G.P.Telemann - 3 Orchestral Suites

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Overture TWV 55:Es2 in E Flat major for Flute Pastorelle, Strings & Bc
Overture TWV 55:F14 in F major for Two Oboes, Strings & Bc
Overture TWV 55:a2 in A minor for Recorder, Strings & Bc

L'Orfeo Barockorchster
dir. Carin van Heerden

Angelo Poliziano - La Fabula di Orpheo

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At the age of twenty-six he was already at the height of his powers. He was a master of the ottava rima, the poetic form later to form the basis of recitative. Did he know that, with this work, he was opening the gates that would lead to opera and to another masterpiece on the same subject, 127 years later, Claudio Monteverdi's L'Orfeo?

contents:


1 Mercure: Silenzio, udite! - State tenta brigata!
2 Moresca de Bergers et Nymphes
3 Mopso: Hai tu veduto un vitellin mio bianco
4 Aristée: Udite selve, mie dolci parole
5 Mopso: E’ non è tanto il mormorio piacevole
6 Aristée: Non mi fuggir donzella
7 Moresca: Eurydice fuyant Aristée
8 Orphée: O meos longum modulata lusus
9 Berger: Crudel novella, ti rapporto Orpheo
10 Moresca: l’ombre d’Eurydice conduite aux enfers
11 Orphée: Dunque piangiamo, o sconsolata lira
12 Moresca: Orphée en chantant arrive aux enfers
13 Lamento d’Aristée
14 Pluton: Chi è costui che con si dolce nota
15 Proserpine: Io non credetti, o dolce mio consorte
16 Pluton: Io te la rendo, ma con queste leggi
17 Moresca: cortège d’Eurydice, d’Orphée et des ombres
18 Orphée: Ite Triumphales ! ; distiques latins
19 Moresca d’Orphée joyeux et des ombres qui lui enlevèrent Eurydice
20 Eurydice: Oimè ch’el troppo amore
21 Orphée: Oimè se’ mi tu tolta
22 Lamento d’Orphée
23 Orphée: Qual sarà mai si miserabil canto
24 Bacchante: Ecco quel che l’amor nostro dispreça!
25 Moresca de la mort d’Orphée
26 Bacchante: O! o! mort’è lo scelerato!
27 Bacchante, Silène: Ognun segua, Bacco te!


LA COMPAGNIA DELL’ORPHEO

Maxime Battistella, baryton: Orphée, Silène
Mauro Borgioni, baryton: Aristée, Pluton aux enfers, Silène
Simone Sorini, ténor: Mopso, Orphée aux enfers
Julie Mazille, soprano: Mercure, Eurydice aux enfers, Bacchante
Monica Prada, soprano: Nymphe, Furie, Bacchante
Caroline Tarrit, mezzo-soprano: Tirsis, Proserpine aux enfers, Bacchante
David Lefort, ténor: Silène
Massimiliano Dragoni: Berger, Silène

Mercure et ses musiciens :

Julie Mazille (Mercure): flûtes
Christoph Barth: luth
Joëlle Berthet: flûtes, flûte double
Massimiliano Dragoni: percussions
Patricia Esteban: flûtes, flûte et tambour
Eric Grellety: viola d’arco
Christelle Poncet: vièle
Nicolas Sansarlat: lira da braccio, rebec

dir. Francis Biggi

Bach Family

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contents:


CD 1

Johann Sebastian Bach
Sonata in g major for two flutes and basso continuo, BWV 1039
Trio Sonata in d major for flute, viola and basso continuo, BWV 529

Wilhelm Friedemann Bach
Trio sonata in a minor for two flutes and basso continuo
Sonata in f major for two flutes
Sonata in f major for flute, violin and basso continuo,

Carl Philipp Emanuel Bach
Siciliano for flute and lute

CD 2

Johann Christian Bach
Quintet in da major for harpsichord, flute, oboe, violin and cello, op. 22

Johann Christoph Friedrich Bach
Trio sonata in e minorr for flute, viola and basso continuo

Johann Sebastian Bach
Partita in d minor for flute, harpsichord and cello, BWV 997,

Carl Philipp Emanuel Bach
Quartet in a minor for flute, viola, cello and harpsichord, Wq 93


