Magdalena Kozená - Lamento

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This is a collection of works by the Bach family--J.S., C.P.E., and J.C.--and includes a transcription by Johann Sebastian of a cantata by the Italian composer Francesco Conti (1682-1732). As the title suggests, these works all deal with grief; indeed, the first work, by J.C. Bach (1642-1703), "Ach, dass ich Wassers g'nug hätte," a plea by the singer to shed enough tears to have her sins forgiven, begins with the word "Ach" repeated four times. Kozena fills it with such understated sadness that it's unforgettable. In this work and throughout she sings with a legato that is flawless, tone that always finds the right dynamic for each word, and an ease of emission which makes her presentation of these works seem as natural as speech. The Conti cantata ends with a 90-second "Alleluja" that is ablaze with coloratura, and not a note is out of place; it is a nice contrast with the shadowy, lachrymose nature of the rest of the selections. Kozena's depth of feeling is matched by her ability to express it simply. Along with her colorful sound palette, she and conductor Reinhard Goebel and his Musica Antiqua Köln turn this disc in to a "must-have" for lovers of rare Baroque music and beautiful singing. --Robert Levine

"Magdalena Kozená has the looks to turn heads and a voice that has already melted some notably stony hearts . . . she will be one of the class vocal acts of the early 21st century."The Times (London), 2004

contents:

J. Christoph Bach: Ach, dass ich Wassers g'nug hätte
Conti: Languet anima mea
J.S. Bach: Vergnügte Ruh, beliebte Seelenlust Cantata, BWV 170
J.S. Bach: Cantata "Bekennen will ich seinen Namen" BWV 200 - 1. Aria
C.P.E. Bach: Selma, Wq. 236
J.C.F. Bach: Die Amerikanerin

Magdalena Kozená (Mezzo Soprano)

Musica Antiqua Koln
dir. Reinhard Goebel

 

C.Schaffrath - Six Sonatas

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Christoph Schaffrath was one of a group of composers who played an important role in the musical life of Berlin, at and around the court of Frederick the Great. Not much is known about Schaffrath before the 1730s. He was born in Hohenstein, but whether he came from a musical family or who his first teacher was is not known. In 1733 he applied for the position of organist at the Sophienkirche in Dresden, but was rejected – Wilhelm Friedemann Bach secured the post instead. The next year he entered the service of Frederick the Great, who was still Crown-Prince at that time. Frederick started his own chapel in Ruppin, which moved to Rheinsberg in 1736. With his accession to the throne in 1740 Schaffrath became harpsichordist in his chapel. But in 1741 he entered the service of Frederick's sister Anna Amalia. It seems this resulted in Schaffrath leaving the court, as his name does not appear in a list of musicians of the chapel from 1754.Anna Amalia's taste in music was rather conservative. She preferred the traditional German contrapuntal style over the modern fashion of her days which gave prominence to melody. Whether Schaffrath adapted his style of composing to her taste or the music on this disc is an expression of his own preferences is difficult to say. In Epoca Barocca's previous recording of music by Schaffrath (CPO 777 116-2) we hear music which is partly written in a more galant idiom. That is also the case with the six sonatas for keyboard opus 2 (recorded by Borbála Dobozy - Hungaroton HCD 32566). But on the other hand Ernst Ludwig Gerber, a writer of a lexicon on music, wrote that Schaffrath was "one of our most worthy contrapuntalists".Anyway, the sonatas which Epoca Barocca has recorded reflect the preferences of his employer. They stick to the baroque form of the trio sonata, although they are all written for two instruments. Of the six duets four are for obbligato harpsichord and a melody instrument. This kind of composition was first written by Johann Sebastian Bach, for keyboard with violin, transverse flute or viola da gamba. His son Carl Philipp Emanuel also composed pieces of this kind.The harpsichord usually takes the lead and starts most movements, with the violin, oboe or bassoon entering after a while, beginning by imitating the opening theme of the keyboard. Although these duets have conservative traits there are certainly modern elements. All are written in three movements, with the order slow-fast-fast, and they contain imitative passages as well as episodes in which the melody instrument plays in parallel motion with the upper voice of the harpsichord. Also reflecting the fashion of the time is the repetition of notes in the harpsichord, particularly in the second movement (allegro assai) of the Duetto in g minor.It is very likely that the keyboard parts of these duets were to be played by Christoph Schaffrath himself and therefore reflect his own brilliance as a keyboard player. In the liner-notes it is suggested that the second keyboard in the Duetto in C could have been written for Anna Amalia, who was a very good keyboard player herself. In this duet episodes for one of the keyboards alternate with passages in which the harpsichords join each other. But the duet never gets an 'orchestral' character, because when the harpsichords play together their bass parts are identical. This assures a great amount of transparency.A special kind of duet is the Duetto in d minor for two viole da gamba. There is no doubt that it was written for Ludwig Christian Hesse (1716 - 1772), who was the most skilled gambist in Germany at a time when in most parts of Europe the viola da gamba was on its way out of the music scene. This particular duet suggests that Hesse was sometimes actively involved in the composition of music for his instrument. The two parts have different staves, one of them written by Hesse - it includes detailed articulations - and the other by Schaffrath. It is a very nice piece with two parts of a quite different character.Epoca Barocca has a special preference for lesser-known repertoire. They have recorded chamber music by composers like Johann Friedrich Fasch, Johann Adolf Hasse, Johann David Heinichen and Giovanni Benedetti Platti. I have heard them all, and in my reviews I have always recommended them. This disc is no exception. Epoca Barocca delivers vivid and imaginative performances, and Christoph Lehmann is particularly impressive in his brilliant performance of the demanding keyboard parts. Christoph Anselm Noll is his congenial partner on the second harpsichord in the Duetto in C. Hartwig Groth and Jan Freiheit deliver an engaging interpretation of the duet for two viole da gamba.This is a highly enjoyable disc with first-rate music in fine performances.

