concerto in F Major, RV569
Concerto in G Minor, RV576
Sinfonia in C Major, RV192
Concerto in F Major, R.V574
Freiburger Barockorchester
dir. Gottfried von der Goltz

The whole Naive collection (until now) is 

HERE

Marais, Forqueray, Mouton - Pièces de caractère

20 tracks - MP3 192 Kbps - RAR 75Mb


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 If you thought the viola da gamba and lute weren’t to your taste, you can’t have heard this disc. From the opening track, you are treated to a succession of strongly characterised, superbly executed performances by Vittorio Ghielmi and Luca Pianca. (Can there only be two of them playing on this disc?) No mincing or simpering here, not even in Marais’s ‘Minaudière’: this is passionate, virile playing. Forqueray’s ‘Mandoline’ entices and ‘La portugaise’ struts. Marais’s percussive ‘Tact’, a tour de force for the left hand, amazes and delights, while his ‘Cloches’ triumph over the slashing hellish groans from below. Dollé’s sinuous ‘Amusements’ and the delicately wrought mesh of Roland Marais’ ‘Noeud d’Amour’ mesmerise the listener. But best of all are the deliciously treacly, deeply felt ‘Plaintes’ of Marais and Caix d’Hervelois.

As a viol player, Ghielmi has it all: technique, taste and imagination. His range of bow strokes, command of ornamentation and control of dramatic tension are deeply satisfying. His choice of accompanist is truly inspired. Along with what can only be described as cleverly contrived contreparties, Luca Pianca brings to the music a rich and colourful palette of instrumental effects, which he deploys imaginatively and with discrimination. His solos deservedly attract attention: Mouton’s ‘Resveur’ is shapely and resonant, his ‘Belle Piedmontoise’ frothy. Visée’s Ouverture stands up well to its Lullian counterparts and his ‘Mascarade’ is elegantly parried. Enjoy!

 

contents:

Marin Marais 1656 - 1728
1. La Minaudière - Pièces de viole, Quatrième Livre, Paris, 1717
2. Le Tact - Pièces de viole, Cinquième Livre, Paris, 1725
Antoine Forqueray 1671/72 - 1745
3. La Mandoline - Pièces de viole avec la basse continuë, Paris, 1747
Charles Mouton 1626 - c.1710
4. Le Resveur - Second livre de pièces de luth sur differents modes, Paris, 1699
Louis Caix d'Hervelois c.1680 - c.1760
5. Plainte - Premier livre de pièces de viole, Paris s.d.1710
Antoine Forqueray
6. La Portugaise - Pièces de viole avec la basse continuë, Paris, 1747
Roland Marais, fils de Marin Marais 1680
7. Le Noeud d'Amour
8. Les Forgerons - Deuxième livre de pièces de viole avec la basse chiffrée en partition, Paris, 1738
Robert de Visée c.1650 - 1725
9. Allemande, dite "la Conversation" - Pièces de théorbe et de luth, Paris, 1714
Charles Dollé mort vers 1755
10. Les Amusements - Pièces de viole, Paris s.d., c.1737
Charles Mouton
11. La Belle Piedmontoise - Premier livre de pièces de luth sur differents modes, Paris, 1699
Marin Marais
12. La Saillie du Café - Pièces de viole, Troisième Livre, Paris, 1711
13. Plainte - Pièces de viole, Troisième Livre, Paris, 1711
Robert de Visée
14. Ouverture de la Grotte de Versailles - Manuscrit Vaudry de Saizenay
15. Mascarade - Pièces de théorbe et de luth, Paris, 1714
Marin Marais
16. Cloches ou carillon - Pièces de viole, Deuxième Livre, Paris, 1701
Robert de Visée
17. Musette en rondeau - Pièces de théorbe et de luth, Paris, 1714
Antoine Forqueray
18. Bransle - Pièce manuscrite inédite
Charles Mouton
19. Le Beau Danseur - Second livre de pièces de luth sur differents modes, Paris, 1699
Louis Caix d'Hervelois
20. La Diligence - Premier livre de pièces de viole, Paris s.d.1710

Vittorio Ghielmi
(Bass Viola da gamba - Michel Colichon, Paris - 1688)
Luca Pianca
(Lute - F. Gabrielli, Milan - 1999)
(Archlute - Luc Breton, Vaux/Morges - 1991)

The 1999 Gabrielli lute is a copy of one by Monzino from 1792.
The 1991 Breton archlute was created after a 17th-century Italian model.

Music for Viola Da Gamba at English Courts

9 tracks - MP3 192 Kbps - RAR 66Mb


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contents:

Thomas Tomkins - Drei Fantasien
John Jenkins - Pavan
Christopher Simpson - Suite in D
John Jenkins - Fantasia Nr. 5, d-moll
John Jenkins - Fantasia Nr. 8, a-moll
E.Withye - Mr.Wythie's Trumpett Tune
Christopher Simpson - Suite in d

Ekkehard Weber
Michael Spengler
Ulrike Vier

Vivaldi - Concerti per Flauto Op.10

6 tracks - MP3 192 Kbps - ZIP 78 Mb


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Vivaldi assembled the Op.10 Flute Concertos in 1725 from his vast supply of scores going back to 1703. He selected five concertos, some for recorder, others for flute. Adding a new concerto, he rescored the five with the solos assigned to the transverse flute and the accompaniments redesigned for contemporary string orchestra. They were published in Amsterdam in 1728 as his Op.10 Flute Concertos. Frans Bruggen chooses to use the original, extremely colorful, Venetian versions of these scores. He even uses the recorder for the first two concertos. They are an earthy, joyful pair of concertos: effervescent and suffused with Italian sunshine, they bounce along merrily led by Bruggen's splendid playing. The final four concertos, played on transverse flute, are equally as good. Two Baroque oboe concertos by Marcello and Platti, beautifully played by oboist Bruce Haynes, round out the splendid collection. Bruggen conducts the Orchestra of the 18th Century. They are lithe and lean, playing with restraint, allowing the soloists to shine. Yet they sound as joyful and impressively alive as the two soloists. This is wonderful music. The sound is stunningly immediate for a recording made in 1979. Nearly 80 minutes of music at a bargain price. Take advantage of this opportunity before it vanishes into the mist along with those first, heady days of the period performance era.

