Landini Consort - A Commodo De Virtuosi

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contents:


Una Panthera (Johannes Ciconia)
La gamba in tenor (Vicenzo Ruffo)
Si come sete bella (Constanzo Festa)
O felici (V. R.)
Ogni belta, madonna (C. F.)
Madonna, io son un medico (C. F.)
La rousé du moys de May (Adrian Willaert)
T`Andernaken (Tyling)
T`Andernaken (Anoniem)
T`Andernaken (Jacob Obrecht)
La danza (V. R.)
Content desir (Thomas Crecquillon)
La gamba in Basso e Soprano (V. R.)
Voste rigueur (T. C.)
Hastes vous (T. C.)
Ligiarda donna (J. C.)
El pietoso (V. R.)
La disperata (V. R.)
Moduli duarum vocum I (Roland de Lassus)
Moduli duarum vocum II (Roland de Lassus)
Espérant d`avoir quelque bien (Geert van Turnhout)
Craint` et espoir (Geert van Turnhout)
O rosa bella (J. C.)
Dormendo un giorno (V. R.)
Martin minoit son portiau au marche (V. R.)
Fantasia 10 (Giovanni Bassano)
La Brava (V. R.)
Fantasia 3 (G. B.)


Landini Consort
Consort de flutes a bec

Clemence Comte
Isabel Lehmann
Lara Morris

Antonio Vivaldi - Atenaide

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Modo Antiquo
dir. Federico Maria Sardelli

Romina Basso (Mezzo Soprano)
Paul Agnew (Tenor)
Stefano Ferrari (Tenor)
Guillemette Laurens (Mezzo Soprano)
Sandrine Piau (Soprano)
Nathalie Stutzmann (Alto)

Nice review here:

Las Cantigas de Santa Maria

24 tracks - MP3 192 Kbps - RAR 82Mb


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contents:

Prologue: Porque trobar é cousa en que jaz
Cantiga 1: Des oge mais quer' eu trobar (instr.)
Cantiga 20: Virga de Jesse,
Cantiga 29: Nas mentes senpre teer (instr.)
Cantiga 40: Deus te salve, groriosa
Cantiga 118: Fazer pode d' outri vive-los seus
Cantiga 79: Ay, Santa Maria,
Cantiga 384: A que por gran fremosura é chamada Fror das frores
Cantiga 216: O que en Santa [Maria] de coraçon confiar (instr.)
Cantiga 100: Santa Maria, strela do dia
Cantiga 166: Como poden per sas culpas os omes seer contreitos,
Cantiga 159: Non sofre Santa Maria de seeren perdidosos (instr.)
Cantiga 421 (I,11): Nenbre-sse-te, Madre
Cantiga 302: A madre de Jhesu Cristo, que é Sennor de nobrezas (instr.)
Cantiga 58: De muitas guisas nos guarda de mal
Cantiga 353: Quen a omagen da Virgen e de seu Fillo onrrar (instr.)
Cantiga 25: Pagar ben pod' o que dever
Cantiga 179: Ben sab' a que pod' e val (instr.)
Cantiga [424] (2-II): Pois que dos Reys Nostro Sennor
Cantiga 222: Quen ouver na Groriosa fiança con fe conplida (instr.)
Cantiga 320: Santa Maria leva
Cantiga 279: Santa Maria, valed', ai Sennor
Cantiga 380: Sen calar nen tardar
Cantiga 401: Macar poucos cantares acabei e con son, (Petiçon)

Capilla Musical y Escolanía de la Santa Cruz del Valle de los Caídos
&
Atrium Musicae
dir. Luis Lozano & Gregorio Paniagua

J.F.Fasch - Quadro and Triosonaten

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contents:


01-Quartet in B flat major for recorder, oboe, violin and b.c.
02-Trio in E minor for two oboes and b.c.
03-Quartet in G major for transverse flute, two recorders and b.c.
04-Quartet in G minor for two oboes, bassoon and b.c.
05-Trio in D major for transverse flute, violin and b.c.
06-Quartet in D minor for two oboes, bassoon and b.c.


