Flour De Beaulte-Late Medieval Songs from Cyprus

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Given the mastery of period instrumentation evident on their new release, you might think the musicians of La Morra stepped right out of the late Middle Ages. "Flour de Beaulté" brilliantly chronicles the late medieval (or ars subtilior) style as it manifested itself in Cyprus during the late 1300s.

La Morra is an early music consort led by flautist Corina Marti and lutenist Michal Gondko. They are expertly assisted on this recording by Els Jannsens (voice), Dani Pelagatti (douçaine), and Uri Smilanski (vielle and flute).

The songs on "Flour de Beaulté" come from the Torino J.II.9 manuscript, cited in the liner notes as "the largest repository of French music... between the Ars Nova compilations of the fourteenth and the Franco-Burgundian manuscripts of the late fifteenth century". The anonymous works provide a glimpse into the musical culture of the Lusignan court at Cyprus, a remote outpost established by England's Richard I in 1192. The Lusignan kings were of French descent, and welcomed the sophisticated musical techniques developed by French composers of the 14th century.

The Torino songs effectively illustrate the character of the ars subtilior era: sophisticated, melismatic melodies and rhythms set against relatively simple harmonic accompaniment. Mysterious, even bewildering at first, these songs will reward the persistent listener with their beguiling charm.

The performances on this disc are vibrantly virtuosic and the acoustics are evocative and atmospheric, conveying a spatial depth that is astounding to experience. The expression "feast for the senses" is overused, but this recording will evoke visions of a dimly lit chapel, the scent of candles and incense, and even the cold touch of stone walls that have witnessed the passing of centuries.

"Flour de Beaulté" was named "Recording of the Year" for 2006 by the Early Music FAQ. It's well deserving of that honor.

contents:

1 - La belle et la gente rose

2 - Pour haut et liement chanter

3 - Amour, de qui je sui trestout espris

4 - Sur toute fleur la rose est colourie

5 - J'ai maintes fois oÿ conter

6 - Il faut, pour trover un bon port

7 - Tousjours servir je veuil la douce fleur

8 - Amour tient en sa ballie mon cuer

9 - Puisque amé sui doulcement

10 - Tres gente, pure et nete fleur de lis

11 - Ayes pitié de vostre creature

12 - Vo gent atrait me fait vostre servant

13 - Qui de fortune atende assés avoir

La Morra

Els Janssens (voice)

Corina Marti (flutes)

Michal Gondko (lute)

Dani Pelagatti (douçaine)

Uri Smilansky (fiddle)

Wilhelm Friedemann Bach - Concertos pour Clavecin et Cordes

14 tracks - MP3 192 Kbps - RAR 112 Mb

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Overshadowed by his father, Johann Sebastian, and his brothers Carl Philipp Emanuel and Johann Christian, the music of Wilhelm Friedemann Bach provides a bridge between the high art of the first and expressive tendencies of Sturm und Drang. His Harpsichord Concertos, as performed here by Maude Gratton and Il Convito, offer a very successful synthesis of these two trends.

contents:

Concerto en la mineur pour clavecin et cordes Falck 45

Sinfonia en fa majeur Falck 67

Concerto en ré majeur pour clavecin et cordes Falck 41

Concerton en mi mineur pour clavecin et cordes Falck 43

Il Convito

Maude Gratton, clavecin et direction

Marie et Marion - Motets & Chansons from 13th-century France

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Returning to the Montpellier Codex for this programme of motets and chansons from 13th-century France, Anonymous 4 explores two dominant themes of the period: love and longing for the earthly/earthy Marion and the heavenly/virginal Marie. The Montpellier Codex, from which Anonymous 4 draw all these motets, was collected in Paris around the year 1300 and is the richest single source of 13th-century French polyphony. With a repertory spanning the entire 13th century, it contains polyphonic works in all the major forms of its era: organum, conductus, hocket and, primarily, motet (315 motets in all). Renowned for their unearthly vocal blend and virtuosic ensemble singing, Anonymous 4 combine historical scholarship with contemporary performance intuition to create their magical sound. Enchanted by live performances and 20 albums of medieval, contemporary and American music, Anonymous 4's listeners have bought nearly two million copies of the group's recordings for Harmonia Mundi. 

