Tres Culturas

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Spain had two Golden Ages: in the 1500s, during the Age of Exploration, it colonized the Americas and was so powerful that it challenged England with an armada; but there was an earlier one, during the Medieval period when Spain was conquered by tolerant Arabs and became a cosmopolitan world center where Muslim, Christian, and Jew mingled and prospered. This album features musical examples of the three cultures.

contents:


1 • KI ESHMERÁ SHABAT Canción de Shabat de Abraham Ibn Ezra (1089-1167) 3’54”
2 • YA VIENE EL CATIVO Canción sefardí del Mediterraneo oriental 4’43”
3 • NON ME MORDAS YA HABIBI Jarcha de la moaxaja nº 8 de Jehuda Halevi (1070-1141) 4’07”
4 • NANI, NANI Canción de cuna sefardí oriental 5’37”
5 • IODUJÁ RAIONAI Canción del Shabat de Israel Najara (Safed, siglo XVI) 4’40”
6 • AMOURS ME FAIT COMENCIER 1’51”
7 • FIESTA DE LA CIRCUNCISIÓN 1’40”
8 • EN QUANTAS GUISAS OS SEUS ACORRER 1’25”
9 • U ALGUEN A JHESU CRISTO POR SEUS PECADOS NEGAR 1’46”
10 • A QUE POR NOS SALVAR 2’00”
11 • GRAN CONFIANÇA NA MADRE DE DEUS 1’58”
12 • POIS AOS SEUS QUE AMA DEFENDE TODAVIA 2’11”
13 • DUM PATER FAMILIAS 2’28”
14 • COGAUDEANT CATHOLICI 2’00”
15 • PHELIPE 1’30”
16 • MUWWAL ISBIHÁN “No todo el que pide felicidad la encuentra” 2’57”
17 • SANÁ Q’AIM WA NISF TAB S-SIKA 7’17”
18 • INSHÁD ISBIHÁN “Al contemplar no vi a otro amado” Al-Shushtarí (1212-1269) 3’45”

(1-5)
SEFARAD • Dirección EDUARDO PANIAGUA

JORGE ROZEMBLUM Canto solista, coro, citolón y pandero
AURORA MORENO Canto solista, coro y tar
LUIS DELGADO Laúd, zanfona, santur, darbuga, tar y coro
EDUARDO PANIAGUA Qanun, flautas (fahl, alto, salamilla), y coro

(6-15)
LUIS DELGAD: Laúd, dutar, cítola, zanfona, tromba marina, viola de teclas, darbuga, bendir, pandero, tar, qaraquebs y campanillas
EDUARDO PANIAGUA: Salterio, qanun, flautas soprano, tenor y pastoril, nay, tromba marina, darbuga, tabila, pandero, tar, sistro de arena, campana y voces

(16-18)
EL ARABÍ SERGHINI: Canto
OMAR METIOUI: Laúd árabe
AHMED AL-GAZI: Viola alto

G.B.Bassani - La Tromba della Divina Misericordia

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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

Le Chansonnier Cordiforme

3 CD - MP3 192 Kbps - 3 RAR (260Mb)


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CD 1 & Booklet
CD 2
CD 3


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CD 1 & Booklet
CD 2
CD 3

Le Chansonnier Cordiforme is a ravishingly beautiful illuminated manuscript, shaped like a double heart, and assembled in the early 1470s, about the time of the death of Dufay, a generation after the deaths of Dunstable and Binchois, and just as men such as Ockeghem were becoming famous. According to annotator David Fallows, “The Chansonnier contains the most compact and representative surviving collection of the classic European courtly song repertory in those years. Most of the songs that achieved the widest popularity at the time are here.” The book looks sublime; its original owner, though, was evidently a scoundrel. Jean de Montchenu was described at the time as “a great scoundrel, shameful of conduct, highly unchaste, destestable, dissolute, and full of vices.” He became a monk and then a bishop, but was finally excommunicated. The book came about, it is thought, when he was connected with the Duchy of Savoy (since 1860 a part of France).Most of the music collected on these three CDs is anonymous or of uncertain provenance, but there are songs by Dufay, Ockeghem, Bedyngham, and Busnoys. Perhaps illustrating the ambivalent political stance of the House of Savoy, the first disc is in Italian; the others are in French. Some of these songs are sweetly plaintive; others, such as Ockeghem’s L’Autre d’antan l’autrier passa, energetic. The Ockeghem tells the story of a man who repeatedly is enticed by the looks or embraces of women who desert him; the first has a “look forged in Milan,” which is evidently particularly devastating. (Avoid women whose looks seem to have been “forged.”) While there are now readily available discs devoted to Ockeghem and Dufay, including excellent ones on Naxos, there’s no other song collection that I know of like this one: It’s an anthology of medieval music before things started to change. It’s a rich collection, beautifully played and sung, highly recommended for anyone with an interest in early music. Reproductions of the manuscript have evidently been made with infinite care. The notes tell you where you may find them, but warn the gentle reader that you also cannot afford them.

