Oboe Sonatas Between 1700-1750

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Thomas Vincent (ca. 1720-1783) - Sonata II in A
William Babell (ca. 1690-1723) - Sonata I in B major
Francesco Geminiani (1687-1762) - Sonata I in e minor
Georg Friedrich Händel (1685-1759) - Sonata in F major HWV 363a
Carl Philipp Emanuel Bach (1714-1788) - Sonata in g minor Wq 135 (H 549)
"Forster" - Sonata in c minor


Paul Dombrecht - Oboe
Wieland Kuijken - Violoncello
Robert Kohnen - Harpsichord

Telemann -. Wind Concertos

8 CD - MP3 192 Kbps - RAR 760 Mb

Germany's CPO label has presented the efforts of performers who have doggedly unearthed unknown music of various periods, especially the eighteenth century. With the voluminous corpus of concertos by Telemann, many of which exist only in manuscript, they enter a field with a lot of still-uncharted territory. This set of wind concertos is one of the label's most useful releases despite a few quirks. The music offers a good quick overview of the various influences at work in Telemann's concertos, which began with the seventeenth century concerto structure of a sequence of short elements resembling rhetorical figures but overlaid them with Italian and (especially) French influences. There are hints of Handel, Couperin, Corelli, Bach, and other composers, but there is a lightness and enthusiasm throughout that is entirely Telemann's own. Almost everything Telemann touched he treated with imagination, and the concertos here are full of delightful touches.

The varied forces of Georg Philipp Telemann's instrumental music require a flexible ensemble to give a sense of the music's range. In this case, two German historical-instrument ensembles, La Stagione Frankfurt and the veteran Camerata Köln, join forces for a set of concertos with a delightfully varied set of soloists. This music has the odd combination of lightness and unorthodoxy that tends to either attract or repel those who listen to Telemann.

La Stagione Frankfurt has been in the forefront of Germany’s period-instrument movement since its founding in 1988 by current director, Michael Schneider. They have toured Europe extensively and have recorded, mainly for cpo, works by various Baroque and early Classical composers. Telemann, however, is a special interest for Schneider, who was awarded the Telemann Prize in 2000 by the city of Magdeburg for his work on behalf of the composer.  

contents:



 Wind Concertos Vol.1

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Concerto for 2 horns, strings & continuo in D major, TWV 52:D2
Concerto for recorder, flute, strings & continuo in E minor, TWV 52:e1
Concerto for oboe, strings & continuo in D minor, TWV 51:d1
Concerto da Camera, for recorder, strings and continuo in G minor, TWV 43:g3
Concerto for flute, strings & continuo in E major, TWV 51:E1

 
Wind Concertos Vol.2

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Concerto for recorder, strings & continuo in C major, TWV 51:C1
Concerto for 2 oboes, "basse" (bassoon?) & continuo in D minor, TWV 53:d1
Concerto for flute, strings & continuo in G major, TWV 51:G1
Concerto for 2 horns, strings & continuo in D major, TWV 52:D1
Concerto for oboe, strings & continuo in F minor, TWV 51:f1

 
Wind Concertos Vol.3

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Concerto for Piccolo in D major
Concerto for Oboe in C minor, TWV 51:c1
Concerto a 3 in F major, TWV 42:F14
Concerto for Flute in G major, TWV 51:G2
Concerto for Trumpet in D major, TWV 51:D7
Concerto for 2 Flutes in G major, TWV 53:G1
 

Wind Concertos Vol.4

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Concerto for 2 Recorders in A minor, TWV 52:a2
Concerto for Flute in D major, TWV 51:D2
Concerto for Oboe d'Amore in A major, TWV 51:A2
Concerto for 2 Flutes, Bassoon, Strings and Basso Continuo in b minor TWV 53:h1
Concerto for Oboe in E minor, TWV 51:e1

 
Wind Concertos Vol.5

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Concerto in D major for Flute, Strings & B.c., TWV 51:D1
Concerto in A major for 2 Oboes d'amore, 2 Violins & B.c., TWV 52:A1
Concerto in F major for Alto Recorder, Strings & B.c., TWV 51:F1
Concerto in E flat major for 2 Horns, 2 Oboe ripieni, Strings & B.c., TWV 52:Es1
Concerto in D minor for Oboe, Strings & B.c., TWV 51:d2
Concerto in E minor for 2 Flutes, Bassoon, Strings & B.c., TWV 52:e2