Ars Rediviva Ensemble
dir. Milan Munclinger

Telemann - Pastorelle En Musique

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Telemann’s Pastorelle en Musique belongs to the sub-genre of the Shepherd Play, a kind of Arcadian serenade. It consists of twelve scenes provisionally dated, on stylistic and other grounds, to his Frankfurt years between 1712 and 1721. It was probably scenic and celebratory in nature though the description of "opera" has been appended to it over the years. Whilst it’s not operatic it certainly does contain elements of the set-piece operatic aria. There are opportunities for five solo singers and two choirs (shepherds and shepherdesses). Instrumentally we find that Telemann employs, in addition to a full complement of strings (and gamba), two trumpets, horns and two oboes. (continue)

Caliste – Doerthe Maria Sandmann (soprano)
Iris – Barbara Fink (mezzo)
Damon – Mathias Hausmann (tenor)
Amyntas – Lydia Vierlinger (alto)
Knirfx – Bernhard Berchtold (tenor)

Capella Leopoldina
dir. Kirill Karabits

Recorded in concert, May 2005

J.S.Bach - Organ Spectacular

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Toccata And Fugue In D Minor, BWV 565 (D-Moll • Ré Mineur)
"Vater Unser Im Himmelreich" BWV 682
Fugue In G Minor BWV 578 (G-Moll • Sol Minuer)
"Wachet Auf, Ruft Uns Die Stimme" BWV 645
"Nun Komm, Der Heiden Heiland" BWV 659
Prelude And Fugue In E Flat Major BWV 552 (Es-Dur • Mi Bémol Majeur)
Trio Sonata In G Major BWV 530 (G-Dur • Sol Majeur)
Passacaglia In C Minor BWV 582 (C-Moll • Ut Minuer)


Ton Koopman
Performed on the Christian Müller organ
built 1724-1727; Grote Kerk, Leeuwarden.

G.F.Handel - The Masterworks

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Jacopo Peri - Il Zazzerino

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contents:


01 - Hor che gli augelli
02 - Lungi dal vostro lume
03 - Ballo (instrumental suite)
04 - Tra le lagrime e i sospiri
05 - Uccidimi, dolore
06 - Ricercar del primo tuono del Zazzerino
07 - Se tu parti da me
08 - Tu dormi, e 'l dolce sonno
09 - Caro dolce ben mio
10 - Tra le donne onde s'onora
11 - Lasso, ch'i' ardo
12 - Bellissima regina
13 - Occhi, fonti del core, occhi piangete
14 - O miei giorni
15 - Torna, deh torna
16 - Tutto 'l dì piango
17 - Al fonte, al prato


Ellen L. Hargis, soprano
Paul O'Dette, chitarrone & baroque guitar
Andrew Lawrence-King, harp
Hille Perl, lirone & viola da gamba

Sotto l'Imperio del Possente Prince

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contents:


1.Paolo da Firenze - Godi, Firençe poi che sse' sì grande (Madrigale)
2.Anonimo - Lucente stella ch'el mio cor desfai (Ballata)
3.Anonimo - O bella rosa, o perla angelichata (Intabulation for plectrum lute)
4.Giovanni da Firenze - O perlaro gentil se dispogliato (Ballata)
5.Jacopo da Bologna - O ciecho mondo di lusinghe pieno (Madrigal)
6.Prepositus Brixiensis - I ochi d'una ançolleta che m'alcide (Ballata)
7.Francesco Landini - Questa fanciull' amor fallami pia (Ballata)
8.Francesco Landini - Vaga fanciulla leggiadr'e veççosa (Ballata)
9.Anonimo - O bella rosa, o perla angelichata (Ballata)
10.Bartolino da Padova - Imperial sedendo fra più stelle (Madrigale)
11.Anonimo - Sotto l'imperio del possente prince (Madrigale)
12.Anonimo - Amor mi fa cantar a la Francesca (Ballata)
13.Andrea da Firenze - Per fanciulleça tenera (Ballata)
14.Jacopo da Bologna - Lo lume vostro dolce'l mio signore (Madrigale)
15.Jacopo da Bologna - Lux purpurata radiis - Diligite iusticiam (Mottetto)
16.Francesco Landini - Che pena è quest' al cor che si non posso (Ballata)
17.Anonimo - Donna, se'l cor m'aperçi (Ballata)
18.Beltrame Feragut - Francorum nobilitati te tua bonitas (Mottetto)
19.Johannes Ciconia - Ut te per omnes celitus - Ingens alumnus Padue (Mottetto)


Ensemble Perlaro
dir. Lorenza Donadini

The Sephardic Experience

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The Renaissance Players celebrate Sephardic culture throughout Europe and the Ottoman Empire, singing in "Judezmo," a combination of Spanish and Hebrew as well as Turkish, Greek, Slavic, and Arabic. The performance resonates with originality and an authenticity that will intrigue international music aficionados as well as students of early music.