 Camerata Köln

 Michael Schneider, recorder
Sabine Bauer, recorder
Karl Kaiser, transverse flute
Hans-Peter Westermann, oboe
Piet Dhont, oboe
Michael McCraw, bassoon
Annette Sichelschmidt, violin
Rainer Zipperling, violoncello
Harald Hoeren, harpsichord 

The Triumphs of Maximilian

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contents:

1. Mit Lust tritt ich an diesen Tanz
2. Ich stuend an einem Morgen
3. Welscher Tantz
4. Das Glaut zu Speyer
5. Meniger stellt nach Geld
6. Kochersperger Spanieler
7. Christ ist erstanden
8. Gottes Namen fahren wir
9. Ach Elslein, liebes Elselein mein
10. Innsbruck, ich muss dich lassen
11. Sauff aus und machs nit lang
12. Ich weiss nit, was er ihr verhiess
13. Entlaubet ist der Walde
14. Helogierons nous
15. Maudit soyt
16. Frisch und frolich wolln wir leben
17. Was wird es doch
18. La Mora
19. Quis dabit oculis nostris


Early Music Consort of London
dir, David Munrow

Luigi Boccherini - Seven Symphonies

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Contents:

Symphony in D, G.490
Symphony in A, n°3 Op. 35, G.511
Symphony in B, n°6 Op.35, G.514
Symphony in D, n°4 Op.12, G.506
Symphony in C, n° 3 Op 12 G. 505
Symphony in d, n° 3 Op 37 G. 517
Symphony in a, n° 4 Op 37 G. 518


Cantilena
dir, Adrian Shepherd

J.S.Bach - Seven transcriptions

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 Sonata d-moll after Sonata No.1 g-moll for violin solo BWV 1001
Partita e-moll after Partita h-moll for violin solo BWV 1002
Partita g-moll after Partita d-moll for violin solo BWV 1004
Sonata D-Dur after Sonata C-Dur for violin solo BWV 1005
Partita A-Dur after Partita E-Dur for violin solo BWV 1006
Suite D-Dur after Suite No. 6 D-Dur BWV 1012 for viola pomposa
Praeludium, Fugue & Allegro Es-Dur BWV 998


Gustav Leonhardt, harpsichord

BWV 1001, 1005, 1012 - Nicolas Lefevre, Rouen 1755,
restored by Martin Skowroneck, Bremen 1984
BWV 1002, 1004, 1006 – William Dowd, Paris 1975,
after Blanchet, Paris 1730
BWV 998 – Carl August Grabner, Dresden 1782

C.P.E.Bach, Mozart, Lebrun - Oboe Concertos

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contents:

Wolfgang Amadeus Mozart (1756-1791)
Concerto For Oboe And Orchestra In C Major. K. 314 (285d)

Carl Philipp Emanuel Bach (1714-1788)
Concerto For Oboe And'orchestra In E Flat Major. Helm 468 (Wq. 165)

Ludwig August Lebrun (1752-1790)
Concerto No. 1 For Oboe And Orchestra In D Minor


Paul Goodwin, oboe

The English Concert
dir.Trevor Pinnock

Franciscus Bossinensis - Petrarca ed il cantare a liuto

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 In Italy, between the end of the15th and the beginning of the 16th century, the frottola opened a completely new musical period which was totally unrelated with the Flemish Styles.

Thanks to Isabella d’Este too, a great promoter of culture in its different forms, this new musical genre soon entered the main Italian courts such as Mantua, Ferrara, Venice, Milan.

The variety of knowledges and interests, especially literary, of these settings is reflected in the different forms in which the frottola appears: - texts by illustrious poets, – the very best Petrarch, whose numerous poems taken from “Canzoniere” were set to music – texts by minor poets, but also texts in Latin to testify the zest of the classic ancient times rediscovery and popular texts revived and arranged in the new frottola expression.