HM page about this work

contents:

Mater Dei Plena - Mater Virgo Pia - Eius (Mo 66)

He Mere Diu - La Virge Marie - Aptatur (Mo 146)

A La Clarte Qui Tout - Et Illuminare (Mo 189)

Marie: Mater dei plena, Mater virgo pia EIUS (Mo 66)

He mere diu, La virge marie (Mo 146)

A la clarte qui tout (Mo 189)

Marie assumptio afficiat, Hujus chori suscipe (Mo 322)

Chanson: De la gloriouse fenix, Ave lux luminum, Salve virgo rubens (Mo 56)

The Song: Plus joliement c’onques, Quant li douz tans (Mo 257)

Reverdie: Volez vous que je vous chant, J’ai les biens, Que ferai biau sire (Mo 138)

Que ferai biaus sire, Ne puet faillir (Mo 77)

Marion: Pensis chief enclin (Mo 239)

L’autre jour par un matinet , Hier matinet trouvai (Mo 261)

Quant florist la violete, El mois de mai (Mo 135)

Sans orgueil et sans envie (Mo 225)

Trois serors (Mo 27)

Chanson: Amors me fait commencier, En mai quant rosier, L’autre jour par un matin, (Mo 269)

The Sorrow: Pucelete bele et avenant, Je languis des maus (Mo 143)

Diex qui porroit, En grant dolour (Mo 278)

Pour chou que j’aim, Li joli tans (Mo 299)

Marie-Marion: Chanson: J’ai un cuer trop lait, Par une matinee, Mellis stilla (Mo 40)

Or voi je bien / Eximium decus (Mo 273)

Plus bele que flor, Quant revient et fuelle, L’autrier joer (Mo 21)

Anonymous 4

E. J. de La Guerre - Le passage de la mer rouge

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Subjects for cantatas normally are taken from mythology or familiar tragic epics. However, this unique program consists of three cantatas with subjects drawn from the Old Testament instead of mythology. The “Cantate Spirituelle” genre is, to our knowledge, little used: there are not even studies on the subject. Though the repertoire of this genre is small, the quality of this striking music is great. This program highlights the dramatic cantatas Judith, The Fall of Salomon, and of course Le Passage de la Mer Rouge (The Crossing of the Red Sea) by the three sole composers of this genre, Elisabeth Jacquet de la Guerre, Sébastien de Brossard, and René Drouart de Bousset.

contents:

Elisabeth Jaquet de la Guerre - Le Passage De La Mer Rouge

Elisabeth Jaquet de la Guerre - Sonate en trio III

Sebastien de Brossard - Sonate en trio en sol mineur

Sebastien de Brossard - La Cheutte de Salomon

Sebastien de Brossard - Ritournelle

Rene Drouard de Bousset - Judith

Luanda Siqueira, soprano

Le Tendre Amour

Passo di Pena in Pena. Cantate Italiane

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“Magnificient first recital, with a program of great coherence […] warm, soft timbre […] The italo-spanish countertenor masters perfectly the most formidable and feared techniques: messa di voce (the Scarlatti arioso is anthological), trilli (with insolent ease in the Vivaldi), passaggi (in the aggressive “Navicella” of Bononcini), legato (in the Porpora), never sacrificing the expressiveness and the elocution, founding elements of belcanto’s nobility. […] Here is a pure-singing countertenor, agile and attentive to the smallest inflections of the poetic text.”

DIAPASON AVRIL 2014

As the rather extensive booklet notes by countertenor Flavio Ferri-Benedetti state, the Italian secular cantata was a byproduct of the so-called focus of the early 18th-century intellectual circles on good poetry based generally on classical themes. The result was a veritable torrent of smaller chamber works meant to highlight this literary genre, which had the effect of establishing it as one of the preferred vocal formats of the period. The settings were generally for voice and continuo, but here one finds a selection of works that include a full four-part accompaniment of strings. This allows for a fuller texture, making them more akin to brief opera scenes. 