Johan van Veen

contents:


Duetto in F minor for Bassoon & obliged Harpsichord
Duetto in D minor for 2 Viole da gamba
Duetto in B flat minor for Violin & obliged Harpsichord
Duetto in C major for 2 Harpichord
Duetto in B flat major for Oboe & obliged Harpichord
Duetto in G minor for Bassoon & obliged Harpsichord


Epoca Barocca

Alessandro Piqué, oboe
Sergio Azzolini, bassoon
Margarete Adorf, violin
Hartwig Groth, viola da gamba
Jan Freiheit, viola da gamba
Christoph Lehmann, harpsichord
Christoph Anselm Noll, harpsichord

W.A.Mozart - Requiem K.626

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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

Andreas Scholl - Wayfaring Stranger

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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

Italia mia

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contents:


A1 Claudio Monteverdi - O Rosetta, che Rosetta
A2 Philippe Verdelot - Italia mia
A3 Vincenzo Calestani - Damigella tutta bella
A4 Giaches De Wert - Vezzosi augelli
A5 Joan Ambrosio Dalza - Passo e mezzo
A6 Bartolomeo Tromboncino - Virgine bella (Canzone del Petrarca)
A7 Girolamo Frescobaldi - Capriccio del soggetto sopra l'Aria di Ruggiero
A8 Bartolomeo Tromboncino - Ostinato vo'seguire
A9 Joan Ambrosio Dalza - Piva

B1 Rossinus Mantuanus - Lirum Bililirum (Un sonar de piva in fachinesco)
B2 Andrea Gabrieli - Ecco l'aurora
B3 Joan Ambrosio Dalza - Pavana alla venetiana
B4 Claudio Monteverdi - Beatus vir
B5 Anonymous - Three Dances
B6 Giulio Caccini - Amarilli mia bella
B7 Luzzasco Luzzaschi - Quivi Sospiri
B8 Orazio Vecchi - So ben mi chi ha bon tempo

The Waverly Consort
dir. Michael Jaffee

LP rip.

This record is very hard to find, so I hope noone will be hurt if I post the lossless rip too.