 
Wind Concertos Vol.6

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Concerto in B minor for Transverse Flute, Strings & B.c., TWV 51:h1
Concerto in D major for Two Flutes, Bassoon, Strings & B.c., TWV 53:D1
Concerto in A minor for Oboe, Strings & B.c., TWV 51:a1
Concerto in C major for Two Oboes, Bassoon, Strings & B.c. 'Concerto alla francese', TWV 53:C1
Concerto in D major for Flute, Strings & B.c. 'Concerto polonoise', TWV 51:D3
Concerto in B major for Two Recorders, Strings & B.c., TWV 52:B1
Concerto in F major for Two Horns, Strings & B.c., TWV 52:F3

 
Wind Concertos Vol.7

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Concerto in C minor for Oboe, Strings & B.c., TWV 51:c2
Concerto (Quartetto) in F major for 2 Chalumeaux, Violini unisoni & B.c., TWV 43:F2
Concerto in A major for 2 Flutes, Bassoon, Strings & B.c., TWV 53:cA1
Concerto in F major for Recorder, Bassoon, Strings & B.c., TWV 52:F1
Concerto in D minor for 2 Chalumeaux, Strings & B.c., TWV 52:d1
Concerto in D major for Corno da caccia, Strings & B.c., TWV 51:D8


 
Wind Concertos Vol.8

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Concerto in A minor for 2 Flutes, Bassoon, Strings & B.c., TWV 53:a1
Concerto (Quartetto) in D major for Trumpet, 2 Oboes & B.c., TWV 43:D7    
Concerto in C major for 2 Chalumeaux, 2 Bassoons ripieni, Strings & B.c., TWV 52:C1
Concerto in D major for Oboe, 2 Violins & B.c., TWV 51:D5
Concerto in F major for 2 Horns, Strings & B.c., TWV 52:F4    
Concerto in G major for Oboe d'amore, Strings & B.c., TWV 51:G3



La Stagione Frankfurt
Camerata Koln
dir. Michael Schneider

Clément Janequin - La Chasse et autres chansons

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I think this is the finest record so far from the astonishing Clement Janequin Ensemble, for three reasons. The first is that every performance here is bursting with energy and with the apparent experience of innumerable public performances: you never get the impression that a piece was prepared just for the recording. There are six very different voices here, sometimes scarcely blending, and occasionally with a touch of roughness. But that is all part of the magic. They are real performances.
The second reason, related to the first, is that one of the Clement Janequin Ensemble's most notable virtues is the ability to articulate some of those long, elaborate works of Janequin that can so easily seem empty and rambling. The singers offer a masterly variety of colour, texture and pace that clarifies many of the internal details but at the same time seems always beautifully focused on the needs of the broad musical design. They show that Le caquet des femmes, La chasse and La guerre are works of considerable—if bizarre—genius.
Which in turn brings us to the third reason: Janequin. He is surely one of the most varied and resourceful of all sixteenth-century composers. The record includes three immaculately turned Ronsard settings, and two of Marot. It includes the superbly madrigalesque Ce petit a'ieu qui vole, the exquisite C'est a bon droit almost in the ultra-pure style of Claudin de Sermisy, and— as befits the finest musical exponent of the spirit of Rabelais—several works that are just plain dirty in a way that is difficult to parallel anywhere else in the history of music.

-- Gramophone [9/1988]

contents:

1. Le caquet des femmes
2. Va rossignol
3. D'un seul soleil
4. Bel aubépin verdissant
5. Gaillarde des dieux (Guillaume Morlaye)
6. J'ay double dueil
7. Au verd boys je m'en iray
8. Revenés souvent m'amye
9. J'ay d'un costé l'honneur
10. Ce petit dieu qui vole
11. Branle de bourgogne (Adrian Le Roy)
12. La guerre
13. L'espoir confus
14. Petite nymphe folastre
15. Pourquoy tournez-vous vos yeux
16. C'est à bon droit
17. Fantaisie (Guillaume Morlaye)
18. Sur l'aubépin qui est en fleurs
19. Ce moys de may
20. Las, si tu as plaisir
21. Venez hardis et légiers
22. Branle gay (Adrian Le Roy)
23. Plus ne suys
24. Frère thibault, séjourné, gros et gras
25. La chasse