contents:


CD-1

Anon: Hora gridar 'oimè (2 voices, fiddle, bass lute)
Anon (ballata): Ben lo sa Dio (voice, fiddle, harp)
Dufay (rondeau): Dona gentile (voice, harp, flute)
Bedyngham: Zentil madonna (soprano, harp, lute)
Anon: Chiara fontana (2 voices)
Anon: O pelegrina luce (voice, 2 fiddles, harp)
Bedyngham: O rosa bella (voice, 2 fiddles, harp)
Anon: La gracia de voi (2 voices, flute)
Anon: Perla mia cara (3 voices)
Cornago: Morte mercè (3 voices)
Anon: Finir voglio la mia vita (voice, flute, bass lute, harp)
Anon: O pelegrina luce (2 voices, harp, bass lute)
Anon: O meschin' inamorati (2 voices, bass lute)

CD-2

Anon (rondeau): Comme ung homme desconforté (voice, harp, bass lute, flute)
Regis (rondeau): S'il vous plaist que vostre je soye (2 voices, bass lute)
Anon (ballade): L'aultre jour par ung matin (2 voices, lute, fiddle)
Anon (rondeau): J'ay pris amours (2 voices, bass lute)
Ockeghem (rondeau): L'autre d'antan l'autrier passa (2 voices, bass lute)
Hayne van Ghizeghem (rondeau): De tous bien plaine (voice, flute, lute, bass lute)
Busnoys (bergerette): J'ay moins de bien (voice, flute, lute, bass lute)
Dufay (rondeau): Vostre bruit et vostre grant (2 voices, flute)
Caron (rondeau): Cent mille escus (2 voices, harp, bass lute)
Morton (rondeau): Le souvenir de vous me tue (voice, harp, lute, bass lute)
Barbingant (rondeau): L'omme bany de sa plaisance (2 voices, harp, fiddle)
Morton (rondeau): N'aray je jamais mieulx (2 voices, harp, bass lute, fiddle)
Dufay (rondeau): Le serviteur hault guerdonné (2 voices, flute)
Vincenet (rondeau): Fortune, par ta cruaulté (2 voices, bass lute)
Busnoys (rondeau): Est il mercy de quoy l'on peust finer? (voice, harp, flute)


CD-3
Binchois (rondeau): Comme femme desconfortee (voice, 2 fiddles)
Frye (rondeau): Tout a par moy (voice, flute, lute, bass lute)
Ockeghem (bergerette): Ma bouche rit (2 voices, harp, fiddle)
Bedyngham (rondeau): Mon seul plaisir, ma doulce joye (voice, lute, fiddle)
Anon: Ma bouche plaint (2 voices, fiddle)
Anon (rondeau): Vray dieu d'amours (voice, 2 fiddles)
Anon: Hélas! je n'ay pas osé dire (3 voices, harp, lute, bass lute)
Anon (rondeau): Or ay je perdu (voice, lute, bass lute)
Anon (rondeau): Adieu vous dy (2 voices, flute)
Anon (bergerette): Terriblement suis fortunee (voice, 2 fiddles)
Anon (rondeau): De mon povoir vous veul complaire (2 voices, bass lute)
Anon (bergerette): Hélas! n'aray je jamais mieulx (2 voices, lute, bass lute, 2 fiddles)
Anon (bergerette): Quant du dire adieu (2 voices, bass lute, 2 fiddles)
Binchois (rondeau): Je ne veis onques la pareille (3 voices)
Anon (rondeau): Faites moy sçavoir de la belle (voice, 2 fiddles)

The Consort of Musicke
Emma Kirkby (soprano)
Margaret Philpot (alto)
John York Skinner (countertenor)
John Elwes (tenor)
David Thomas (bass)

Lewis Jones (flute)
Frances Kelly (harp)
Christopher Page (lute)
Anthony Rooley (bass lute)
Trevor Jones (fiddle)
Alison Crum (fiddle)