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

Henry Purcell - The Fairy Queen

2 CD - MP3 192 Kbps - 3 RAR (96+98+17Mb)

(Live Recording)


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Purcell's five-act semi-opera "The Fairy Queen", composed as a series of masques to be performed between the acts of Shakespeare's "A Midsummer Night's Dream", consists of music of extraordinary grace, brilliance, variety, and above all - as befits its original context - enchantment. And it's this last quality that has proved the most elusive to various otherwise excellent recorded performances over the years. There have been a number of well-regarded recordings, including those under Norrington, Christie, Harnoncourt, Gardiner and Christophers. This present set, recorded live at the Ravenna Festival in 2001, is performed by the Italian early-music ensemble Accademia Bizantina directed by Ottavio Dantone. However, the vocal soloists and chorus are all British - the point being well made on the cover by means of the ad hoc name New English Voices - so, for those who insist on their Purcell sounding as English as can be, rest assured that you won't be hearing Italian accents pronouncing "O letta me ever weep", or anything like that. (Stephen Midgley)

Semi-opera in 5 atti



Carolyn Sampson, soprano
Andrew Carwood, tenore
Michael Bundy, basso

New English Voices
dir. Michael McCarthy

Accademia Bizantina
dir. Ottavio Dantone

Perotin

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This is one of the most widely admired recordings of music of this era; people from all backgrounds seem to enjoy it. The first & last tracks are particularly impressive.The polyphonic style of the era was to place a theme (chant, in the case of liturgical settings) in the tenor (the lowest voice) in long notes, and then to add "decoration" in the upper voices. As such, the lines are not really independent, but are dominated rhythmically by "cells" given by the notes of the tenor. This is the typical organum. In the conductus (non-chant based), the two main lines are sometimes more independent melodically, but the rhythms are substantially similar. There is also a large body of monophonic conducti (organa are polyphonic, by definition; the monophonic version would be plainchant).

contents:

Viderunt Omnes
Veni Creator Spiritus
Alleluia Posui Adiutorium
O Maria Virginei
Dum Sigillum
Isaias Cecinit
Alleluia Nativitas
Beata Viscera
Sederunt Principes


The Hilliard Ensemble
David James (Countertenor) 
John Potter (Tenor)
 Rogers Covey-Crump (Tenor)
Mark Padmore (Tenor)
Charles Daniels (Tenor)
Gordon Jones (Baritone)
Paul Hillier (Baritone)

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

La Vendetta

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contents:


E.Jacquet de la Guerre - Sonata I in re per violino e BC
Barbara Strozzi - Sul Rodano Severo
E.Jacquet de la Guerre - Preludio, dalla suite in la per clavicembalo
Antonia Bembo - Passan veloci l'hore
Antonia Bembo - Anima perfidaE.Jacquet de la Guerre - Sonata prima per due violini e violoncello obbligatoE.Jacquet de la Guerre - Sinfonia da 'Samson'
Antonia Bembo - M'ingannasti in verità
Barbara Strozzi - La vendetta
Barbara Strozzi - Sino alla Morte
Barbara Strozzi - Costume de' grandi


Roberta Invernizzi, soprano
Bizzarrie Armoniche
dir. Elena Russo

Barbara Strozzi - Lagrime mie

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Recently a composer being unmeritedly forgotten over the last centuries gains more and more back recognition within the musical world: Barbara Strozzi (1619–1677). This recording aims to emphasize the richness of forms and the affected style of the vocal music of the Venetian master and thus to open it to a wider audience. A selection of her compositions consisting at all of eight collections marks the centre of this CD. The title of the CD “Lagrime mie” (My tears) is taken from Strozzi’s opus 7 and is to be seen as representative for the dominant themes of her vocal compositions. Most of the texts composed by Strozzi deal with love and pain from love. Nearly the half of the poets’ names is unknown. Each of the presented compositions of Strozzi’s illustrates at which impressive level the artist was able to transport the complex dramatic and emotion of the used texts. Strozzi’s work within this recording is accomplished by compositions of four other composers, to whom she may have listened to in Venice and thus may light up – within this frame – the artistic environment of the time and place.

contents:

1 - Lagrime mie (Op. 7)
2 - Se volete cosi me ne contento (Op. 6)
3 - Alessandro Piccinini - Toccata XII (tiorba sola)
4 - Alessandro Piccinini - Corrente V (tiorba sola)
5 - Che v'hò fato (Op. 7)
6 - Bernardo Storace - Ciaccona (clavicembalo solo)
7 - Chiudi l'audaci labra (Op. 6)
8 - Girolamo Frescobaldi - Canzon Prima (violoncello solo)
9 - L'Eraclito Amoroso: Udite Amanti (Op. 2)
10 - Lilla mia, non ti doler (Op. 6)
11 - Giovanni Girolamo Kapsberger - Kapsberger (tiorba sola)
12 - Giovanni Girolamo Kapsberger - Canario (tiorba sola)
13 - Che si può fare? (Op. 8)

 Fons Musica

Dorothee Leclair (Soprano)
Jory Vinicour (Cembalo)
Lea Rahel Bader (Cello)
Yasunori Imamura (Theorbe)

Music of Prague Palace and Gardens 1620

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…The music included in this volume is exclusively Italian, and by now its composers have almost fallen into oblivion. However, Troilus' interest in them proves their remarkable value. One of them, Enrico Radesca di Fogia, an organist and since 1615 a conductor of the Duke's music ensemble in Turin, is in fact represented by a unique collection of all the five books of canzonette, arias and madrigals. Among them, there …Thanks to the care devoted by the Milanese dance master Cesare Negri to the preparation of his treatise for press (1602), a number of pieces composed as occasional music has been preserved, unlike many others which did not have the honour to be recorded permanently. In his effort to provide the reader with the musical accompaniment to the published dances and balletti, he recorded a host of unique compositions, albeit often in rough outline only. …..In most of the parts of the volume, vocal - monodic music is predominant. These monophonic songs - accompanied monodies - were among the novelties of the time and the reason why they appeared was the difficult comprehensibility of the text of polyphonic compositions.

contents:


[1] - Enrico Radesca di Foggia - Filli dolce pastorella (Amare mente è tempo)
[2] - Giacomo Fornaci - O bell'arco d'Amore (Amorosa arciera)
[3] - Enrico Radesca di Foggia - Corrente
[4] - Enrico Radesca di Foggia - Da ricca pianta (Fiori colti per man di bella Dama)
[5] - Antonio Brunelli - Piangerem sempre
[6] - Giovanni Battista Muti - Corrente
[7] - Antonio Brunelli - Accorta lusinghiera
[8] - Antonio Brunelli - Perchè duo baci
[9] - Enrico Radesca di Foggia - Nizzarda Francese
[10] - Enrico Radesca di Foggia - Mi lasci ingrata solo (Instabil Donna e risoluto Amante)
[11] - Giovanni Francesco Capello - M'impone Amor
[12] - Cesare Negri - La catena d'Amore
[13] - Enrico Radesca di Foggia - Occhi, stelle amorose
[14] - Giovanni Francesco Capello - Strana armonia d'Amore
[15] - Enrico Radesca di Foggia - Sy vos pretendeys guererme (Canzonetta Spagnola)
[16] - Cesare Negri & Giovanni Giacomo Gastoldi - Alta Mendozza
[17] - Antonio Brunelli - Di ros'hebbi la guancia
[18] - Enrico Radesca di Foggia - Chi mi sente cantar Il canto de gl'amant'ol pi delle volte nascere da dolore)
[19] - Girolamo Marinoni - O Rex Gloriae - 2:43
[20] - Giacomo Fornaci - Ah dolente partita (Amor crudele)
[21] - Giovanni Francesco Capello - Caro sensal Amore
[22] - Cesare Negri - Ballo fatto da sei Cavalieri
[23] - Antonio Brunelli - Bocc'amorosa
[24] - Giulio Caccini - Se ridete gioiose
[25] - Antonio Brunelli - Balletto à 5
- Ballo Grave - Di quel nudo pargoletto
- Gagliarda - Alle pigge alme
- Corrente - Nelle vaghe trecce


Ad Vocem
dir. Pøemysl Vacek

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.

Le Chansonnier Cordiforme

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


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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)