Mike Birman

contents:

Concerto n°1 in F-dur "Tempesta di Mare"
Concerto n°2 in g-moll "La Notte"
Concerto n°3 in D-dur "Il Gardellino"
Concerto n°4 in G-dur
Concerto n°5 in F-dur
Concerto n°6 in G-dur


Frans Bruggen, flute
Orchestra of the XVIIIth Century

J.S.Bach - Trio Sonatas in Original Versions

14 tracks - MP3 192 Kbps - RAR 71Mb


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Contents:


Sonata C-dur for flute, viola & Continuo
reconstructed from BWV 1027 and 1039 by Reinhard Gerlach

Sonata h-moll for 2 oboe d'amore & continuo
reconstructed from BWV 178, 104, 92 and 36 by Walter F.Hindermann

Sonata g-moll for oboe & cembalo obbligato BWV 1030b
(Raymond Meylan)

Sonata g-moll for oboe, viola & continuo
reconstructed from BWV 76 and 528 by Walter F.Hindermann


Freiburger Barocksolisten
 Gesa Maatz, flute
Günter Theis, oboe and oboe d'amore I
Bernhard de Quervain, oboe d'amore II
Tomoko Shirao, viola
Monika Schwamberger, violoncallo
Matthias Maria Scholz, bassoon
Gottfried Bach, cembalo

John Dunstable - Cathedral Sounds

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John Dunstable, “an astrologian, mathematician, musician, and whatnot,” was born around 1390 in England and died on December 24, 1453 in London. “On the eve of Christ’s birth this star rose up into heaven” – this contemporary account of his death is about all that is known of Dunstable, one of the very greatest Western composers of his time. Without Dunstable and the contemporary English school of “contenance angloise” which he wholly embodies, one cannot imagine the later existence of so-called Dutch or Franco-Flemish polyphony, the basis of Western classical polyphony.

René Clemencic is a composer, conductor, harpsichordist, recorder & clavichord virtuoso, musicologist, and founder & leader of one of the most renowned early music groups, the Clemencic Consort. They have given concerts all over the world and have won international awards, including the Edison, Grand Prix du Disque, Diapason d’Or and Prix Cecilia.

contents:


1. Kyrie
2. Gloria
3. Salve Regina
4. Sub tuam protectionem I (organ)
5. Ave regina celorum
6. Sanctus
7. Sub tuam protectionem II (organ)
8. Magnificat
9. Beata Dei genitrix
10. Et propter hoc (organ)
11. Regina celi letare

René Clemencic (organ)
Bernd Lambauer (tenor)
Johannes Chum (tenor)
Colin Mason (baritone)

Sara Mingardo - Monteverdi, Vivaldi, Handel

23 tracks - MP3 192 Kbps - RAR 164Mb

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Fascinated by the contralto voice, Théophile Gautier went so far as to devote a poem to it: 'How I love you, O strange timbre...' Ever since the Baroque era, this rare, singular timbre, with something of both male and female, sensuality and maternal tenderness, heroism and melancholy, has often inspired composers to fervent homage, both in opera and in the domain of sacred music. But many compositions of the seventeenth and eighteenth century are neglected nowadays, especially in the rich Italian repertoire, for want of suitable singers. Sara Mingardo the pocessor of one of the very few contralto voices to be heard today, has therefore decided to explore these magnificent works. With her long-standing partner Rinaldo Alessandrini and a Concerto Italiano that is more virtuosic than ever, she has reconstituted the dream team that has already given us so many marvels of Italian Baroque music, the Stabat Mater of Vivaldi and Pergolesi and Vivaldi operas among them. Here there is of course a piece by the indispensable Prete rosso, but also a superb cantata by the young Handel, not to mention a wonderfully sensual scene from Cavalli's La Calisto evoking the sleep of Endymion. Has there ever been such an ardent rendering of Monteverdi's Lettera amorosa? Could one imagine a greater contrast between this piece and Merula's deeply moving lullaby of the Virgin Mary? Here is the art of Sara Mingardo at its most refined and spontaneous, served by her miraculous, unique timbre.

contents:

T. Merula : Hor ch'e tempo di morire
G. Salvatore : Allor che tirsi udia
G. Carissimi : Deh, memoria, e che piu chiedi
C. Monteverdi : Vorrei baciarti
F. Cavalli - Erme e solighe cime
C. Monteverdi : Se i languidi miei sguardi
G. Legrenzi : Costei ch'in mezzo al volto scritt'ha il mio cor
G.F. Handel : Lungi da me pensier tiranno
Vivaldi : Pianti, sospiri e dimandar mercede
Sara Mingardo
Concerto Italiano
dir. Rinaldo Alessandrini