G.B.Pescetti - Sonate per Gravicembalo

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Secondo gli studiosi, nell'ambito di tutta la produzione musicale di Giovanni Battista, l'opera clavicembalistica risulterebbe quella di maggior pregio, soprattutto dal punto di vista dell'innovazione stilistica. Oltre a sei Sonate per Clavicembalo conservate ancora manoscritte, sono arrivate fino ai giorni nostri le Sonate per Gravicembalo, pubblicate a Londra nel 1739, oggetto di questa registrazione.
Si tratta di composizioni che possono collocarsi in area di transizione tra stile barocco e stile galante, generalmente concepite in numero variabile di movimenti che, dal carattere contrastante, variano da due a quattro. Tra i tratti salienti che contraddistinguono felicemente la musica di Pescetti, possiamo sicuramente sottolineare la chiarezza espositiva, l'eleganza, l'essenzialità, l'ispirazione di breve gittata ma incisiva, oltre alla non comune spontaneità e fluidità di linguaggio.
Queste Sonate per Gravicembalo rappresentano, quindi, un fulgido esempio della Musica italiana del Settecento, sotto l'aspetto significativo dell'arte intesa come momento di comunicazione di suoni, di immagini, di sensazioni e sentimenti.
La musica di Pescetti richiede un tipo clavicembalo dal colore sonoro pieno e scuro, dalle note che abbiano una lunga tenuta ma anche un attacco definito e penetrante. Per questa incisione è stato utilizzato un ottimo strumento storico a due manuali, copia di Pascal Taskin (Parigi 1769), il cui originale è conservato presso la prestigiosa Russell Collection di Edimburgo.


Giovanni Battista Pescetti (1704–66) came from the same Venetian milieu as Legrenzi, Vivaldi, Platti, and Galuppi; the latter was in fact Pescetti’s classmate and collaborator in Venice. In 1737 Pescetti moved to London, where he took over the directorship of the King’s Theatre from Porpora (not Covent Garden, as stated in the liner notes). Thus, Pescetti was for a time a direct competitor to Handel, until the latter abandoned Italian opera in favor of oratorios. Naturally for any musician active in London at the time, Pescetti’s keyboard music owes a great deal to Handel, although there is nary a trace of the French element that permeates Handel’s music. The nine sonatas recorded here, all cast in a traditional three- or four-movement format, are thoroughly Italian in style, although there are indications that Pescetti was influenced by German keyboard music as well. Pescetti alternates between simple melody-with-bass, in the style of a Handelian allemande or gavotte, and more complex textures, as in the fugal opening of the A tempo giusto of Sonata 3, although he does not follow through with an unadulterated fugue à la Bach. Elsewhere, Pescetti is fond of introducing the opening theme(s) of a movement in imitative fashion, which lends a degree of interest to otherwise mediocre material. Much of the music is written in the grand style of Handel—the best example being the eight-minute Minuet of Sonata 1, which is a theme-and-variations in the spirit of Handel’s variations on “The Harmonious Blacksmith.”

FANFARE: Christopher Brodersen

contents:


Sonata I
Sonata II
Sonata III
Sonata IV

Sonata V
Sonata VI
Sonata VII
Sonata VIII
Sonata IX

Filippo Emanuele Ravizza, harpsichord

Bara Faustus' Dreame

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Another supremely high-concept disc superlatively executed, this package called Bara Faustus' Dreame performed by Les Witches and produced by Alpha is essentially a recital of soulfully sorrowful songs and deeply despairing dances by Dowland, Morley, Byrd, Philips, and others. Mixing mournful instrumental pieces bearing names like Pavana Dolorosa with doleful songs with titles like "In darkness let me dwell," the program is certain to incite even the most optimistic to embrace nihilism. Performed with consummate artistry by the instrumental ensemble called Les Witches, augmented with the complete sympathy of vocalizing guest Witches, the recital is sure to drive even the most happy folks to unassuageable hopelessness. Produced with the standard lush sound, customary sumptuous notes, and usual lavish art reproductions by Alpha, the package is bound to please even the most discriminating record collectors. Any listener looking for a reason to do themselves in can be positive of finding at least one if not several in Bara Faustus' Dreame. 

contents:


1 - Anonyme - Goe from my window
2 - John Dowland - Com when i call
3 - Richard Alison - Goe from my window
4 - Dowland - van Eyck - Can she excuse / Excuse moy
5 - Peter Phillips - Pavana dolorosa. Tregian
6 - Peter Phillips - Galiarda dolorosa
7 - John Dowland - From silent night
8 - Alfonso Ferrabosco - Dovehouse pavan
9 - Alfonso Ferrabosco - Heare me. O God
10 - William Byrd - Tregian's ground
11 - Giovanni Coperario - In darkness let me dwell
12 - John Ward - Fantasy
13 - Anonyme - The shepherd's joy
14 - Thomas Morley - O mistresse mine
15 - John Dowland - Thomas Morley - Captaine pipers pavin
16 - John Dowland - Thomas Morley - Galliard Can she excuse
17 - John Dowland - If my complaints could passions move

