Il Codice di Guardiagrele - I Corali di S. Maria Maggiore

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"From the 10th to the 15th century the Abruzzo was not an isolated area, as D'Annunzio usually described it in his works. On the contrary, it was an important crossroads between northern and southern Italy and between Middle and Mediterranean Europe. The Abruzzo was also a gateway to East and the presence of a great number of traditional oral songs, which contain structures and stylistic elements of Balkan and Mozarabic singing. The Codex of Guardiagrele contained several pieces composed by artists from the Abruzzo and from other regions which worked in Guardiagrele at the church of Santa Maria Maggiore. These compositions clearly show that the musical production of polyphonic works was rich in this region."

contents:

01. Alleluya a 2

02. Rorate caeli

03. Sanctus I

04. Kyrie

05. Sanctus II

06. Gloria

07. Alleluya a 2

08. Sanctus a2

09. Patrem

10. Sanctus

11. Saltarello I (sul Sanctus a 3) 

12. Sanctus a 2

13. Saltarello II (sul Sanctus a 2)

14. Benedicta et venerabilis

15. Agnus Dei

16. Agnus Dei a 2

17. Questa fanciull' Amor

De Bon Parole

dir. Marco Giacintucci

Marco Giacintucci (vielle, lyre, symphonia, bagpipe)

Debora David (recorder)

Walter D'Arcangelo (portable organ)

Fabio Di Gabriele (drum)

aola Incani (cantus, chorus)

Emanuele Dell'Oso (tenor)

Daniela Santucci (cantus, chorus)

Szilvia Komaromi (chorus)

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.

contents:

1. Lauda Jerusalem by Adrian Willaert 

2. Credidi, propter quod lucutus sum by Adrian Willaert 

3. Ricercar no 10 by Adrian Willaert 

Sacrae symphoniae, Book 1  by Giovanni Gabrieli

4. In te Domine speravi à 8

5. Beata es virgo à 6

6. Beata es virgo à 6

7. Sancta et immaculata virginitas à 8

8. Angelus Domini descendit

9. O Jesu mi dulcissime

Canzoni et sonate (21) by Giovanni Gabrieli

10. Canzon III a 6

Symphoniae sacrae, Book 2 by Giovanni Gabrieli

11. Exultavit cor meum

12. Sancta et immaculata à 7

13. Hodie completi sunt à 8

14. Benedictus es, Dominus

15. O quam suavis à 8

16. Hodie completi sunt à 8

Concerto Palatino

Currende

dir. Erik Van Nevel 

Johann Mattheson - Suites

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The discovery of music manuscripts from the estate of composer and music journalist Johann Mattheson in Armenia has been the cause of great excitement for fanciers of the German Baroque -- here, finally, is the opportunity to get to know this friend of Handel and Bach whose written words are so eloquent and informative, yet whose music has proven so elusive.

This 75-minute disc contains a little less than half the set of 12 harpsichord suites Mattheson published in England in 1714 and in Germany a little later, with four suites presented in excerpted form. 

There is a greater familiarity to the sound of Mattheson's suites in a general sense in that they relate very strongly to the French Suites of Johann Sebastian Bach, composed nearly a decade later.

Holtz's interpretations are splendid and well suit Mattheson's intentions through a sparing and tasteful use of ornaments and a steady yet flexible approach to tempi.

The instrument employed is in fabulous condition; it is clear, full-throated, and well intoned. Holtz acknowledges "Menno van Delft for lending his instrument," but we are not told what the instrument is; from the sound of it, it seems likely a harpsichord of modern make. Ramée's recording is close, transparent, and up front without being unrealistically loud. Friends of Baroque keyboard music should definitely keep an eye out for Ramée's Johann Mattheson's Suites.