The composers here need no special introductions, as all are fairly well-represented in the historical repertory. Giovanni Bononcini was Handel’s rival in London, and of course Alessandro Scarlatti and Vivaldi were the leading opera composers in their native land. Porpora also established himself as a composer for the stage in both Italy and London before winding up in Vienna, where he taught Haydn (who was also his valet for a time). The only odd person out is Pietro Locatelli, but here one of his trio sonatas offers up a bit of contrast to the Arcadian cantatas. The works too are no strangers, for all have been recorded before, sometimes often. Scarlatti’s Ombre tacite already has a nice performance by Matthew White and the Voix Baroque on Analekta from 2007, and Vivaldi’s Amor ha vinto seems to have been done by any soprano worth her salt. It is hard to compete with the Vivaldi Edition’s recording with Gemma Bertagnolli. That being said, Ferri-Benedetti does these works considerable justice. 

In the opening famous aria “Lungi da te ben mio” from Ecco, Dorinda , the gentle wafting of the melody is dream-like, and when the tempo increases in the second section, his decisive rendering of the coloratura makes for a delightful contrast. His ornamentation of the repeat A section is tasteful and sometimes more subtle. The prancing minuet of “D’un cor che tace” in Porpora’s Venticel gives special emphasis to the word “pieta” (mercy), making the imprecation quite insistent as the text requires. The key to the vibrancy of performance, however, lies in the Amor hai vinto by Vivaldi, for this is where one can find the most comparisons. The final aria “Se a me rivogle” with its tortuous vocal roulades is performed here with ease and decisiveness. 

The orchestral accompaniment of Il Profondo is nicely equalized in terms of texture and sound. They serve well as partners with Ferri-Benedetti’s flexible and clear voice. In short, this is an excellent disc of intimate chamber works that would well be worth acquiring. 

contents:

Alessandro Scarlatti 

Ombre tacite e sole

Giovanni Bononcini 

Ecco Dorinda il giorno, for tenor, 2 violins & basso continuo

Pietro A. Locatelli 

Sonata for 2 violins & continuo in F minor, Op. 8/9

Nicolo Porpora 

Venticel che trà le frondi

Antonio Vivaldi 

Amor hai vinto, RV 683

Flavio Ferri-Benedetti, countertenor

Ensemble Il Profondo 

Florilège de la Vielle a Roue

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An intoxicating musical blend of drone & voice from the Middle Ages and French folk traditions which was Osnowycz & Zosso's first collaboration as a duo. The air of the oral tradition, the authors of the twentieth century (Roger Riffard, Paul Eluard, Julos Beaucarne ...) and Lancan li Jorn, the troubadour Rudel Geoffrey (twelfth century) are the sources and inspiration for this recording.

contents:

1- Ex Adae vitio (Conduit mélismatique)

2- Une Maison

3- Cantigas de Santa Maria for medieval ensemble No 281, instrumental version

4- Là-bas, là-bas

5- Chi vuol lo mondo, solo de vielle à roue

6- A la cambrousee arr by René Zosso

7- Petite Mazurka

8- Cantigas de Santa Maria for medieval ensemble No 277, instrumental version

9- Impro Mi, for spinet solo

10- Dans Paris u a-t-une brune

11- Eh lève-toi donc, belle

12- Stella Splendens

13- Le Garcon jardiner arr by René Zosso & Anne Osnowycz

14- Cantigas de Santa Maria for medieval ensemble No 159, instrumental version/Nous deux

15- Lanquan li jorn son lonc en may arr by René Zosso

16- Christophe Colomb arr by René Zosso

17- Cantigas de Santa Maria for medieval ensemble No 200, Solo d'épinette /Refuge

Rene Zosso, voice and hurdy-gurdy

Anne Osnowycz, voice and epinette des Vosges

Todos Los Bienes Del Mundo

13 tracks - MP3 192 Kbps - RAR 91Mb

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"Following in the footsteps of Galileo Galilei and other genuine Renaissance spirits, as an ensemble we regard the music of the past as a possibility to renew the present. Thus, our rendition is not the rediscovery of the old repertoires, but the finding of new ways to recreate them, responding to our present expressive needs.

As we are certain that the line that divides popular music from concert music  is more flexible than the rigid separation that has been made of them of late, our repsertoire goes from the music of the Sephardic tradition and the Spanish Renaissance to the music of the Viceroyalty of the New Spain.