Les Witches

Denoye & Corrette d'apres Vivaldi

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A sumptuous mass from Denoyé, newly discovered, paying tribute to Rameau. And Corrette's jubilatory Versailles Grand Motet based on Vivaldi's Spring from the Four Seasons. A live CD from the 2007 Ambronay Festival in collaboration with France Musique.

contents:


Michel Corrette
Motet à grand choeur « Laudate dominum » (1766)

Jacques Antoine Denoyé
Messe à grand choeur et symphonie (1758)


Judith Gautier, dessus
Rodrigo del Pozo, haute-contre
Chistophe Einhorn, taille
Jean-Louis Georgel, basse

La Maîtrise de Bretagne
Le Parlement de Musique
dir. Martin Gester

Concert du 16 Septembre 2007

W.F. Bach - Oeuvres pour Clavecin

 

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Wilhelm Friedemann Bach (1710-1784), considered by many the most talented of J. S. Bach's children, is also the least known of the great master's three composing sons. In contrast to his father's orderly, wholesome and responsible lifestile, Wilhelm Friedemann's was erratic and characterized by excesses. Add to that a puzzling inability to "market" himself, and you will easily understand why this (in my, and many other's opinion) genius ended his life in abject powerty.

contents:

Keyboard Sonata in A major, F. 8 (BR A15)
Fantasia en ut mineur, FK nv2
Prelude for keyboard in C minor, F. 29 (BR A54)
March for harpsichord in E flat major, F. 30 (BR A56)
Suite for keyboard in G minor, F. 24 (BR A39)
8 Fugues for keyboard, F. 31 (BR A81-88)
Keyboard Sonata in G major, F. 7 (BR A14)

Christophe Rousset

 
German harpsichord with two keyboards
built in the von Nagel workshop in Paris
after an early instrument attributed
to Michael Mietke, Berlin around 1710.

Giacinto Calderara - Ricimero

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Giacinto Calderara (1729-1803)

The music talent of the Italian composer Giacinto Calderara was already apparent during his childhood. Young Calderara started forming his own musical thoughts from an early age and soon started coming up with the compositions which made a name for him far beyond the boundaries of his home town. Caldrerara was just twenty years old when he was given the respected and coveted post of music at the cathedral in Asti. Calderara's Ricimero was staged more than twenty times after its premiere performance and a modified version of his opera was staged in Asti, Casale and Monferrato, Turin and Ivrea in 2003 during festivities commemorating the two-hundred anniversary of the composer's death.

Mercoledì 12 marzo al teatro Municipale è stato rappresentato "Ricimero" (...) Ricimero aprì, il 27 dicembre 1755 la stagione al Teatro Regio di Torino e trionfò per ben 21 repliche. L'evento di mercoledì 12 marzo è stata l'occasione per ascoltare le belle voci dei cantanti lirici che indossavano sfarzosi costumi di Roberto De Valle tratti dal repertorio dei rinomati figurinisti Caramba ed Eugenio Guglielminetti; l'orchestra della Compagnia d'Opera Italiana magistralmente diretta da Maurizio Benedetti e il narratore Mario Brusa.

contents:


1. Ouverture. Allegro
2. Ouverture. Andante
3. Ouverture. Presto
4. Se Quel Tuo Sguardo Amato
5. Se I Monti Andar Vedrai
6. Lasciami In Pace Almeno
7. Sei Vincitor, È Vero
8. Scorgerai In Me L'Amante
9. Sentirsi Il Petto Accendere
10. Tutti Temer Dovrete
11. Io Ti Lascio, Oh Figlia Amata
12. Se A Quel Vezzoso Pianto
13. Empia Mano, E Tu Scrivesti!
14. Rasserena Il Mesto Ciglio
15. Del Rigor Della Mia Stella
16. Dille Che Mio Tesoro
17. Ombre Addio: Restate In Pace
18. Caro, Gli Sdegni Miei
19. In Giorno Sì Ameno



RICIMERO Re de' Goti destinato sposo d'Eduige
poi Amante di Ernelinda.
Signora MANUELA KRISCAK, Soprano

RODOALDO Re di Norvegia, e Padre di Ernelinda.
Signor LEONARDO DE LISI, Tenore

ERNELINDA Figlia di Rodoaldo, Amante di Vitige.
Signora ALEXANDRA ZABALA, Soprano

EDUIGE Figlia di Grimoaldo già Re di Norvegia
Signora ANNA LISA SEGAL, Soprano

VITIGE Principe Reale di Dania, Amante d'Ernelinda
Signora CLAUDIA NICOLE BANDERA, Mezzosoprano

EDELBERTO Principe Reale di Boemia, Amante d'Eduige
Signora KLARA LOCZI, Soprano

NARRATORE Signor MARIO BRUSA

Libretto del Signor FRANCESCO SILVANI
rielaborato dal Signor GIUSEPPE VETTORI

La Musica è del Signor GIACINTO CALDERARA,
Maestro di Cappella della Cattedrale di Asti

