Antoine Brumel - Missa - Sequentia

14 tracks - MP3 192 Kbps - RAR 101 Mb

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Thomas Morley wrote in 1597 that only Brumel and Josquin held the secrets to the older canonic techniques of the composers of the Prima Prattica. In an obviously sign of great admiration Orlando Lassus performed the Missa 'Et ecce terrae motus' over fifty years after Brumel's death. This is a monumental work written in no less than 12 parts yet has a tremendous immediacy that gives it wide appeal. During Brumel's lifetime even Ottaviano Petrucci published a book of his masses, and a number of composers wrote pieces honoring him on his death.

contents:


Missa "Et ecce terrae motus" A 12 voci
Sequentia "Dies Irae Dies Illa"


Huelgas Ensemble
dir. Paul Van Nevel

Francesco Cavalli - Eliogabalo

 3 CD - MP3 320 Kbps - 3 RAR (145+98+141Mb)

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Heliogabalus ranks as one of Rome's imperial rotten eggs: a mere stripling hoist to the purple by vox pop and the Pretorian Guard, loathed by the posh for his outrageous gay pranks and elevating ex-slaves and women to the senate - smells a bit like Berlusconi to me - he got dumped for his cousin while still in his teens (...)

Francesco Cavalli
(Crema, 14 febbraio 1602 – Venezia, 14 gennaio 1676)

Harmonia Mundi France promised to issue a DVD of Jacobs' rendition of this wonderful work (2004) As nothing still happended here you can find a "bootleg" recorded on april 27, 2004 at the La Monnaie Theatre in Bruxelles, Belgium.

Silvia Tro Santafé (Eliogabalo)
Giorgia Milanesi (Alessandro)
Lawrence Zazzo (Giuliano)
Annette Dasch (Flavia Gemmira)
Nuria Rial (Eritea)
Céline Sheen (Atilia)
Mario Zeffiri (Lenia)
Jeffrey Thompson (Zotico)
Sergio Foresti (Nerbulone)
Joao Fernandes (Tiferne)
Mario Zeffiri, Jeffrey Thompson (Due Consoli)

Concerto Vocale
dir. René Jacobs

Anthoine de Bernard - Amours de Ronsard

18 tracks - MP3 192 Kbps - RAR file 70Mb

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This disc presents excerpts of the first book of the "Amours" of Pierre de Ronsard, subtitled "Amours de Cassandre," set to music by Anthoine de Bertrand (1540?-1581?). Ronsard is the central poet of the French Renaissance. His main characteristics are to have a very rich language and to use a lot of images to illustrate his ideas. His works were used by a great variety of composers. The realization made by de Bertrand is one of the most achieved, in the art of underlying the text and its ideas with music. One perfect example is the last track of this disc, beginning slowly and softly (word "doux" - soft), and ending with waves of sounds and rhythms (words "Montagnes and plaines" - mountains and plains). Always the music respects the scansion of the text, thanks to a great variety of rhythms and tempi.

contents:


1. Ha Seigneur Dieu, que de graces écloses
2. Dans le serain de sa jumelle flamme
3. Nature ornant la dame
4. Pavane et Gaillarde "La Milanoise" (Morlaye)
5. Ces deux yeux bruns doux flambeaux de ma vie
6. Je parangonne au Soleil que j'adore
7. Gaillarde "La piémontoise" (Morlaye)
8. Oeil qui mes pleurs de tes rayons essuye
9. Amour archer d'une tirade ront
10. Mon Dieu, mon Dieu que ma maistresse est belle
11. Amour, Amour, donne moy paix ou treve
12. Gaillarde (Morlaye)
13. Je vy ma nymphe entre cent damoiselles
14. Tout me desplaist, mais rien ne m'est si grief
15. Pavane et Gaillarde "La Romanesque" (Morlaye)
16. Avecques moy pleurer vous devriez bien
17. Certes mon oeil fut trop avantureux
18. Ce ris plus dous que l'oeuvre d'un abeille