Disc: 1

1. Stelbishte Oro
2. Por Alli Paso Un Cavallero
3. Como La Rosa
4. Yo M'enamori D'un Aire
5. La Rosa Enflorece
6. Slusaj Kaj Sumaj Sumite Bukite/Tri Pati
7. Noches Buenas
8. Puncha, Puncha La Rosa Huele
9. Here Is A Poem/Return, O Shulammite
10. Morena Me Llaman
11. Staro Oro
12. Ah, Signora Novia
13. La Madre De La Novia

Disc: 2

1. Haralambis
2. La Sirena
3. En La Mar Ay Una Torre
4. Cinja Mija
5. Siete Anos
6. Bandary
7. Morenica Sos
8. Por La Tu Puerta
9. Yo Hanino
10. Para Beri
11. La Novia Entre Flores
12. Kopanitsa Oro
13. Have You Heard, My Friends?
14. Durme, Durme Mi Angelico

Disc: 3

1. Cetvorno Oro
2. El Rey De Francia Tres Hijas Tenia
3. Rychenitsa
4. Por Amar Una Donzella
5. Ajugar De Novia Galana
6. Staro Povrateno
7. Y Una Madre Comio Asado
8. El Conde Nino
9. Cetvorka
10. Hija Mia Mi Querida
11. Y Aunque Yo No Vendi Nada
12. Play For Me Minstrel
13. Desde Hoy La Mi Madre
14. Pravo Za Ramo
15. Fleas
16. Estavase La Mora
17. Dvajspetorka
18. Dunje Rajke Kruske Kara Manke/Kyustendilka

Disc: 4

1. Los Guisados De La Berenjena
2. Dunula
3. Potrculka
4. La Sclava Pario Un Hijo
5. Dolores Tiene La Reina
6. Teskoto
7. Si La Mar Era De Leche
8. Una Matica De Ruda
9. Esta Montana D'Enfrente
10. Salgas Madre
11. Potrceno
12. Poco Le Das La Mi Consuegra
13. Ay, El Novio No Quiere Dinero
14. El Mi Querido

The Renaissance Players
dir. Winsome Evans

Paraisos Perdidos - Christophorus Columbus

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Montserrat Figueras
Hesperion XXI
La Capella Reial de Catalunya
dir. Jordi Savall

This remarkable release is a veritable history lesson in music, poetry, and literature about Spain, as well as Christopher Columbus and his voyages and times. The title of the set, Lost Paradises, refers to the cessation of the period during which all three traditions - Jewish, Muslim and Christian - worked together to create greatness. The music, pre-baroque and sounding very exotic indeed, is exquisitely performed, sometimes by itself and sometimes in conjunction with the reading of a text. The Moorish and Sephardic music is particularly colorful, but the more familiar, "early" music is just as ravishing. With repertoire both sacred and profane, featuring dances and dirges, Savall, in his notes, is attempting to make us pay heed to the past so that we may form our futures: This isn't as pedantic as it sounds, but it is certainly more than an afternoon of great music listening. What a stunning gift this would make - either to yourself or others. --Robert Levine (AMAZON.COM)

John Dowland - Ayres

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the (almost) whole discography is HERE:


contents:


From the First Booke of Songes (1597)
1 - Go Cristall Teares
2 - Awake sweet love
3 - His goulden locks
4 - Now O now
From the Second Booke of Songes (1600)
5 - A Sheperd in a shade
From the Third and Last Booke of Songes (1603)
6 - What if I never speede
Lamentatio Henrici Noel
7 - The Lamentation of a sinner
8 - Domine ne in furore
9 - Miserere mei Deus
10 - The humble sute of a sinner
11 - The Complaint of a sinner
12 - De profundis
13 - Domine exaudi
From: A Pilgrimes Solace
14 - Disdaine me still
15 - Tell me true Love
16 - Thou mightie God (The first Part)
17 - When Davids life (The second Part)
18 - When the poor Criple (The third Part)
19 - Welcome black night
20 - Cease these false sports