To this variation between high and low literary genres, corresponded a natural metrical variety: we can find in fact, strambottos, ballads, sonnets, odes, chapters and other forms known as frottole.

contents:


 01 "Francesco d'Ana - Nasce l'aspro mio tormento"
02 "Bartolomeo Tromboncino - Ite caldi miei sospiri"
03 "Bartolomeo Tromboncino - Ostinato vo' seguire"
04 "Bartolomeo Tromboncino - Per dolor me bagno e 'l viso"
05 "Joan Ambrosio Dalza - Tastar de corde - Recercar dietro"
06 "Pietro Scotto - O tempo o ciel volubil"
07 "Franciscus Bossinensis - Recercar VI"
08 "Bartolomeo Tromboncino - Occhi mei lassi"
09 "Marchetto Cara - Non è tempo d'aspectare"
10 "Joan Ambrosio Dalza - Poi che volse la mia stella"
11 "Bartolomeo Tromboncino - A la guerra, a la guerra"
12 "Bartolomeo Tromboncino - Si è debile il filo"
13 "Franciscus Bossinensis - Recercar I"
14 "Bartolomeo Tromboncino - Zephiro spira"
15 "Bartolomeo Tromboncino - Che debbo far"
16 "Marchetto Cara - Per fuggir d'amor le punte"
17 "Joan Ambrosio Dalza - Calata ala spagnola"
18 "Bartolomeo Tromboncino - S'il dissi mai ch'io venga"
19 "Marchetto Cara - S'io sedo all'hombra"
20 "Michele Pesenti - Ahimè ch'io moro"
21 "Anonimo - Mia benigna fortuna"
22 "Benedetto Cariteo - Amando e desiando"


Teresa Nesci, soprano
Massimo Marchese, liuto

J.S.Bach - Matthaus-Passion

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Christoph Prégardien (tenor) Evangelista
Max van Egmond (bass) Jesus
René Jacobs (alto)
David Cordier (alto)
Marcus Schäfer (tenor)
John Elwes (tenor)
Klaus Mertens (bass)
Peter Lika (bass)

Tölzer Knabenchor
La Petite Bande
dir. Gustav Leonhardt

Krummhorn, Cromorne, Storto, Tournebout ?

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booklet (35Mb)

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contents:

Tielman Susato

1. Allemaigne I

2. Bergerette « Sans Roch »

3. La Morisque

4. Ronde « Il estoit une fillette »

5. Pavane et gaillarde « Mille ducats »

Petrus Alamire

6. T'andernaken

Heinrich Isaac

7. Carmen in fa

Anon.

8. Ich kumm aus fremden Landen her

9. Die vollen Brüedern

Moritz von Hesen

10. Bruder Conrads Tantzmass

Ludwig Senfl

11. Es hett ein Biedermann ein Weib

Anon.

12. Pavana

Heinrich Isaac

13. Innsbruck ich muá dich lassen

Pierre de Manchicourt

14. Du fond de ma pensée

Thomas Stoltzer

15. Erzürne dich nicht

Josquin Desprez

16. La Spagna à 5

Da Nola / Baltasare Donato

17. Chi la gagliarda

Anon.

18. Pavana « La cornetta »

19. Saltarello « Zorzi »

Adriano Willaert

20. Cingari simo

Anon.

21. Pavana « El bisson »

22. Saltarello « Tutu »

Adriano Willaert

23. Vecchie letrose

Anon.