Ensemble Clément Janequin

Agnès Mellon (soprano)
Dominique Visse (countertenor)
Michel Laplénie (tenor)
Philippe Cantor (baritone)
Antoine Sicot (bass)
Claude Debôves (lute)

Maddalena Laura Lombardini Sirmen - 6 Violin Concertos Op.III

2 CD - MP3 192 Kbps - RAR 140 Mb


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Tutorial Letter to Maddalena Lombardini (Signora Sirmen)
from Giuseppe Tartini.
(italian & english PDF)

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contents:


Concerto N°1 in B flat major
Concerto N°2 in E major
Concerto N°3 in A major
Concerto N°4 in C major
Concerto N°5 in B flat major
Concerto N°6 in C major

Piroska Vitárius, violin

Savaria Baroque Orchestra
dir. Pál Németh

Maddalena Laura Lombardini Sirmen
Venice, 9 Dec 1745 - Venice, 18 May 1818

Italian composer, violinist and singer.
Unusually for a woman composer at that time, there appear to have been no other musicians in her family and she became famous entirely through her own efforts.
In 1753 she was admitted to the Ospedale dei Mendicanti in Venice, not as an orphan but as a musician who would be an asset to their all-female choir and orchestra.
She must have been an outstanding violinist since in 1760 she was allowed to go to Padua to study with Tartini; as the lessons were delayed, Tartini wrote her a long letter explaining his violin playing methods and the best way to practise.
It was copied in Padua before it was sent and by 1770, because of its importance, it was in print in Italy, shortly followed by translations into English (by Charles Burney), German and French. (...) (segue).

A biography

John Gay's - The Beggar' Opera

2 CD - MP3 192 Kbps - 2 RAR (111+115 Mb)

EDISON AWARD WINNER


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This recording seeks to give us a 'Beggar's Opera' uncut, unadapted & unexpurgated. That presents big hurdles for modern performers & listeners. A complete performance is roughly 50/50 song & spoken dialogue, which poses a challenge whether one uses actors-who-sing (as in 1728) or singers-who-act (as here) - after all, the piece was conceived as a play punctuated by popular songs with 'parodied' lyrics.(...) Amazon.com review

'I have never heard, and can't imagine, better performances … A delightful performance of this timeless opera' (American Record Guide)

'A treasure that belongs in every collection, be it opera, musical comedy, pop music or theater' (Fanfare, USA)  

 

contents:


COMPACT DISC 1

Introduction
Overture
ACT I
Air 1 Through all the employments of life (An old woman cloathed in gray)
Air 2 'Tis woman that seduces all mankind (The bonny gray-ey'd morn)
Air 3 If any wench Venus' girdle wear (Cold and raw)
Air 4 If love the virgin's heart invade (Why is your faithful Slave disdain'd?)
Air 5 A maid is like the golden ore (Of all the simple things we do)
Air 6 Virgins are like the fair flower in its lustre (What shall I do to show how much I love her)
Air 7 Our Polly is a sad slut! (Oh London is a fine town)
Air 8 Can love be control'd by advice? (Grim King of the Ghosts)
Air 9 O Polly, you might have toy'd and kissed (O Jenny, O Jenny, where hast thou been)
Air 10 I like a ship in storms was tossed (Thomas, I cannot)
Air 11 A fox may steal your hens, sir (A Soldier and a Sailor)
Air 12 O, ponder well! Be not severe (Now ponder well, ye parents dear)
Air 13 The turtle thus with plaintive crying (Le printemps rappelle aux armes)
Air 14 Pretty Polly, say (Pretty Parrot, say)
Air 15 My heart was so free (Pray, fair one, be kind)
Air 16 Where I laid on Greenland's coast (Over the hills and far away)
Air 17 O what a pain it is to part! ('Gin thou wert mine awn thing)
Air 18 The miser thus a shilling sees (O the Broom)
ACT II
Air 19 Fill ev'ry glass, for wine inspires us (Fill ev'ry glass)
Air 20 Let us take the road (March in 'Rinaldo')
Air 21 If the heart of a man is deprest with cares (Would you have a Young Virgin)
Air 22 Youth's the season made for joys (Cotillon)
Air 23 Before the barn door crowing (All in a misty Morning)
Air 24 The gamesters and lawyers are jugglers alike (When once I lay with another man's wife)
Air 25 At the Tree I shall suffer with pleasure (When I first I laid Siege to my Chloris)
Air 26 Man may escape from rope and gun (Courtiers, courtiers think it no harm)