Atracted by the music of the ancient Mexican chapels, of the remote migrant Mediterranean peolpe and of the Spanish Renaissance songbooks, we have set out on a voyage through the routes of our resounding veins, discovering the wealth of works from which our musical identity has been constructed." 

Ensemble Galileo

contents:

La Rosa En Florense

Folias

Alegres Luces Del Dia

Calabaca, No Se Buen Amor

Avrix Mi Galanica

La Vida Y La Gloria

El De Pedro Solamente

Todos Los Bienes Del Mundo

Ojos Morenicos

Solamente Me Dexastes

El Ave Al Cielo

Como Aunque Culpa

La Serena

Ensemble Galileo

D. Buxtehude - Scandinavian Cantatas

10 tracks - MP3 192 Kbps - RAR 92 Mb

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This recording offers an unusual selection of Dietrich Buxtehude's vocal music performed by the Grammy-winning ensemble Theatre of Voices conducted by Paul Hillier. Among these rarely heard works with texts in Swedish and Latin, we find cantatas in the form of virtuoso concertos, as well as arias and chorale settings and Buxtehude's only work in the stile antico, the Missa alla brevis.

contents:

Praeludium for Organ in E minor BuxWV 142

Pange lingua gloriosi BuxWV 91

Herren vår Gud BuxWV 40

Ecce nunc benedicite Domino BuxWV 23

Att du Jesu vill mig höra BuxWV 8

Accedite gentes BuxWV 1

Passacaglia for Organ in D minor BuxWV 161

Missa alla brevis BuxWV 114

Domine salvum fac regem BuxWV 18

Bine Bryndorf, organ

Theatre of voices

dir. Paul Hillier

Terpsichore: Renaissance and Early Baroque Dance Music

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The original 91'40'' duration of the LPs is here reduced to 65'45'' by omitting many of the Renaissance items. Even years later, when interest in such things has slightly declined, one may welcome a cavalcade of short pieces (the longest is 4'18'') when the programme is so imaginatively constructed (rightly praised by DA in his original reviews) and the performances are by players who were no longer struggling to master early instruments—Konrad Ragossnig plays the lute but the booklet shows him holding a guitar! The (pre-digital) LP sound was first rate; that of the CD is even better.'

contents:

Anonymous: Lamento di Tristano - La rotta

Anonymous: Trotto

Anonymous: Saltarello (c.1400)

Pierre Attaingnant: Basse danse La brosse - Tripla - Tourdion

Pierre Attaingnant: Basse danse la gatta

Pierre Attaingnant: Basse danse la Magdalena

Joan Ambrosio Dalza: Calata ala Spagnola

Hans Neusidler: Der Judentantz

Hans Neusidler: Welscher Tantz Wascha mesa - Hupfauff

Tilman Susato: Ronde

Claude Gervaise: Branle de Bourgogne

Claude Gervaise: Branle de Champagne

Pierre Phalèse: Passamezzo d'Italye - Reprise - Gaillarde

Giorgio Mainerio: Schiarazula Marazula

Giorgio Mainerio: Tedesca - Saltarello

Giorgio Mainerio: Ungaresca - Saltarello

Jean-Baptiste Bésard: Branle gay

Anonymous: Mascherade

Molinaro Simone: Saltarello

Molinaro Simone: Ballo detto "Il Conte Orlando" - Saltarello

Gesualdo da Venosa: Gagliarda del Principe di Venosa

Mario Fabrizio Caroso: Barriera

Mario Fabrizio Caroso: Celeste Giglio

Pierre Francisque Caroubel: Pavane de Spaigne

Pierre Francisque Caroubel: Courante

Pierre Francisque Caroubel: Volte

Anthony Holborne: Pavan

Anthony Holborne: Noel's Galliard

Anthony Holborne: Coranto "Heigh - Ho Holiday"

Anonymous: Kemp's Jig

John Dowland: Queen Elizabeth's Galliard

John Dowland: Mrs. Winter's Jump

Thomas Simpson: Alman

Orlando Gibbons: Galliard

Michael Praetorius: Galliarde de Monsieur Wustron

Michael Praetorius: Galliarde de la guerre

Michael Praetorius: Reprinse

Valentin Haussmann: Tantz

Valentin Haussmann: Paduan

Valentin Haussmann: Gaillarde

Valentin Haussmann: Catkanei

Ulsamer Collegium

dir.Josef Ulsamer

Konrad Ragossnig (lute)