Ensemble Clement Janequin

 Claude Debôves (Lute)

G.F.Handel - Esther (1732 version)

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This is a particularly welcome and important world-premiere recording. Handel composed Esther in about 1718‑20 for James Brydges, the Earl of Carnarvon (and later Duke of Chandos), using a libretto that was anonymously adapted from Thomas Brereton’s English translation of a play by Racine. This slender work, containing only six scenes, lays a strong claim to being the first English oratorio, but Handel seems not to have considered performing it for a public audience until 1732, when the entrepreneurial composer thoroughly revised the score to fit his company of Italian opera singers (including Senesino, Strada and Montagnana, who all sang in English), and enlisted the aid of the writer Samuel Humphreys to expand the drama with additional scenes (which made the oratorio long enough to fill a theatre evening, advantageously fleshed out some of the characters a little bit, and also enhanced the musical attractiveness of the oratorio). This is the historic version of Esther that launched Handel’s oratorio career in London, but it has remained inexplicably neglected in modern times.
David Vickers, Gramophone [1/2008]

contents:
Disc: 1

1 - Act 1. Scene 1. Overture. Andante - Larghetto - Allegro
2 - Act 1. Scene 1. Breathe soft ye gales
3 - Act 1. Scene 1. Watchful Angels
4 - Act 1. Scene 1. O King of kings, celestial Lord!
5 - Act 1. Scene 1. Alleluia
6 - Act 1. Scene 1. With transport, lovely queen
7 - Act 1. Scene 1. So much beauty sweetly blooming
8 - Act 1. Scene 1. Again shall Salem, to the skies
9 - Act 1. Scene 1. My heart is inditing
10 - Act 1. Scene 1. Kings' daughters
11 - Act 1. Scene 1. Upon the right hand
12 - Act 1. Scene 1. Kings shall be thy nursing fathers
13 - Act 1. Scene 2. Let me with freedom thy petition know
14 - Act 1. Scene 2. Endless fame
15 - Act 1. Scene 3. 'Tis greater far to spare
16 - Act 1. Scene 3. Pluck root and branch
17 - Act 1. Scene 3. Our souls with ardour glow
18 - Act 1. Scene 3. Shall we the God of Israel fear?
19 - Act 1. Scene 4. Jerusalem no more shall mourn
20 - Act 1. Scene 4. Tune your harps to cheerful strains
21 - Act 1. Scene 4. Shall we of servitude complain
22 - Act 1. Scene 4. Praise the Lord with cheerful noise
23 - Act 1. Scene 5. How have our sins provok'd the Lord!
24 - Act 1. Scene 5. Ye sons of Israel, mourn
25 - Act 1. Scene 5. O Jordan, Jordan, sacred tide!
26 - Act 1. Scene 5. Ye sons of Israel, mourn

Disc: 2 

1 - Act 2. Scene 1. Tyrants may awhile presume
2 - Act 2. Scene 2. Why sits that sorrow on thy brow?
3 - Act 2. Scene 2. Dread not, righteous queen
4 - Act 2. Scene 2. O heaven, protect her
5 - Act 2. Scene 2. Blessings descend on downy wings
6 - Act 2. Scene 2. I go, the pow'r of grief to prove
7 - Act 2. Scene 2. Tears assist me, pity moving
8 - Act 2. Scene 2. Save us, O Lord!
9 - Act 2. Scene 3. Who dares intrude into our presence
10 - Act 2. Scene 3. Who calls my parting soul from death?
11 - Act 2. Scene 3. O beauteous queen, unclose those eyes
12 - Act 2. Scene 3. If I find favour in thy sight
13 - Act 2. Scene 4. With inward joy his visage glows
14 - Act 2. Scene 4. Heav'n has lent her ev'ry charm
15 - Act 2. Scene 4. The king will listen to the royal fair
16 - Act 2. Scene 4. Blessed are all they that fear the Lord
17 - Act 3. Scene 1. Jehovah crown'd with glory bright
18 - Act 3. Scene 1. He comes! He comes to end our woes
19 - Act 3. Scene 2. Now O my queen, thy suit declare
20 - Act 3. Scene 2. Turn not, O queen, thy face away
21 - Act 3. Scene 2. Flatt'ring tongue, no more I hear thee
22 - Act 3. Scene 2. Through the nation he shall be
23 - Act 3. Scene 2. All applauding crowds, around
24 - Act 3. Scene 2. How art thou fall'n from thy height!
25 - Act 3. Scene 2. I'll proclaim the wond'rous story 26 - Act 3. Scene 3. The Lord our enemy has slain, Allelujah!