ORCHESTRA DELLA COMPAGNIA D'OPERA ITALIANA
Diretta dal Signor MAURIZIO BENEDETTI

Vivarte 60 CD Collection

60 CD - MP3 192 Kbps - 61 RAR (5.33Gb)


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Limited EU 60 CD box set containing 60 of the finest releases from the esteemed Sony Classical label Vivarte. The 60 discs included here feature the works of all the great composers including Bach, Handel, Telemann, Vivaldi, Schubert, Beethoven and many others. Sony Classical.

contents:


1-2. BACH : œuvres pour luth
(Lutz Kirchhof)
3. BACH : 3 sonates pour viole de gambe ; sonate en la majeur
(Anner Bylsma, Bob Van Asperen)
4. Le clavecin aux Pays-Bas
(Bob Van Asperen)
5. BACH : cantates profanes BWV 206 & 207a
(Frieder Bernius)
6. MOZART : Missa Longa
(Philipp Cieslewicz, Carsten Muller, Tolzer Knabenchor)
7. MOZART : Divertimento K.334 & K.247
(L'Archibudelli)
8. MOZART : Divertimento K.563
(L'Archibudelli)
9. SCHUBERT : Quintette à cordes D.956
(Vera Beths, Lisa Rautenberg, Steven Dann, Judy Gatwood, Anner Bylsma)
10. SCHUBERT : Symphonies n° 5 & 6
(Bruno Weil)
11-12. SCHÜTZ : Psalmen Davids SWV 22-47
(Frieder Bernius)
13-14. BACH : 6 Suites pour violoncelle, BWV 1007-1012
(Anner Bylsma)
15. Italia Mia
(Paul Van Nevel, Huelgas Ensemble)
16. The Lute in Dance and Dream
(Lutz Kirchhof)
17. BEETHOVEN : Sextuors, quintette, duo
(L'Archibudelli)
18. SCHUBERT : Symphonies n° 7 & 8
(Bruno Weil)
19. BEETHOVEN : Trios à cordes Op.9 n° 1-3
(L'Archibudelli)
20. Febus Avant!
(Paul Van Nevel, Huelgas Ensemble)
21. GOMBERT : Musique pour la cour de Charles V
(Paul Van Nevel)
22. Airs de cour français du XVIIe siècle
(Lutz Kirchhof)
23. VIVALDI : Les quatre saisons ; Sinfonia "Al Santo Sepolcro" ; Concerto Op.3
(Charlotte Nediger, Tafelmusik)
24. HAYDN : Symponies n° 41-43
(Bruno Weil, Tafelmusik)
25. HAYDN : Symponies n° 44, 51 & 52
(Bruno Weil, Tafelmusik)
26-27. WEISS : œuvres pour luth vol. 1 & 2
(Lutz Kirchhof)
28. VIVALDI : Sonates pour violoncelle et basse continue
(Anner Bylsma)
29. BEETHOVEN : Trios « L'Archiduc » et « des Esprits »
(Anner Bylsma, Vera Beths, Jos Van Immerseel)
30. HAENDEL : Concerti Grossi, Op. 3
(Jeanne Lamon, Tafelmusik)
31. Motets du XVIIe siècle
(Niederaltaicher Scholaren)
32. HAYDN : Les trois derniers trios avec piano
(Anner Bylsma, Vera Beths, Robert Levin)
33. BOCCHERINI : Concertos pour violoncelle en ut majeur et ré majeur
(Jeanne Lamon, Tafelmusik)
34. BOCCHERINI : Sonates pour violoncelle
(Anner Bylsma, Kenneth Slowik, Bob Van Asperen)
35. MOZART : Quintette avec clarinet, quatuor avec clarinette, Trio Kegelstatt
(L'Archibudelli)
36. Musique pour orgue d'Allemagne du nord
(Gustav Leonhardt)
37-38. C.P.E BACH : Intégrale des sonates pour flûte
(Barthold Kuijken, Bob Van Asperen)
39. FRANCHOMME & CHOPIN : Grand Duo Concertant
(Anner Bylsma, Lambert Orkis, Kenneth Slowik)
40. SCHUBERT : Messe n° 5 ; Deutsche Messe
(Bruno Weil)
41. Musique pour orgue en France et au sud des Pays-Bas
(Gustav Leonhardt)
42-43. HAYDN : La Création (Intégrale)
(Bruno Weil, Tafelmusik, Toelzer Knabenchor)
44. AGRICOLA : Un labyrinthe secret
(Paul Van Nevel, Huelgas Ensemble)
45-46. BEETHOVEN : Sonates pour violoncelle et piano
(Anner Bylsma, Jos Van Immerseel)
47. MOZART : Requiem
(Bruno Weil, Tafelmusik)
48. SCHUBERT : Trios avec piano n° 1 & 2
(Anner Bylsma, Vera Beths, Jos Van Immerseel)
49. VIVALDI : 11 concertos
(Anner Bylsma, Jeanne Lamon, Tafelmusik)
50. HAYDN : Les trois derniers quatuors à cordes
(L'Archibudelli)
51. HAENDEL : Feuermusik
(Jeanne Lamon, Tafelmusik)
52-54. TELEMANN : Quatuors parisiens n° 1-12
(Gustav Leonhardt)
55. Utopia Triumphans (Musique de la Renaissance)
(Paul Van Nevel, Huelgas Ensemble)
56. BACH : concertos pour violon
(Jeanne Lamon, Tafelmusik)
57-58. BACH : concertos brandebourgeois
(Jeanne Lamon, Tafelmusik)
59. BRAHMS & SCHUMANN : Sonates pour violoncelle Op. 38 & Op. 99
5 Pièces dans le style populaire Op. 102
(Anner Bylsma, Lambert Orkis)
60. HAENDEL : Music for the Royal Fireworks
(Jeanne Lamon, Tafelmusik)