Siegfried Fink (drums/tambourine)

Sebastian Kelber (recorder)

Elza Van Der Ven (regal)

Dieter Kirsch (lute)

Siegfried Fink (drum)

L'Age d'Or des Castrats

2 CD - MP3 192 Kbps - RAR 173 Mb

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Aris Christofellis is one of the underlined countertenors in the range of male soprano of the late XX century. As singer, he has been broadly acclaimed, specially for his roles in the late baroque opera. As a musicologist he is very entusiastic in bringing to life ulterior works regarding baroque opera.

contents:

Disc 1

  1. Bononcini - Griselda: Che giova fuggire

  2. Bononcini - Griselda: Troppo è il dolore

  3. Bononcini - Griselda: Per la gloria d'adorarvi

  4. J.C.Bach - Misero me... Nel partir, bell'idol mio, aria

  5. J.C.Bach - Ebben, si vada & Io, ti lascio

  6. J.C.Bach - Mi scordo i torti miei/Dolci aurette

  7. Storace - Ah, se Poro mai vedi. . . Digli che son fedele Egidio

  8. Duni - La dolce compagna

  9. Duni - Sperai vicino il lido

  10. Duni - Misero pargoletto

Disc 2

  1. Hasse - Artaserse: Per questo dolce amplesso

  2. Hasse - Artaserse: Pallido il sole

  3. Ariosti - Artaserse: Récitatif & menuet - Fortuna te passate... Sia pur d'amore

  4. iacomelli - Merope: Merope Polifonte... Quel usignuolo che innamorato

  5. Porpora - Tre solfeggi, for castrato & keyboard: 1. Adagio

  6. Porpora - Tre solfeggi, for castrato & keyboard: 2. Allegro non troppo

  7. Porpora - Tre solfeggi, for castrato & keyboard: 3. Andante

  8. Broschi - Merope: Taccia il vento e la tempesta

  9. Porpora - Orfeo: Son pastorello amante

  10. Duni - Prudente mi chiedi, air

  11. Leo - Catone in Utica: Sarebbe un bel diletto

Aris Christofellis, sopranista

Ensemble d'instruments anciens

Venetian Music For Double Choir

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These superb performances of Venetian Music for Double Choir, have set the bench mark for this style of composition since it’s first appearance in 1993.

Adrian Willaert (c.1490-1562) was a pioneer in combining the Franco-Flemish contrapuntal style with the colorful sonorities of Italy. He worked most of his life in Venice, and had a profound influence on the subsequent musical events in that city. Giovanni Gabrieli (1557-1612) was one of the leaders in the new genre of choral-instrumental music. His music is halfway between Baroque and Renaissance. A fine recording which illustrates multiple genres.

contents:

Adriano Willaert

1. Lauda Jerusalem Dominum

2. Crededi, propter quod locutus sum

3. Ricercar X

Giovanni Gabrieli

4. In te Domine Speravi

5. Beata es Virgo

6. Beata es virgo

7. Sancta et immaculata virginitas

8. Angelus Domini

9. O Jesu mi dulcissime

10. Canzon III

11. Exultavit cor meum, in Domino

12. Sancta et immaculata virginitas

13. O Jesu mi dulcissime

14. Benedictus es Dominus, Deus Israel

15. O quam suavis est, Domine, Spiritus

16. Hodie completi sunt dies Pentecostes

Currende

Concerto Palatino

dir. Erik Van Nevel

Johann Krieger - Love Songs & Arias

19 tracks - MP3 192 Kbps - RAR 122 Mb

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Johann Krieger may not be one of the more prominent baroque composers but like his two years older brother Johann Philipp, he is at least something more than a footnote in the annals of music. He was born in Nuremberg and served for some years in Bayreuth and Graz before in 1682 settling in Zittau, where he spent the rest of his life. He seems to have been especially revered for his keyboard compositions and Handel approached him so much that he took a copy of Krieger’s Anmuthige Clavier-Übung to England. He is reputed to have produced large quantities of vocal music, most of which apparently have been lost. No operas have been preserved and of his 225 cantatas only thirty remain.