COMPACT DISC 2
 
Air 27 Thus when a good huswife sees a rat (A lovely Lass to a Friar came)
Air 28 How cruel are the traitors ('Twas when the sea was roaring)
Air 29 The first time at the looking-glass (The Sun has loos'd his weary teams)
Air 30 When you censure the age (How happy are we)
Air 31 Is then his fate decreed, sir? (Of a noble Race was Shenkin)
Air 32 You'll think e'er many days ensue
Air 33 If you at an office solicit your due (London Ladies)
Air 34 Thus when the swallow seeking prey (All in the Downs)
Air 35 How happy could I be with either (Have you heard of a frolicksome ditty)
Air 36 I'm bubbled (Irish Trot)
Air 37 Cease your funning
Air 38 Why how now, Madam Flirt? (Good-morrow, Gossip)
Air 39 No power on earth can e'er divide (Irish Howl)
Air 40 I like the fox shall grieve (The Lass of Patie's Mill)
ACT III
Air 41 When young at the bar you first taught me to score (If love's a sweet Passion)
Air 42 My love is all madness and folly (South Sea Ballad)
Air 43 Thus gamesters united in friendship are found (Packington's Pound)
Air 44 The modes of the court so common are grown (Lillibullero)
Air 45 What gudgeons are we men! (Down in the North Country)
Air 46 In the days of my youth (A Shepherd kept Sheep)
Air 47 I'm like a skiff on the ocean tossed (One Evening, having lost my way)
Air 48 When a wife's in her pout (Now Roger, I'll tell thee, because thou'rt my son)
Air 49 A curse attends that woman's love (0 Bessy Bell)
Air 50 Among the men, coquets we find (Would Fate to me Belinda give)
Air 51 Come, sweet lass (Come, sweet lass)
Air 52 Hither, dear hushand, turn your eyes (The last time I went o'er the moor)
Air 53 Which way shall I turn me? (Tom Tinker's my true Love)
Air 54 When my hero in court appears (I am a poor shepherd undone)
Air 55 When he holds up his hand (Ianthe the Lovely)
Air 56 Our selves, like the great, to secure a retreat (A cobbler there was)
Air 57 The charge is prepar'd (Bonny Dundee)
Air 58 O cruel, cruel, cruel case! (Happy Groves)
Air 59 Of all the friends in time of grief (Of all the girls that are so smart)
Air 60 Since I must swing (Britons strike home)
Air 61 But now again my spirits sink (Chevy Chase)
Air 62 But valour the stronger grows (To old Sir Simon the King)
Air 63 If thus a man can die (Joy to great Caesar)
Air 64 So I drink of this bumper (There was an old woman)
Air 65 But can I leave my pretty hussies (Did you ever hear of a gallant sailor)
Air 66 Their eyes, their lips, their busses (Why are mine eyes still flowing)
Air 67 Since Laws were made for ev'ry degree (Green Sleeves)
Air 68 Would I might he hang'd! (All you that must take a leap)
Air 69 Thus I stand like the Turk (Lumps of Pudding)

 Ye Cast:

 The Beggar - BOB HOSKINS
The Player - IAN CADDY
Macheath - ADRIAN THOMPSON tenor
Peachum - CHARLES DANIELS tenor
Mrs Peachum, Diana Trapes - SARAH WALKER mezzo soprano
Polly Peachum - BRONWEN MILLS soprano
Lockit - RICHARD JACKSON baritone
Lucy Lockit - ANNE DAWSON soprano
Matt of the Mint - ROGER BRYSON bass
Filch - IAN HONEYMAN tenor
Jenny Diver - CATHERINE WYN-ROGERS alto