Uncle Dave Lewis 

Classical Net review

contents:

Suite No. 1 in D Minor

Suite No. 12 in F Minor (extract)

Suite No. 11 In C Major (extract)

Suite No. 5 In C Minor (extract)

Suite No. 4 In G Minor (extract)

Suite No. 6 In E-Flat Major

Suite No. 9 In G Minor

Cristiano Holtz, harpsichord

El Organo de Papel de Leonardo da Vinci

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In 1992 Joaquín Saura deciphered a sketch of a portable organ with continuous bellows, vertical keyboard and paper pipes drawn by Leonardo on Codex Madrid II f. 76 recto. In this CD, Saura plays on his own reconstruction of Leonardo's organ, accompanied by Eduardo Paniagua and Cuarteto Musica Antigua, performing a programme of european fifteenth-century music.

contents:

01. Ich Bins Erfrewt - Anónimo (hacia 1480)

Cjlogauer Liederbuch

02. Mit Ganczem Willen - Conrad Paumann (1410–1473)

Fundamentum Organisandi, 1452

03. La pena sin ser sabida - Johannes Vincenet (hacia 1479)

Mellon Chansonier

04. My lady carey’s dompe - Anónimo (hacia 1525)

British Museum. Roy. App. 58.

05. Duo sin texto  - Anónimo S. XV

Cancionero de la Colombina f. 62, Sevilla

06. Una musque de Buscgaya - Josquin Desprez (hacia 1440–1521)

Canti C, Odhecaton, Petrucci, Venecia 1503.

07. La bassa Castiglia-Falla con misuras - Gulielmus (hacia 1415)

Biblioteca Comunale, Perugia MS. 431

08. Fortuna desperata - Antoine Busnois (hacia 1492)

British Museum Add. MS. 31922

09. Spanyöler Tancz  - Hans Weck (1495–1536)

Amerbach Buxheimer Orgelbuch, Munich

10. Pues no mejora mi suerte/sospiros - Anónimo

Cancionero de la Colombina, Sevilla S. XV

11. Innsbruk, ich Muss Dich Lassen - Heinrich Isaac (hacia 1450–1517)

Biblioteca de la Universidad de Basilea.

12. Justa fue mi perdición - Francisco de la Torre (S. XV, texto de Jorge Manrique

Cancionero de Segovia, Archivo de la Catedral.

13. Alta (Danza sobre La Spagna) - Francisco de la Torre (S. XV y XVI)

Cancionero Musical de Palacio, Bibl. Real, Madrid.

14. Je n’ay dueil - Alexander Agrícola (hacia 1446–1506)

Odhecaton, Petrucci, Venecia 1501

15–20. 6 Calatas a la spagnola - Joanambrosio Dalza (hacia 1500)

Intabolatura de Lauto, Milán 1508

Joaquín Saura, portable organ

Grupo Musica Antigua

Eduardo Paniagua

More Info HERE

Birds on Fire - Jewish Music for Viols

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The title of this recording is a quotation from Aaron Appelfeld’s 1939 novel Badenheim. The subtitle, “Jewish Music for Viols”, more accurately describes the contents: Fretwork have also recorded consort music by some of the Jewish composers at the Tudor court – the Bassanos and Lupos – along with two contemporaries in Holland, Philip van Wilder and Leonara Duarte, illustrating the extent to which they set aside the declamatory music of their forefathers in favour of the imitative polyphonic style prevailing in Northern Europe. Even the Venetian “Ebreo” Salamone Rossi borrowed from the Latin motet for his 1622 Songs of Solomon, stilo antico settings with Hebrew texts sung here by Jeremy Avis.
If you’re seeking the exotic, listen to tracks 1, 13 and 24. Orlando Gough, best known for his theatre music, composed Birds on Fire in 1997. This is demanding, wonderfully offbeat music inspired by Ashkenazi Klezmers (more cabaret than camera), which Fretwork brings off with a panache that astonishes and delights. Importantly, it demonstrates the extent to which the viol consort has been circumscribed by its historic – largely amateur – repertoire and suggests that it is capable of far more. Each of the three Gough pieces begins with eerie sounds and is characterised by a kaleidoscope of syncopated ostinati, droll pizzicato asides and sinewy, modal themes conveyed in parallel octaves. You’ll swear you can hear an organ, accordion, clarinet and a saxophone, but you don’t. Fascinating, liberating music!

www.arkivmusic.com

Contents:

Orlando Gough - Birds on fire
Salamone Rossi "Ebreo" - Hashkivenu
Anonymous - Pieces from the Lumley part books
Leonora Duarte - Two Sinfonias in 5 parts
Thomas Lupo - Fantasia in 6 parts
Orlando Gough - Birds on fire
Philip van Wilder - Fantasia con pause e senza pause
Thomas Lupo - Pavan in 3 parts N°26
Thomas Lupo - Fantasia in 5 parts N°5
Thomas Lupo - Fantasia in 6 parts N°9
Augustine Bassano - Pavan & Galliard
Hyeronimus Bassano - Fantasia N°1
Joseph Lupo - Pavana a 5
Thomas Lupo - Fantasia in 6 parts N°4 & N°11
Orlando Gough - Birds on fire
Salamone Rossi "Ebreo" - Shir hamma'alot



Fretwork
Jeremy Avis, voice




Anna Frank




Non dimenticare...
Ne pas oublier...
Don't forget...
No se olvide...
Не забудьте...
Vergessen Sie nicht...
Não se esqueça...


27-01-2016

Royal Rhymes and Rounds

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Royal Rhymes and Rounds is the King's Singers' contribution to the 60th anniversary of Queen Elizabeth II's accession to the throne in 2012. There are ballads, part songs, madrigals, rounds, and anthems written during the reigns of (and some also in honor of) Henry VIII, Elizabeth I, Victoria, and Elizabeth II. The music from the times of Henry and Elizabeth I is especially strong since it was the era of a flowering of English song, which then lay relatively dormant for several centuries. The composers include such luminaries as William Cornysh, Orlando Gibbons, John Dowland, and Thomas Weelkes, as well as Henry himself, whose rousing ballad Pastime with good companie opens the album. It's in this transparent repertoire that the group sounds its absolute best. The singers' immaculate intonation, focused tone quality, and sensitive musicianship are remarkable. The plummy tributes to Victoria are significantly less distinguished musically, but the group delivers performances of complete conviction. Elizabeth II is represented by the Choral Dances from Gloriana, the opera Benjamin Britten wrote in honor of her coronation, and here again the material gives the singers the opportunity to dazzle with the beauty, clarity, and liveliness of their tone. The album closes with a piece written especially for the occasion: A Rough Guide to the Royal Succession (It's just one damn King after another…), a witty and informative traversal of monarchs, right up to an irreverent, if not downright disrespectful paean to Elizabeth II and her family, with words and music by Paul Drayton. Signum's sound is clean, detailed, and intimate.

contents:

Pastime with good companie by King Henry VIII

Ah, Robin, gentle Robin by William Cornysh

Blow thy horn, hunter by William Cornysh

It is to me a right great joy by King Henry VIII

Hey, trolly lolly lo by Anonymous

Long live fair Oriana by Ellis Gibbons

The Silver Swan - Round by Orlando Gibbons

The Silver Swan by Orlando Gibbons

Fair Oriana, beauty's Queen by John Hilton

Lightly she whipped o'er the dales by John Mundy

Flow, O my tears by John Dowland

Weep, O mine eyes by John Bennet

As Vesta was from Latmos hill descending by Thomas Weelkes

The Triumph of Victoria by Sir Walter Parratt

Who can dwell with greatness? by Sir Hubert Parry

To her beneath whose steadfast star by Sir Edward Elgar

Time - Choral Dances from Gloriana by Benjamin Britten

Concord - Choral Dances from Gloriana by Benjamin Britten

Time and Concord - Choral Dances from Gloriana by Benjamin Britten

Country Girls - Choral Dances from Gloriana by Benjamin Britten

Rustics and Fishermen - Choral Dances from Gloriana by Benjamin Britten

Final Dance of Homage - Choral Dances from Gloriana by Benjamin Britten

A Rough Guide to the Royal Succession by Paul Drayton

The King's Singers

Francesco Cavalli - Heroines of the Venetian Baroque

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The opening of Venice’s first opera house, the Teatro di San Cassiano, in 1637, was one of the major events in the history of opera. The protagonists of these new operas henceforth represented all the social categories making up this public and who, in fact, had to be able to find themselves onstage. The gods were no longer the only ones to lay down the law, challenged by the Vices and Virtues who preached in the Prologues. The new heroes are kings, emperors, dictators, courtesans, as well as nurses, valets, soldiers, philosopher, and, above all, lovers. Whoever they might be, we find them sympathetic or antipathetic; all are glorified, all are ridiculed.