That he was well equipped to write for the human voice is however very clear when one listens to the songs and arias from Neue musicalische Ergätzlichkeit. The texts were written by Zittau born Christian Weise (1642 - 1708). He was a teacher and in 1678 he was appointed principal at the Gymnasium in his hometown. Today this institution bears his name. In 1679 he started writing school comedies to be performed at the Carneval. Such comedies often had musical inserts and after a while Krieger got this task. In 1684 he published a collection of such settings and it is from this collection the songs on this disc have been chosen.

Weise was an excellent poet, something that Gotthold Ephraim half a century after Weise’s death pointed out, finding parallels even with Shakespeare. Fact is that the texts performed here are unusually witty, often humoristic, sometimes satirical. Considering that 325 years have passed since they were written, they are surprisingly modern and they express feelings and situations in a way that makes the reader feel that the late 17th century wasn’t too unlike our present world.

Even the music feels extremely fresh with captivating rhythms and catchy melodies, some of them probably inspired by folk songs of the day. The United Continuo Ensemble, playing on period instruments, have specialized in basso continuo instruments in their cooperation with singers, dancers, actors and other instrumentalists. They work well here and there is true heft when they are joined by the two trumpets in a couple of numbers.

Jan Kobow has emerged as one of the most outstanding German lyric tenor lately. His Die schöne Müllerin some years ago was one of my Recordings of the Year, a disc in the Naxos Complete Schubert Edition was also very successful and Haydn’s Die Schöpfung for the same company, where he was the excellent tenor soloist, almost swept the board with the competition. Quite recently he also appeared as operetta singer in Lehár’s Die blaue Mazur. He also appears on another dozen recordings for CPO. It is a beautiful voice, flexible, elegant, honeyed when needed and, first and foremost, his enunciation is exemplary. Even without the printed texts every syllable can be heard with the utmost clarity. To this must be added that he can express the meaning of the text, colour the tone - in sum: he is a superb interpreter.

The first three titles are sacred arias and they are more or less solemn but with a nice twist every so often. Then follows two groups of secular songs, and they are gorgeous. Ihr Freunde, fragt ihr noch, lively and rhythmic, followed attacca by Kömmt wir wollen ausspazieren, where Kobow indulges in some charming whistling at the end, are just appetizing starters. The real treats are found in the second secular group, where Ich habe mein Liebgen im Garten gesehen is so extremely beautiful and Kobow sings it with marvellous tone. The fast and rhythmic Ich traue nicht is intensely dramatic and has some fearsome runs, while the ironic Die Losung ist Geld erases more than three centuries: money was then and is today the solution! For the concluding group we are back where we started: with some sacred arias, of which Neu Jahrs-Andacht has the singer rejoicing the arrival of Jesus to the New Year, and the Abend-Musick is a festive conclusion, employing the full band with trumpets and timpani.

Soprano Julia von Landsberg appears in two numbers and sings well and the recording is atmospheric. On their own the ensemble play three sonatas by Philipp Friedrich Buchner, who was a generation older than Krieger. It is nice and varied music and ideal resting points between the groups of songs. The main attraction is however Krieger’s secular songs and they are certainly my baroque discovery of the year. This is a disc that shouldn’t be missed by any lover of vocal music from the 17th and 18th centuries.

Göran Forsling

contents:

1. Auff die Kirch-Weihe

2. Oster-Andacht

3. Vor der Trauung

4. Philipp Friedrich Buchner- Sonata for 2 Violins & Bassoon

5. Lasst uns freuen

6. Ihr Freunde, fragt ihr noch

7. Kömmt wir wollen ausspazieren

8. Lasst mich in der Einsamkeit

9. Sonate für 2 Violins

10. Es ist mir von Natur gegeben

11. Ihr angenehmen Leute

12. Ich habe mein Liebgen im Garten gesehen

13. Ich traue nicht

14. Die Losung ist Geld

15. Sonate für Violin & Bassoon

16. Neu Jahrs-Andacht

17. Auff ein Ernte-Fest

18. Abend-Andacht

19. Abend Musick Sei willkommen

Jan Kobow, tenor

Julia von Landsberg, soprano

United Continuo Ensemble