The Hilliard Ensemble

Vivaldi Concertos. Telemann and Boismortier

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The "concertos" on this disc are of a special kind: they are so-called chamber concertos, for three or four solo instruments with continuo, but no orchestra. They're not overgrown trio sonatas; the group serves as its own orchestra, with individual players splitting off for solos. (continue)

contents:

Antonio Vivaldi
Chamber Concerto, for recorder, oboe, violin, bassoon & continuo in D major, RV 94

Georg Philipp Telemann
Quartet for flute, oboe, violin & continuo in A minor, TWV 43:a3

Antonio Vivaldi
Chamber Concerto ("Il gardellino"), for flute/recorder or violin, oboe or violin, violin, bassoon or cello & continuo in D, RV 90

Antonio Vivaldi
Sonata à 4, for flute (or oboe), oboe (or violin), bassoon (or cello) & continuo in C major, RV 801

Joseph Bodin de Boismortier
Concerto à 5, for flute, oboe, violin, bassoon & bass, Op. 37

Antonio Vivaldi
Chamber Concerto ("La tempesta di mare"), for flute, oboe, violin, bassoon & continuo in F major, RV 98

Antonio Vivaldi
Chamber Concerto, for flute, oboe, violin, bassoon & continuo in G minor, RV 107

Fioritura

Aldo Abreu (Recorder)
Geoffrey Burgess (Oboe)
Jennifer Roig-Francoli (Violin)
Suzanne De Serres (Bassoon)
Christopher Haritatos (Cello)
Deborah Fox (Theorbo, Guitar)
James Bobb (Harpsichord, Organ)

Unicorn

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This program of old French music and poetry explores a very important but-little known aspect of the Middle Ages: the art of story-telling.

Centuries ago, the frontier between the musical and literary worlds was much less sharply drawn than today. This recording focuses on French narrative art, both religious and secular, from the late eleventh to the early thirteenth centuries. unicornThe recording begins with a lovers' Bestiary. In medieval times, animals both real and mythical were used to represent the various states of the human psyche: the works we perform tell of the sorrows of love (the panther), of treason and death (the unicorn), of vanity (the stag), of pride (the fox). We include simple songs (the nightingale), narrative recitations (Marie de France, the twelfth century poetess), and some of the more elaborate trouvère songs: one of these, Thibaut de Champagne's song of the unicorn, develops all the "secret" themes of courtly love, its joys and its tribulations, perils and hopes.

Gauthier de Coincy (1177-1236), prior of Vi sur Aisne, was a prolific author of religious poetry and music. Among his "Miracles of Our Lady," we have selected the cycle of Sainte Leocade (in its American première). The poems and songs tell the story of a holy statue stolen and then found in the Aisne, thanks to the intercession of the Virgin. Gauthier's text is rich in vivid images, and his melodies are among the most beautiful of the period.

The last part of this program focuses on women's texts. The "weaving song," Belle Doette, tells the romanticized story of a maiden whose lover is killed in a joust; the girl then creates the "abbey of love" where all disappointed lovers may go to escape the world. We then meet a dame de Paris, anxious to abandon a husband who beats her for the young gallant she has just met.

The songs and texts are framed by instrumental interludes, based on tunes of the French trouvères.

these notes (c) by Anne Azéma

contents:


1 - 'Serena En Mer Hante'
2 - 'En Mai Au Duz Tens Nouvel'
3 - 'Issi Avint Qu'un Cers'
4 - 'Dun Gupil'
5 - 'La Danse De Gupil'
6 - 'Ensement Com La Panthere'
7 - 'Monosceros Est Beste'
8 - 'Aussi Come Unicorne Sui'
9 - 'Que De Memoyre'
10 - 'las, Las Las'
11 - 'Quarte Jours Plains'
12 - 'Sour Cest Rivage'
13 - 'N'est Pas Merveille'
14 - 'De Sainte Leochade'
15 - 'Au Renouvel'
16 - 'Belle Doette'
17 - 'Je Chevauchoie L'autrier'