Esther, Queen of Persia: Rosemary Joshua, soprano
Israelite Woman: Rebecca Outram, soprano
Second Israelite: Cecilia Osmond, soprano
Mordecai: Susan Bickley, mezzo-soprano
Ahasuerus: James Bowman, countertenor
First Israelite: Andrew Kennedy, tenor
Harbonah: Angus Smith, tenor
Haman: Christopher Purves, bass

London Handel Orchestra & Choir
Dir. Laurence Cummings

18th Century Venetian Organ Art

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This is a wonderful disc, and it is difficult to know what to single out. Marcon's touch and technique is simply exquisite throughout.This is a wonderful disc - sheer fun, brilliantly delivered!

contents:

Giovanni Battista Pescetti

Sonata C minor

Baldassare Galuppi

Sonata for flute

Giuseppe P. Paganelli

Three Arias «sub elevatione»: Aria II

Three Arias «sub elevatione»: Aria XXII

Three Arias «sub elevatione»: Aria XIII

Baldassare Galuppi

Sonata in D minor

Giovanni Battista Cervellini

Pastorale

Sonata in F

Gaetano Valeri

Sonata III

Sonata IX

Sonata VI

Andrea Lucchesi

Sonata in F

Sonata in C

Sonata V

Ignazio Spergher

Andante grazioso

Allegro con brio

Niccolò Moretti

Sonata «ad uso offertorio»

Sonata «ad uso Sinfonia»

Andrea Marcon, organ

Louis XIII - Ballet de la Merlaison (Vinyl rip)

Marc-Antoine Charpentier:
Messe pour Plusieurs Instruments au Lieu des Orgues

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"The next day, nothing was talked of in Paris but the ball that the Officials of the City were giving for the King and Queen, and in which Their Majesties were to dance the famous Ballet de la Merlaison, which was the favourite ballet of the King... Twenty violins had been commanded... The King... was in a hunting costume of the greatest elegance and Monsieur and the other nobles were similarly attired. The ballet lasted an hour, it contained sixteen entrées."
Alexandre Dumas, The Three Musketeers, chapter 22.

In Dumas works, as always, fiction and truth walk side by side. In fact the Ballet de la Merlaison was not only Louis XIII preferred ballet, but his own creation, as reported by Theophraste Renaudot, the inventor of periodical journalism, in the special issue of the Gazette de France for March 22, 1635.

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The "Mass for Instruments in place of the Organ" by Marc-Antoine Charpentier offers considerable interest on a number of grounds: liturgy, scoring, disposition of instruments and compositional procedures, even without taking into account the bold inspiration of the former disciple of Carissimi.

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All in all I believe this record is worth a try, even if the performance is not astounding.

17th & 18th Century Songs and Catches (Hilliard Ensemble)

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Too bad this disc is so short (43 minutes) because I could listen and listen to it! Some of the songs are recorded a capella, some have a sparse harpsichord/gamba accompaniment, but either way, each song sounds very Hilliard. If you like their controlled, unaffected singing, you will love this disc the way I did. The best song here is the anonymous "Here lies a woman," sung by James, Elliott and Nixon (ATT). They sound out of this world! In this song, each voice is eerily alike, reaching the almost genderless sonority of a flute or a reed. It's unbelievable. Who needs sopranos? Then there is the amazing David James singing "Sweeter than roses," the best I've heard. Then there is "The street intrigue," a bizarre mini-drama in less than 3 minutes, which allows the Hilliard members to prove that their singing is not always churchy and "dull." Then there is "Since time so kind to us does prove" whose overtly sexual suggestiveness is so striking, considering that this dates back to 17th century... I could go on, but I've made my point. This is a great recording which you too should have. (An Amazon Customer)