J.S.Bach - Cantatas (Richter)

26 CD - MP3 192 Kbps - 27 RAR (2.28Gb)


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contents:


Volume 1 - Advent and Christmas

CD 1
«Nun komm, der Heiden Heiland», BWV 61
«Bereitet die Wege, bereitet die Bahn», BWV 132
«Christen, ätzet diesen Tag», BWV 63

CD 2
«Christum wir sollen loben schon», BWV 121
«Sehet, welch eine Liebe hat uns der Vater erzeiget», BWV 64
«Gottlob! nun geht das Jahr zu Ende», BWV 28
«Gott, wie dein Name, so ist auch dein Ruhm», BWV 171

CD 3
«Ach Gott, wie manches Herzeleid», BWV 58
«Sie werden aus Saba alle kommen», BWV 65
«Meinem Jesum laß ich nicht», BWV 124
«Meine Seufzer, meine Tränen», BWV 13

CD 4
«Was mein Gott will, das g’scheh’ allzeit», BWV 111
«Jesus schläft, was soll ich hoffen?», BWV 81
«Ich habe genug», BWV 82

Volume 2 - Easter

CD 1
«Ich hab in Gottes Herz und Sinn», BWV 92
«Erhalt uns, Herr, bei deinem Wort», BWV 126
«Du wahrer Gott und Davids Sohn», BWV 23

CD 2
«Wie schön leuchtet der Morgenstern», BWV 1
«Himmelskönig, sei willkommen», BWV 182

CD 3
«Christ lag in Todesbanden», BWV 4
«Bleib bei uns, denn es will Abend werden», BWV 6
«Der Friede sei mit dir», BWV 158
«Halt im Gedächtnis Jesum Christ», BWV 67

CD 4
«Du Hirte Israel, höre», BWV 104
«Weinen, Klagen, Sorgen, Zagen», BWV 12

CD 5
«Es ist euch gut, daß ich hingehe», BWV 108
«Bisher habt ihr nichts gebeten in meinem Namen», BWV 87

Volume 3 - Ascension Day - Whitsun - Trinity

CD 1
«Lobet Gott in seinen Reichen» (Himmelfahrts-Oratorium), BWV 11
«Sie werden euch in den Bann tun», BWV 44
«O ewiges Feuer, o Ursprung der Liebe», BWV 34

CD 2
«Also hat Gott die Welt geliebt», BWV 68
«Er rufet seinen Schafen mit Namen», BWV 175
«Gelobet sei der Herr, mein Gott», BWV 129

CD 3
«Brich dem Hungrigen dein Brot», BWV 39
«Die Himmel erzählen die Ehre Gottes», BWV 76
«Ach Herr, mich armen Sünder», BWV 135

CD 4
«Ich hatte viel Bekümmernis», BWV 21
«Ein ungefärbt Gemüte», BWV 24

CD 5
«Freue dich, erlöste Schar», BWV 30
«Wer nur den lieben Gott läßt walten», BWV 93

CD 6
«Herz und Mund und Tat und Leben», BWV 147
«Meine Seel erhebt den Herren», BWV 10

Volume 4 - Sunday after Trinity I

CD 1
«Es ist das Heil uns kommen her», BWV 9
«Es wartet alles auf dich», BWV 187
«Wo Gott, der Herr, nicht bei uns hält», BWV 178