With his 27 existing operas, Francesco Cavalli gives us a fascinating version of this theatre of life. A single main thread runs through the excerpts drawn from each of them by Leonardo García Alarcón: the expression of human passions. They are all there, from ingenuousness to ecstasy, joy to anger, passionate love (and its erotic, sensual expression) to despair. This fascinating programme represents a new contribution to the knowledge of Cavalli’s operas and allows for unveiling part of the mystery still surrounding his works.

Jérôme Lejeune, Ricercar's artistic director, tells you all about the genesis of this project here!

contents:

Disc 1

Le nozze di Teti di Peleo

1 - Atto II: Scena 11: Mira questi duo lumi

2 - Atto II: Scena 6: Sinfonia di viole a 5

3 - Atto I: Scena 3: Hor con pania e con esca

Gli amori di Apollo e Dafne

4 - Atto I: Scena 8: Volgi, deh volgi il piede

Didone

5 - Atto II: Scena 2: Didone, ohimè, non riceve amante

6 - Atto II: Scena 2: Re de' Getuli altero

La virtù dei strali d'Amore

7 - Atto I: Scena 3: Occhi per pianger nati

Egisto

8 - Atto III: Scena 10: Amanti, se credete

L'Ormindo

9 - Atto: Scena 3: Aprite, aprite gl'occhi

La Doriclea

10 - Atto I: Scena 6: Udite, amanti

Giasone

11 - Atto I: Scena 15: Dell'antro magico

12 - Atto II: Scena 1: Lamento: Lassa, che far degg'io?

Orimonte

13 - Atto III: Scena 12: Caro Ernesto / Mia Cleanta (instrumental version)

Oristeo

14 - Atto I: Scena 4: Dimmi Amor, che farò?

La Rosinda

15 - Atto I: Scena 7: Non col ramo di Cuma

La Calisto

16 - Atto III: Scena I: Restino imbalsamate

17 - Atto III: Scena I: T'aspetto, e tu non viem

L'Eritrea

18 - Prologo: Ne le grotte arimaspe

La Veremonda

19 - Atto III: Scena 6: Tardano molto? Qui si fa il ballo de' tori

20 - Atto III: Scena 6: Che rumori, che voci? Qui se replica il ballo de' tori

Disc 2

L'Orione

1 - Prologo: Sinfonia a 3

Il Ciro

2 - Atto III: Scena ultima: Mia vita / Mio bene

Xerse

3 - Atto II: Scena 18: Ed é pur vero, o core

4 - Atto II: Scena 18: Luci mic, che miraste

Erismena

5 - Atto I: Scena 4: Speranze voi che siete

6 - Atto I: Scena 5: O stelle, a chi mi sforzate

7 - Atto I: Scena 5: A me il veleno?

La Statira

8 - Atto II: Scena 9: Menfi, mia patria, regno

Artemisia

9 - Atto II: Scena 6: Regina, udiste mai

Hipermestra

10 - Atto III: Scena 14: Quest'e un gran caso a; certo

Elena

11 - Atto II: Scena 14: Amazone non son

Xerse

12 - Atto II: Scena 1: Speranze, fermate (instrumental version)

Ercole Amante

13 - Atto IV: Scena 7: Una stila di speme (instrumental version)

14 - Atto I: Scena 3: E vuol dunque Ciprigna

15 - Atto I: Scena 3: ma in amor ciò ch'altri fura

Scipione affricano

16 - Atto III: Scena 3: A tuo dispetto Amor (instrumental version)

Mutio Scevola

17 - Atto I: Scena 7: Né fasto allor che ride / Né dolente allor che freme

Pompeo Magno

18 - Atto I: Scena 17: Come al mar corrono i fiumi

Eliogabalo

19 - Atto III: Scena 2: Giuliano al tuo ferro

20 - Atto III, Scena 15: Pur ti stringo, pur t'annodo

Mariana Flores

Anna Reinhold

Cappella Mediterranea

dir. Leonardo García Alarcón

Carlo Milanuzzi - Arias and Dances

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This CD is entirely devoted to the music of the early Baroque Italian composer, poet and organist, Carlo Milanuzzi. During his lifetime, Milanuzzi's fame spread far and wide; today, however, he is shrouded in obscurity. The artists hope that this recording - the first dedicated to his music - will contribute to the rediscovery of one of the most significant Italian musicians of the 17th century.