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Why don't have a look at my Hilliard Collection

HERE:

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contents:

 1.   By a bank as I lay (Thomas Ravenscroft c1590-c1633)

 2.   Tho' I am young (Nicolas Laniere 1588-1666)

 3.   Lost in my quiet (Henry Purcell 1659-1695)

 4.   We be three poor mariners (Thomas Ravenscroft)

 5.   Sweeter than Roses (Henry Purcell

 6.   I spy Celia (Henry Purcell)

 7.   Since time so kind to us does prove (Henry Purcell)

 8.   Orpheus and Euridice (William Boyce 1710-1778)

 9.   Here's that will challenge all the Fair (Henry Purcell)

 10.   Which is the properest day to drink (Thomas Arne 1710-1778)

 11.   Chloe found Amyntas (John Blow 1649-1708)

 12.   Here lies a woman (Anonimous)

 13.   On thy banks, gentle Stour (William Boyce)

 14.   So well Corinna likes the joy (John Eccles c1650-1735)

 15.   My man John - A Riddle (John Eccles)

 16.   The Street Intrigue (Thomas Arne)

 17.   When the cock begins to crow (attrib. Henry Purcell)

The Hilliard Ensemble

Johann Sebastian Bach - Arias

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Bach's cantatas make use of an amazing diversity of instruments, both old and new. Among the 'new' instruments was the violoncello piccolo, a rare type of cello that was popular for a brief period at the beginning of the eighteenth century. The addition of a fifth, higher string provided the instrument a unique lightness and delicacy in the upper registers. This collection featuring cellist Ophelie Gaillard and the ensemble Pulcinella focuses on arias from Bach's cantatas that are scored for the violoncello piccolo. The arias are interspersed with instrumental transcriptions from the Schubler Chorales and the Orgelbüchlein.

contents:

1. Mein gläubiges Herze, BWV 68 *

2. Choral Schübler, BWV 645 n°1

3. Woferne du den edlen Frieden, BWV 41 ***

4. Ich, dein betrübtes Kind, BWV 199 *

5. Jesus ist ein guter Hirt, BWV 85 **

6. Ach bleib bei uns, Herr Jesu Christ, BWV 6 *

7. Ich bin herrlich, ich bin schön, BWV 49 *

8. Es dünket mich, ich sehe dich kommen, BWV 175 ***

9. Choral Schübler, BWV 650 n°6

10. Bete aber auch dabei, BWV 115 *

11. Ich fürchte nicht des Todes Schrecken, BWV 183 ***

12. Es ist vollbracht, BWV 159 **

13. Ich ruf’ zu dir, Herr Jesu Christ, BWV 639

Georg Melchior Hoffman, 1679 – 1715

14. Schlage doch gewünschte Stunde, BWV 53 **

Sandrine Piau, soprano *

Christophe Dumaux, alto **

Emiliano Gonzalez Toro, ténor ***

Pulcinella

Ophélie Gaillard, violoncelle piccolo et direction musicale

Venezia 1625

18 tracks - MP3 192 Kbps - RAR 106Mb


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contents:


Giovanni Battista Fontana - Sonata II
Marco Uccellini - Symphonia XX La Virmingarda
Marco Uccellini - Sonata XXVI sopra la Prosperina
Marco Uccellini - Aria sopra la Bergamasca
Giovanni Battista Fontana - Sonata III
Bernardo Storace - Improvisation sopra la Ciaccona
Tarquinio Merula - Chiaccona
Giovanni Battista Fontana - Sonata IV
Marco Uccellini - Symphonia XIV La Foschina
Salomone Rossi - Sinfonia XI in eco
Dario Castello - Sonata II
Marco Uccellini - Symphonia XVII La Stucharda
Tarquinio Merula - Canzon XVII La Monteverde
Tarquinio Merula - Canzon La Pighetta
Alessandro Piccinini - Toccata II
Giovanni Battista Fontana - Sonata VI
Tarquinio Merula - Canzon La Strada
Marco Uccellini - Sonata II


Maurice Steger, direction & recorder

Maurice Steger Ensemble