CD 2
«Es ist dir gesagt, Mensch, was gut ist», BWV 45
«Herr, gehe nicht ins Gericht mit deinem Knecht», BWV 105
«Herr, deine Augen sehen nach dem Glauben», BWV 102

CD 3
«Mein Herze schwimmt im Blut», BWV 199
«Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei», BWV 179
«Lobe den Herren, den mächtigen König der Ehren», BWV 137

CD 4
«Allein zu dir, Herr Jesu Christ», BWV 33
«Jesu, der du meine Seele», BWV 78
«Wer Dank opfert, der preiset mich», BWV 17

CD 5
«Jauchzet Gott in allen Landen», BWV 51
«Was Gott tut, das ist wohlgetan», BWV 100
«Wer weiß, wie nahe mir mein Ende», BWV 27

CD 6
«Liebster Gott, wenn werd ich sterben?», BWV 8
«Bringet dem Herrn Ehre seines Namens», BWV 148

Volume 5 - Sunday after Trinity II

CD 1
«Herr Christ, der ein’ge Gottessohn», BWV 96
«Wo soll ich fliehen hin», BWV 5
«Ich will den Kreuzstab gerne tragen», BWV 56

CD 2
«Schmücke dich, o liebe Seele», BWV 180
«Aus tiefer Not schrei ich zu dir», BWV 38
«Ich armer Mensch, ich Sündenknecht», BWV 55

CD 3
«Mache dich, mein Geist, bereit», BWV 115
«Wohl dem, der sich auf seinen Gott», BWV 139
«O Ewigkeit, du Donnerwort», BWV 60
«Ach wie flüchtig, ach wie nichtig», BWV 26

CD 4
«Du Friedenfürst, Herr Jesu Christ», BWV 116
«Wachet! betet! betet! wachet!», BWV 70
«Wachet auf, ruft uns die Stimme», BWV 140

CD 5
«Herr Gott, dich loben alle wir», BWV 130
«Ein feste Burg ist unser Gott», BWV 80
«Gottes Zeit ist die allerbeste Zeit», BWV 106



Edith Mathis, Sheila Armstrong, Lotte Schädle
Ursula Buckel, Maria Stader – Soprano

Anna Reynolds, Herthe Töpper
Trudeliese Schmidt, Julia Hamari – Alto

Peter Schreier, Ernst Haefliger
John van Kesteren – Tenor

Dietrich Fischer-Dieskau, Theo Adam
Kurt Moll, Kieth Engen – Bass

Münchener Bach-Chor
Münchener Bach-Orchester
dir. Karl Richter

Andreas Scholl - Wayfaring Stranger

17 tracks - MP3 192 Kbps - RAR 92Mb


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contents:


1 - I Am a Poor Wayfaring Stranger
2 - The Salley Gardens
3 - My Love Is Like a Red, Red Rose
4 - Wild Mountain Thyme
5 - Henry Martin
6 - Charming Beauty Bright
7 - I Will Give My Love an Apple
8 - She Moved Through the Fair
9 - Blow the Wind Southerly
10 - The Wife of Usher's Well
11 - I Loved a Lass
12 - Pretty Saro
13 - Down in Yon Forest
14 - Barbara Allen
15 - The Wraggle Taggle Gypsies
16 - Annie Laurie
17 - Black Is the Colour

Andreas Scholl, countertenor
Stacey Shames, Harp
Edin Karamazov, Lute
Jon Pickow, Banjo
Jon Pickow, Dulcimer

Orpheus Chamber Orchestra

G.F.Handel - Operas

22 CD - MP3 192 Kbps - 8 RAR (1.97 Gb)


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contents:


Han22Oper1. Rinaldo, 3 CDs
Jean-Claude Malgoire, La Grande Écurie et La Chambre du Roy
Carolyn Watkinson: Mezzo-Soprano (Rinaldo)
Paul Esswood: Contralto (Goffredo)
Charles Brett: Contralto (Eustazio)

Han22Oper2. Giulio Cesare, 2 CDs
Julius Rudel, New York City Opera
Beverly Sills: Soprano (Cleopatra)
Beverly Wolff: Mezzo-Soprano (Sextus)
Maureen Forrester: Contralto (Cornelia)

Han22Oper3. Tamerlano, 3 CDs
Jean-Claude Malgoire, La Grande Écurie et La Chambre du Roy
Mieke van der Sluis: Soprano (Asteria)
Isabelle Poulenard: Soprano (Irene)
Henri Ledroit: Countertenor (Tamerlano)

Han22Oper4. Rodelinda, 3 CDs
Michael Schneider, La Stagione
Barbara Schlick: Soprano (Rodelinda)
Claudia Schubert: Alto (Eduige)
David Cordier: Countertenor (Bertarido)