Anne Azema (Voice)
Cheryl Ann Fulton (Harp)
Shira Kammen (Vielle, Rebec, Harp)
Jesse Lepkoff (Flute)

Una Musa Plebea

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The music on this intriguing release does not cover a single genre or repertory. Instead, it attempts to answer the question "What was the local music scene like in Italy when the courts and the rich families were importing top talent from the Low Countries to write intricate polyphony?" The answer involves several kinds of music, and the creators of the album deserve credit for not trying to force it all into a single mold. Some of the music -- light, chordal, sometimes very sexy songs that went by the designation of frottola and other names -- remained popular, and similar examples were cultivated by Josquin and other Flemish-Italian composers. But the other kinds of music on the album have received much less attention. With some variations, it consists of three types. One consists of improvised stanzaic poems called ottave (eight-line stanzas), performed unaccompanied or with very light accompaniment, and sometimes dialogic, with a pair of singers re-creating an established idea. Sometimes the topic is the art of poetic improvisation itself. These performances, according to the extensive notes, fell out of fashion in the 18th century, but the Italian countryside today has yielded survivals of many of the traditions developed over the last millennium, and what's presented here are live recordings of contemporary Tuscan exponents. It's fascinating stuff if you are interested in oral poetry, and among the ultimate descendents of the music heard here are the corridos that issue from the radios in a million Mexican restaurants. There are also solo settings of cultivated Italian poems by the likes of Leonardo Giustinian (track 12), and a variety of mostly anonymous instrumental dances, featuring a richly buzzing hammer dulcimer, to break up the texture. The vocalists and instrumentalists of the Ensemble Lucidarium give attractive performances, but the real novelty is the persistence of a tradition of oral poetry that is centuries old. Recommended for anyone interested in vernacular traditions.

contents:


1 - Chjama è rispondi - Roccu Mambrini / Francescu Simeoni
2 - Tent'a l'ora ruzenenta - Anonymous
3 - Strambotti - Francesco Varoter
4 - Ottave a contrasto - Nello Landi / Emilio Meliani
5 - Turcho, turcho e Isabella - La Tricotée - Anonymous
6 - Ay me' sospiri - Anonymous
7 - Non peccando altri che il core - Marchetto Cara
8 - Ogni cosa ha el suo loco - Giovanni Battista Zesso
9 - El bon nochier - Anonymous
10 - Stanze dal "Maggio d' Orfeo ed Euridice" - Mario Filippi
11 - Ottave dal "Transito di Carnevale" - Anonymous
12 - Pianzete done - Anonymous
13 - Romanesca - Anonymous
14 - Ottave dal "Maggio d'Orfeo ed Euridice" - Mario Filippi
15 - O gratiosa viola mia gentile - Anonymous
16 - Gratioso - Guglielmo Ebreo da Pesaro (Giovanni Ambrosio)
17 - Perla mia cara - Anonymous
18 - Trista che spera - Pietro Oriola
19 - Ottave dall' "Orlando furioso" - Dolando Bernardini

Ensemble Lucidarium

Gloria Moretti, canto
Marie Pierre Duceau, canto
Bettina Ruchti, viola d’arco
Avery Gosfield, flauti, flauto e tamburo
Marco Ferrari, flauti, flauto doppio, dulciana
Francis Biggi, liuto, colascione
Elisabetta Benfenati, chitarra rinascimentale
Massimiliano Dragoni, dulcimelo, percussioni

Cor Mio, Deh Non Languire

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contents:


21 Settings of Guarini by:

Luzzasco Luzzaschi
Alessandro Savioli
Gemignano Capilupi
Benedetto Pallavicino
Salamone Rossi
Giulio Caccini
Leone Leoni
Giovanni Priuli
Sigismondo d "india
Giovanni Ghizzolo
Johann Grabbe
Filiberto Nantermi
Alessandro Scialla
John Ward
Enrico Radesca da Foggia
Giuseppe Palazzotto
Claudio Saracini
Adriano Banchieri
Giovanni Pasta
Pompeo Natali
Alessandro Scarlatti


The Consort of Musicke

Emma Kirkby (soprano)
Evelyn Tubb (soprano)
Mary Nichols (alto)
Andrew King (tenor)
Paul Agnew (tenor)
Alan Ewing (bass)

Anthony Rooley (dir.)