The Broadside Band
dir. Jeremy Barlow

Tielman Susato - Danserye 1551

38 tracks - MP3 192 Kbps - RAR 95Mb


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Although recent commentaries feel that the music on this recording has a forcefulness to it, or too much percussive aptitude, we have to remember that this was indeed dance music of the 1500's. The interpretation of the music on this CD is one of perfection for the period and the instrumentation, also, fitting. Since none of us were there, you might want to see the movie "Elizabeth" to get a feel for the period where some of the dances are used extensively... Excellent recording.

contents:

1. Fanfare "La morisque" (4 trumpets, timpani)
2. Pass e Medio / Reprise "Le pingne" (2 violins, 3 viols, harpsichord, 4 lutes)
3. Bergerette "Sans Roch&quo;t / Reprise (2 cornetts, 4 sackbuts, rauschpfeife, 3 shawms, curtal, organ, regal, tabors, side drum, tambourine)
4. Den I. Ronde "Pour quoy" (2 violins, 3 viols, harpsichord, organ, tabors)
5. Den VII. Ronde "Il estoit une fillette" (7 recorders, curtal, organ, 5 guitars, side drum)
6. Den III. Ronde (4 viols, organ, tabors)
7. Den IV. Ronde (cornett, crumhorn, sackbut, curtal, organ, side drum)
8. Den V. Ronde "Wo bistu" (4 racketts, regal)
9. Den VI. Ronde / Saltarelle (violin, 4 viols, 7 recorders, curtal, harpsichord, organ, tabors)
10. Den XI. Ronde / Aliud (2 cornetts, 4 sackbuts, 2 violins, 4 viols, 7 recorders, curtal, regal, organ, harpsichord, 5 guitars, tabors, tambourine)
11. Bergerette "Dont vient cela" / Reprise (4 lutes)
12. Danse de Hercules oft maticine / De Matrigale (4 sorduns, regal, tabor)
13. De post (cornett, alto cornett, tenor cornett, serpent, organ, jingle bells)
14. Les quatre Branles (7 recorders, curtal, organ, 5 guitars, tambourine)
15. Fagot (4 curtals, regal)
16. Den Hoboeckendans (hurdy-gurdy, drone fiddle, cittern, curtal, contrabass viol, rommelpot)
17. Basse danse "Mon Desir" / Reprise "Le cueur est bon" (violin, bass viol, 3 lutes, organ)
18. Den I. Allemainge / Recoupe (cornett, 3 sackbuts, 2 violins, 4 viols, 7 recorders, curtal, organ, harpsichord, 4 lutes, bas drum, tabors)
19. Den II. Allemainge (4 lutes)
20. Den III. Allemainge (2 violins, 2 viols, harpsichord)
21. Den V. Allemainge (4 flutes, 5 guitars)
22. Den VI. Allemainge (4 crumhorns, regal, nakers)
23. Den VII. Allemainge (regal, nakers)
24. Den VIII. Allemainge / Recoupe / Recoupe Aliud (cornett, 3 sackbuts, 2 violins, 4 viols, 7 recorders, curtal, organ, harpsichord, 5 guitars, side drums, tabors)
25. Bergerette "La Brosse" (4 lutes)
26. Pavane "La Bataille" (2 cornetts, 4 sackbuts, serpent, rauschpfeife, 3 shawms, curtal, organ, regal, timpani, side drums)
27. Pavane "Mille regretz" (violin, 4 viols, 3 records, curtal, organ, 4 lutes, tabor)
28. Den II. Gaillarde (rauschpfeife, 3 shawms, curtal, regal, organ, tabor)
29. Den XI. Gaillarde (4 sackbuts, organ, tabor, bass drum)
30. Den IX. Gaillarde (4 flutes, 5 guitars, tabor)
31. Den IV. Gaillarde (violin, 4 viols, harpsichord, tabor)
32. Den VII. Gaillarde (7 recorders, curtal, organ, 5 guitars, tabor)
33. Den X. Gaillarde "Mille ducas" (4 crumhorns, contrabass rackett, regal, organ, tabors)
34. Den III. Gaillarde (2 cornetts, 4 sackbuts, organ, bass drum, tambourine)
35. Den XV. Gaillarde "Le tout" (2 cornetts, 3 sackbuts, 2 violins, 3 viols, 7 recorders, curtal, organ, regal, harpsichord, 5 guitars, tabor, side drum, bass drum, tambourine)
36. Danse du roy / Reprise (2 violins, 3 viols, harpsichord, organ, tabor, tambourine)
37. Entre du fol (gemshorn, rebec, cittern, contrabass viol, rommelpot, shaker)
38. La Morisque (2 cornetts, 4 sackbuts, 2 violins, 4 viols, rauschpfeife, 3 shawms, curtal, 3 recorders, organ, regal, harpsichord, 5 guitars, tabor, jingle bells, tambourine, cymbals)