Indeed, it seems that Milanuzzi enjoyed a veritable 'pop star' status back in his day. In addition to masses, motets and psalms, he also wrote nearly 200 songs (brought together in nine books entitled Le Ariose Vaghezze which were published between 1622 and 1643), works which reveal him to be one of the most progressive monodists of his generation, clearly intent on reaching as wide an audience as possible.

The arias to be found in the nine volumes, 13 of which feature on this recording, are mostly short, tuneful pieces in the style that was rapidly gaining popularity in northern Italy in the 1620s. They are complemented by instrumental dances written in guitar 'alfabeto' notation, 'expanded' on this recording by way of a larger ensemble.

contents:

E pur ancora lusingando vai

Amate mie stelle

Lilla, mio cor

Vado altronde, Lidia, addio

Ballo delle torce

Vanne, và, ti fida o mio core

Bergamasca

Sì dolce è il tormento

Vedilo, vedilo là

Togliti dagli occhi miei

Battaglia

Rapitemi, feritemi

Amor, altri si duol

Padoana

Non si scherzi con Amore

Fuggi, fuggi dolente core

Alla Donna sol piace

Ciaccona

Lucia Sciannimanico, mezzo-soprano

Cappella di Santa Maria degli Angiolini

dir. Gian Luca Lastraioli

Bitter Ballads

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"Ancient and modern poetry set to medieval and traditional melodies," says the subtitle to this disc and it's not as unusual an idea as it might seem: fitting a pre-existing melody to new words, far from being an invention of television advertising, has been done at least since the Middle Ages. Baritone Paul Hillier has revived this practice, pairing troubadour and traditional tunes with poetry ranging from Sappho to Swift and Blake to Brecht. The effect is that of a polished folk song recital but with a more jaundiced tone: these really are "bitter ballads." Hillier's diction could be sharper (you may want to read the poems through before you listen), but his discerning choices and sensitive delivery, along with the exquisite playing of harpist Andrew Lawrence-King, make this innovative program fascinating and even moving."  Matthew Westphal

contents:

1 - Clever Tom Clinch Going to be Hanged

2 - The Roundhead

3 - London is a Fine Town

4 - London

5 - The Fine Old English Gentleman

6 - The Great Testament

7 - Highland Dance #1

8 - Kiltory

9 - Highland Dance #2

10 - Shallow-Water Warning

11 - Song for a Sea Tower

12 - The Ballad of Marie Farrar

13 - Senza Licenza

14 - Invention

15 - Fine Flowers in the Valley

16 - Sappho - Fragment

17 - The Keel Row I

18 - It Was Summer Now

19 - The Keel Row II

20 - Disillusionment

21 - The Cockfight

22 - Sailing to Byzantium

23 - Brigg Fair

24 - Coda from Brigg-Flatts

Paul Hillier, voice

Andrew Lawrence-King, harps, psaltery 

O dulcis amor

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For the first time in history, the 17th century opened up a vast area of musical activities for female artists as the Renaissance philosophy had established a new place for women in society. In his Il libro del Cortegiano (1528), Baldassare Castiglione presented them as gracious and beautiful, equally cultured in literature as men, as well as educated in dance and music, accomplished in conversational skills, intelligent and entertaining. Life at the courts provided for the donne di palazzo a veritable opportunity to liberate themselves. The new role that was bestowed on women might even have added to the growing sophistication of lifestyle in the 16th century, which was greatly articulated in the promotion of the arts and in the implicit prescriptions for social behaviour. Erasmus revered in his Encomium matrimonii (1518) the blissful union of husband and wife, and the general trend of Neo-Platonism led to a new interest in women, which greatly surpassed their thus far expected role as child bearers to continue the family name, and their rigid position in domestic life. However, only the higher classes in society enjoyed these privileges. Christian tradition was deeply anchored in the common perception of women as unfaithful seductresses, foolish and impetuous. Consequently, women remained the subject of much ridicule and scepticism. The imposing voice of Vespasiano da Bisticci is effortlessly recalled, instructing women to live by the two chief commandments of the apostle Paul: to raise their children as devoted Christians and to keep silent at church. The status from which certain women benefited at the end of the Renaissance was in many ways a compromise between the conservative Christian tradition, strengthened by the Council of Trente (1545-1563), and the humanist objective of equality between male and female.