Han22Oper5. Alessandro, 3 CDs
Sigiswald Kuijken, La Petite Bande
Sophie Boulin: Soprano (Rossane)
Isabelle Poulenard: Soprano (Lisaura)
Ria Bollen: Contralto (Cleone)


Han22Oper6. Lotario, 2 CDs
Alan Curtis, Il Compresso Barocco
Simone Kermes: Adelaide, Soprano
Sara Mingardo: Lotario, Contralto
Hilary Summers: Idelberto, Contralto

Han22Oper7. Partenope, 3 CDs
Sigiswald Kuijken, La Petite Bande
Krisztina Laki: Partenope, Soprano
Rosmira: Helga Müller Molinari, Contralto
Arsace:René Jacobs, Contralto

Han22Oper8. Serse, 3 CDs
Jean-Claude Malgoire, La Grande Écurie et La Chambre du Roy
Carolyn Watkinson: Serse, mezzo-soprano
Paul Esswood: Arsamene, countertenor
Ortrun Wenkel: Amastre, contralto
Barbara Hendricks: Romilda, soprano

W.A.Mozart - Requiem K.626

13 tracks - MP3 192 Kbps - RAR 86Mb


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The repertoire choices here seem curiously conservative, considering the course of Jordi Savall's career in recent years. The answer to that conundrum lies in the date of recording – 1991. Back then, Savall was a much more mainstream kind of period performance performer, so a disc of Mozart's Requiem would have seemed like a logical choice for him, especially given that the year marked the bicentenary of the composer's death.Even back then he was a radical, and what makes this recording prophetic is the relaxed way that the period performance conventions are applied. In the early 90s, there was still a lingering sense of academic earnestness about most period instrument performance, but Jordi Savall demonstrates the value of a light touch, which has since more or less become the convention. In the context of the Mozart Requiem, that sits uneasily with the gravity of the subject, although it serves to highlight the Classical elegance that is never far from the surface in Mozart's music. There are no super-fast tempos here, at least by period performance standards, the Rex tremendae is the only movement that seems a shade faster than comfortable. Subtle dynamics rather than rubato are used to shape the soloists phrases, and despite the almost playful atmosphere, closer listening reveals an impressive discipline in the tempos, balance and ornamentation.

contents:


Maurerische Trauermusik, K.477 (Ode funebre)
Requiem, K.626


La Cappella Reyal de Catalunya
Le Concert des Nations
dir. Jordi Savall

Johann Bernhard Bach - Die Orchestersuiten

28 tracks - MP3 192 Kbps - RAR 118Mb

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Johann Bernhard Bach (23 May 1676 – 11 June 1749) was a German composer, and second cousin of J. S. Bach. He was born in Erfurt, and his early musical education was by his father, Johann Aegidus Bach. He took up his position as organist in Erfurt in 1695, and then took a similar position in Magdeburg. He replaced Johann Christoph Friedrich Bach as organist in Eisenach, and also as harpsichordist in the court orchestra in 1703. Most of his musical output has been lost, but amongst his surviving music there are four orchestral suites. It is known that J.S. Bach had individual parts prepared for performance by his orchestra.
His musical style has been described as being similar to that of Telemann.
These Suites are thought to have been written before 1730. (more here)

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contents:


Suite No.1 in g minor
Suite No.2 in G major
Suite No.3 in e minor
Suite No.4 in D major


Freiburger Barockorchester
dir. Thomas Hengelbrock

Alexander Agricola - Missa In myne Zyn

13 tracks - MP3 192 Kbps - RAR 88Mb

Of the eight Masses by Agricola that have survived, the Missa in myne zyn is possibly the last, most demanding to perform and the most elaborate, making use of every possible technique, to include the thematic material of Agricola’s own 3-part song In myne zyn. The secular pieces recorded here lend themselves particularly well to the techniques of ornamentation and improvisation that the composer himself suggests.

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contents:


1 - Ante Missam: In minen sin
2 - Ante Missam: Si j'aime mon amy
3 - Ante Missam: Bien soiez venu – Alleluia
4 - Ante Missam: In mynen zin
5 - Ad Missam: Gloria, extrait de Missa In myne Zyn
6 - Ad Missam: Comme femme desconfortée II
7 - Ad Missam: Credo, extrait de Missa In myne Zyn
8 - Ad Missam: D'ung aultre amer III
9 - Ad Missam: Sanctus, extrait de Missa In myne Zyn
10 - Ad Missam: Tout a par moy II
11 - Ad Missam: Agnus Dei, extrait de Missa In myne Zyn
12 - Ad Vesperam: Pater meus agricola est
13 - Ad Vesperam: Regina coeli

Capilla Flamenca
Dirk Snellings