24. Pavana « La morte de la ragione »

Giorgio Mainerio

25. L'arboscello ballo furlano

Putta nera ballo furlano

Francesco Corteccia

26. Guardane almo pastore

Lodovico da Viadana

27. La Fiorentina à 8

Johann Hermann Schein

28. Padouana à 4

Michaël Praetorius

29. Passameze à 6

30. Gaillarde à 5

Syntagma Amici

dir. Bernhard Stilz

Mozart Am Stein-Vis-a-vis

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Although these are zestful, musically satisfying performances of mostly Mozart, I suppose the real news here is the instrument: the so-called Stein Vis-à-vis, built by Johann Andreas Stein in 1777. I’ll admit I never heard of it before. It was a kind of mutant, a three-manual harpsichord at one end and at the other a fortepiano with what our scholarly annotator calls a “moderator” stop. The two keyboardists face each other. Honestly, I don’t know why one wouldn’t just buy two separate instruments. To my perhaps too conservative mind, this sounds like a goofy idea, but in practice, as in the German Dances I am listening to right now, the sound is not usually jarring, especially when the two halves of the instrument are being played together. In some of these dances, which Staier and Schornsheim evidently arranged, the two play a kind of game, trading phrases on harpsichord and fortepiano. When they want particularly a quiet section, it is played on the fortepiano end, and one hears the difference. I hear that difference as a disturbance, the way one would hear an affectation. Still this is a fascinating disc. The duo has a particularly vibrant approach to Mozart, in the two familiar sonatas, which they play four hands at the harpsichord end, and in the less familiar works, including the two strange preludes. I don’t know anything to which I can compare this immensely enjoyable disc. Surely many readers will take pleasure in it as well.

FANFARE: Michael Ullman

contents:

Modulierendes Praeludium KV 284a
Sonata in B flat major KV 358
Modulierendes Praeludium KV deest
Fragment eines Praeludiums KV 624 (626a) Anh.I
6 Variations on the aria "Salve tu, Domine"
(from Paisiello's "I filosofi immaginarii") KV 398 (416e)
Praeludium (Fantasie) und Fuge in C major KV 394 (383a)
Improvisation
Sonata in D major KV 381 (123a)
6 Deutsche Tänze KV 509
transcr. for Piano-Harpsichord by C. Schornsheim and A. Staier (orchestr. version 1787)

Andreas Staier & Christine Schornsheim
Stein-Vis-a-vis (1777)


harpsichord side

fortepiano side

A.Scarlatti - Intermezzi

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The comic operatic intermezzo sometimes seems to have sprung into being fully developed with Pergolesi's sparkling La Serva Padrona in the 1720s, but the practice of inserting a little comic scene between the acts of a serious work went back to the early days of opera and even before. This Hungarian release brings together a pair of intermezzi by Alessandro Scarlatti that have completely vanished from view. Neither is on the level of La Serva Padrona; Pericca e Varrone drags the flirtation out a bit too long, while Leonzio ed Eurilla cuts it off with a sharp ending that doesn't quite come off (situation comedies, from Seinfeld on back in time, don't do bitterness well). But the comedy in both comes through three centuries pretty much intact, and the disc as a whole suggests that this almost unknown genre is worth further investigation. These intermezzi, as well as others in the genre, are for just two singers (which by itself ought to commend the intermezzo to college voice departments and the like). There is a soprano, conventionally a quick-witted young woman of modest origins, and a buffo bass, who is not too swift. Usually the woman's goal is marriage, but in Leonzio ed Eurilla it is humiliation for the guy. The characters may be minor figures drawn from the cast of the surrounding tragic opera. The music follows the ebb and flow of the libretto's humor closely, rather than adhering to Baroque unity of affect, and the music raises the question of how deeply what we now know as Classical style is rooted in these little comedies. The vocalists aren't top-flight singers, but do have a feeling for comedy. In all this is another fresh recording for conductor Pál Németh and his Savaria Baroque Orchestra. Booklet notes are in English, French, German, and Hungarian, but the two libretti, given complete, are in Italian, English, and Hungarian only. ~ James Manheim, Rovi

contents:


Perricca e Varrone
(intermezzo from Scipione nelle Spagne)

Leonzio ed Eurilla
(intermezzo from Marco Attilio Regolo)


First recording


Pericca, Eurilla: Bernadett Wiedemann (mezzo-soprano)
Varrone, Leonzio: László Jekl (bass)
Agnes Várallyay (harpsichord)


Savaria Baroque Orchestra
dir.Pál Nemeth

Zelenka - Sonatas

12 tracks - MP3 192 Kbps - RAR 86 Mb

These sonatas represent some of the most spectacularly challenging music ever written for wind instruments in terms of their utopian demands on the technique of the players, their musical integrity and their breathtaking scale. Members from the Edinburgh based chamber group were awarded both first prize and the audience prize at the 2007 Brugge International Competition for this repertoire and their skill is evident on this, their debut recording.