New London Consort

Pavlo Beznosiuk: Renaissance violin, rebec, fiddle
Rachel Podger: violin
Susanna Pell, Joanna Levine, Mark Levy, Peter McCarthy: viols
Nigel Eaton: hurdy-gurdy
Tom Finucane, Paula Chateauneuf, Jacob Heringman, David Miller: lutes, guitars
Michael Fentross: guitar
Jacob Heringman: cittern
Stephen Keavy, Michael Laird, Michael Harrison, Phillip Bainbridge: trumpets
Michael Laird, Jeremy West, Michael Harrison: cornetts
Michael Laird: alto cornett
Paul Nieman: tenor cornett
Stephen Wick: serpent
David Purser, Paul Nieman, Kennedth Hamilton, Ronald Bryans: sackbuts
Pamela Thorby, Catherine Latham, Penny Pay, Elizabeth Stanbridge, William Lyons, Keith McGowan, Giles Lewin: recorders
Pamela Thorby: gemshorn
Nancy Hadden, Elizabeth Stanbridge, William Lyons, Keith McGowan: flutes
Philip Pickett, Keith McGowan, William Lyons, Andrew Watts: crumhorns
Philip Pickett, Keith McGowan, Penny Pay, Andrew Watts: curtals, racketts, sorduns
Keith McGowan: rauschpfeife
Giles Lewin, William Lyons, Penny Pay: shawms
David Roblou: regal, organ, harpsichord
Richard Egarr: organ
Paul Nicholson: harpsichord
Stephen Henderson, William Lockhart, John Harrod, Alastair Malloy, Tim Barry, Norman Taylor: percussion

dir. Philip Pickett

G.B.Bassani - La Tromba della Divina Misericordia

39 tracks - MP3 192 Kbps - RAR 80 Mb


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Performed for the first time in Ferrara on the 8th of November 1676, and again in 1682 in Bologna on the 2nd of November,
'La tromba della divina misericordia', was Bassani's third oratory (the others being 'L Esaltazione di Santa Croce' and 'L epulone'), but this one is the only one of the three for which an original score exists. Therefore it represents his oldest surviving composition, especially given the fact that his first opus was published only in the following year.
The work was commissioned by the Accademia della Morte in Ferrara (where Bassani, who was born in Padua, resided from at least 1667 on). This organization was part of the brotherhood of the same name, one of the city's most prominent religious institutions. From this perspective, 'La tromba' represents an example of an oratorio morale, very different from those oratories widely diffused in courts of the time. In fact, here the term 'oratorio' indicates an opera with a biblically inspired or hagiographic libretto, and it was a common substitute of melodramas during Lent or other periods when theaters were closed. (Carlo Centemeri). This recording would like to contribute to the rediscover of such a composer, Bassani, who is today above all remembered for his Trio sonatas (one of which is here recorded together with a Toccata for Organ), but who was a celebrated violinist and composer in his own time. Bach himself knew Bassani's Acroama missale, which consisted of six Masses.

contents:


Sonata for 2 violins & cello No. 8, Op. 5
Tocatta for organ
La Tromba della Divina Misericordia, oratorio


Anna Bessi, mezzosoprano,
Elena Carzaniga, contralto,
Paolo Borgonovo, tenore,
Gianluca Buratto, basso

Ensemble StilModerno
Ensemble vocale Magnificat