contents:

Caterina Assandra - Imple os nostrum

Caterina Assandra - Ave verum corpus

Caterina Assandra - Haec dies

Caterina Assandra - Ego flos campi

Caterina Assandra - O dulcis amor Iesu

Vittoria Aleotti - Hor che la vaga Aurora

Vittoria Aleotti - Cor mio perche pur piangi

Vittoria Aleotti - Mentre l'ardite labbia

Francesca Caccini - Per la più vaga e bella

Francesca Caccini - Lasciatemi qui solo

Barbara Strozzi - L'amante bugiardo

Barbara Strozzi - Amor dormiglione

Barbara Strozzi - Sete pur fastidioso

Barbara Strozzi - L'eraclito amoroso

Isabella Leonarda - Sonata duodecima, Op. 16

Isabella Leonarda - Iam diu dilecte mi Iesu

La Villanella Basel

Heike Pichler-Trosits, soprano

Claudia Nauheim, recorder

Irene Klein, viola da gamba

Mechthild Winter, virginal, organ

Petra Burmann, theorbo

Baroque Music from Finland

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Opus X is one of the leading Finnish early music ensembles and has made concert appearances and recordings of ground-breaking importance on the Finnish early music scene. Founded on the initiative of violinist Petri Tapio Mattson in 1995, it initially focused on chamber music ranging from early Italian Baroque to Haydn and Mozart quartets.

contents:

Anonymous: Kappaleita soolohuilulle Gabriel Hanneliuksen nuottikirjasta (1770-luku?)

1 Menuett (nro 10)

2 Menuett (nro 6)

Hammerschmidt, Andreas (1611/12-1675): Sei nun wieder zufrieden, meine Seele (1639)

Anonymous: Kappaleita 1–2 diskanttisoittimelle ja basso continuolle Isaac Wasbohmin nuottikirjasta (1694):

4 Allemand (nro 96)

5 Saraband (nro 8)

6 Poloness (nro 29)

7 Gavott l’amour (nro 26)

8 Minuett (nro 83)

Düben, Gustav: En kort Bröllop-Sång (Lyhykäinen häälaulu) (1690)

Anonymous: Kappaleita cembalolle Katarina Öhrbomin nuottikirjasta (1759):

10 Menuette (nro 9)

11 Marche (nro 4)

12 Polonoise (nro 14)

Kappaleita soolohuilulle Gabriel Hanneliuksen nuottikirjasta:

13 Gigue (nro 11)

14 Menuett (nro 23)

Kappaleita 1–2 diskanttisoittimelle ja basso continuolle Isaac Wasbohmin nuottikirjasta:

15 Leya Allemand (nro 98)

16 Air (nro 53)

17 Gavotte (nro 63)

18 Poloness & proportio (nro 90)

19 Minuet (nro 79)

Kappaleita cembalolle Katarina Öhrbomin nuottikirjasta:

20 Petzin (nro 3)

21 Anti Melancholie (nro 8)

Palm, Zachris: Een Lijten Fröghde-Sång (Pikkuruinen ilolaulu) (1678):

Anonymous: Kappaleita 1–2 diskanttisoittimelle ja basso continuolle Isaac Wasbohmin nuottikirjasta:

23 Gavotte (nro 86)

24 Minuet (nro 80) / Minuet (nro 94)

25 Rigadon (nro 75)

26 Poloness (nro 91)

27 Minuet (nro 82)

Hammerschmidt, Andreas: Es danken dir, Gott, die Völker (1642):

Anonymous: Kappaleita soolohuilulle Gabriel Hanneliuksen nuottikirjasta:

29 Menuett (nro 22)

30 (Gigue) (nro 15)

Roman, Johan Helmich (1694-1758): Sonaatti D-duuri viululle ja basso continuolle (1727)

Anonymous: Kappaleita soolohuilulle Gabriel Hanneliuksen nuottikirjasta:

35 Menuett (nro 3)

36 Menuett (nro 19)

Tuuli Lindeberg, soprano

OPUS X Ensemble