Czech Baroque composer Jan Dismas Zelenka was a near contemporary of Bach, who admired him (and not too many other composers). The pieces on this album, which unite intense technical and contrapuntal virtuosity with lightness of spirit, make it easy to see why. They were roughly contemporaneous with Bach's Brandenburg Concertos, and may have been written for similar purposes (as a kind of audition). These pieces are what were called quadri or quadro sonate ("quartet sonatas," to be distinguished from the earlier sonata a quattro). They are for two oboes, bassoon, and continuo, or in one case oboe, violin, bassoon, and continuo. The oboe and bassoon are not easy instruments to play; the Baroque oboe and bassoon are harder still; and to play difficult lines in intricate ensemble work on these instruments is nothing short of miraculous. Yet that is what happens in this reading of three of the sonatas plus an excerpt from one larger work that better exemplifies Zelenka's tendency toward the bizarre. The three sonatas, for all their difficulty, are graceful pieces, and Scotland's Ensemble Marsyas carries them off with enviable smoothness and even quietness. It's an extraordinary performance, and the sweet pastoral sounds of Peter Whelan's Baroque bassoon will be worth the price of admission by themselves for many listeners. The Linn label contributes strongly as well with fine engineering, scaled to the intimate conception of the music but not sitting right on top of the players and picking up the clicking of keys and the like. There are a few other recordings of these pieces (Heinz Holliger popularized them), but this is an excellent choice for first exposure to the still-underrated Zelenka as well as for those already hooked.

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contents:

Sonata V in F major, ZWV 181/5

Sonata III in B flat major, ZWV 181/3

Sonata VI in C minor, ZWV 181/6

Simphonie à 8 Concertanti in A minor, ZWV 189

Ensemble Marsyas

Josep Domènech Lafont, oboe

Molly Marsh, oboe

Peter Whelan, bassoon

Thomas Dunford, theorbo

Philippe Grisvard, keyboards

Christine Sticher, violone

GUEST

Monica Huggett, violon

Memento Mori

19 tracks - MP3 192 Kbps - RAR 99 Mb

These 'moral cantatas', play on the 'affeti', ie they were used to heighten the devotional feelings of those attending sermons in Roman oratories, or prayer halls, in the early years of the 17th century. In these oratories were held informal meetings, or spiritual exercises, using the vernacular, Italian instead of Latin, and in which music became a significant factor in attracting participants.

Those who commisioned such works [cardinals, popes, noble families] had long been aware of the attractive potential of secular genres. The ancient practices of laude, basso ostinato and lamenti, as well as popular new musical genres, including opera, which was developing, were able to flourish in the oratories as a vehicle for spiritual messages.

The booklet essay raises doubts as to the attribution of these works to Rossi and supposes that they were probably written for a period of penance in the liturgical year, perhaps during Lent. 

In each of the works on this recording the alto vocal part usually taken by a contralto or falsetto voice, is performed by a tenor, a personal, rather than musicological choice taken by Geoffroy Jourdain.

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contents:

Claudio Monteverdi - Chi vol che m'innamori

Anon. da Monteverdi - Lamento de la Maddalena

Luigi Rossi - Disperar di se stesso

Luigi Rossi - O Cecità del misero mortale

Edwige Parat, soprano 

Karen Vourc'h, soprano 

Manuel Nuñez, tenor 

Emilio Gonzalez Toro, tenor 

Lisandro Abadie, bass, baritone

Les Cris de Paris 

dir. Geoffroy Jourdain