Farina - Le sonate

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“Farina had great influence upon violin playing in Germany. Johann Vierdanck already met him as music scholar at Dresden. David Cramer and Johann Schop carried the Italian violin style to Hamburg, and even after two generations the music of Heinrich Schmelzer, Heinrich Ignaz Franz Biber, Johann Jakob Paul Westhoff and Johann Walther still shows the impact of Farina.”

contents:

  1. Sonata detta la Polaca, for 2 violins & continuo
  2. Sonata detta la Capriola, for 2 violins & continuo
  3. Sonata detta la Moretta, for 2 violins & continuo (Book 1)
  4. Sonata No. 24, detta La Franzosina, for violin & continuo
  5. Sonata detta la Farina, for violin & continuo (Book 1)
  6. Sonata detta la Greca, for 2 violins & continuo
  7. Sonata detta la Cingara, for 2 violins & continuo
  8. Sonata detta la Fiama, for violin & continuo
  9. Sonata detta la Semplisa, for 2 violins & continuo
  10. Sonata detta la Desperata, for violin & continuo (Book 5)



Lukas Friedrich & Christine Busch, violin
Barbara Noeldeke, violoncello
Hubert Hoffmann, archlute
Joerg Hannes Hahn, harpsichord & organ 

Amore e morte dell'amore

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Now working, my mistake, sorry.

The duet madrigal, chamber cantata, or aria was a prime form of the early Baroque, ready-made for a noble family that wished to display its house singers and even draw from them a little bit of competition. There are a number of albums in the genre on the market, but Amore e morte dell'amore (Love and the Death of Love), from reigning Baroque soprano queen Roberta Invernizzi and newer contralto talent Sonia Prina, stands out from the crowd. First there are the rich voices of the singers themselves, who could sing a random web search page and make it sound good, and their razor-sharp coordination. Second is the program, which traverses the entire 17th century and moves into the 18th, holding everything together thematically and largely avoiding well-known numbers (other than the finale duet from Monteverdi's L'incoronazione di Poppea), touching on some unusual mid-century finds by Antonio Lotti and Francesco Durante, with a well-placed ensemble treatment of a Domenico Scarlatti sonata as an interlude. That piece shows off the talents of the Ensemble Claudiana, new faces on the historical-performance scene. Above all these individual factors is their coherence into an overall package. Invernizzi and Prina get the intimate chamber quality of most of this music, its natural habitat of a music room with a group of connoisseurs who were ready to listen closely. They are virtuosic, lithe, and playful, even when they approach a serious text. Naïve supports them beautifully with studio sound. Highly recommended.

contents:

Interrotte speranze di Claudio Monteverdi

Mentre vaga angioletta di Claudio Monteverdi

Se morto mi brami di Benedetto Marcello

Tanti strali di George Frederick Handel

Pur tí miro di Claudio Monteverdi

Giuramento amoroso di Antonio Lotti

Sonata, K90 di Domenico Scarlatti

Ohimè, dov'è il mio ben di Claudio Monteverdi

Son io barbara donna di Francesco Durante

Vorrei baciarti di Claudio Monteverdi

Sono liete, fortunate di George Frederick Handel

Roberta Invernizzi, Soprano

Sonia Prina, Contralto

Ensemble Claudiana

dir. Luca Pianca

Antonín Reichenauer - Concertos II

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Antonín Reichenauer (c. 1694–1730) – a few years ago a name virtually unknown, today mentioned by Baroque music lovers in the same breath as the greatest Czech Baroque masters, not to mention Antonio Vivaldi himself. Reichenauer assumed after Johann Friedrich Fasch the post of court composer in the service of Count Morzin, whose chapel Vivaldi called a "virtuosissima orchestra" and for which he wrote a number of concertos. Following the previous – and first-ever – CD featuring Reichenauer’s concertos (SU 4035-2), within its Music from Eighteenth-Century Prague series Supraphon is now releasing world premiere recordings of other concertante works as performed by Musica Florea. Twenty years ago among the Czech pioneers of authentic interpretation of early music, today Musica Florea is an ensemble of international renown with a discography of acclaimed and award-winning recordings (Cannes Classical Award, Diapason d’Or). Their perfectly mastered playing on period instruments brings out to the full all the shades of colour, exquisite melodies and entrancing virtuosity of the concertos. After centuries, Reichenauer’s music is now revived and, as these recordings prove, rightly so. From the archives a priceless treasure has been unearthed.

contents:

Sonata in D major, for 2 trumpets, timpani, cello, strings & basso continuo

Concerto in B flat major, for oboe, strings & basso continuo

Concerto in D minor, for cello, strings & basso continuo

Overture in B flat major, for 2 oboes, bassoon, strings & basso continuo

Concerto in G major, for violin, strings & basso continuo

Concerto in G major, for flute, strings, and basso continuo

Luise Haugk, oboe

Jana Chytilová, violin

Marek Špelina, transverse flute

Marek Štryncl, cello

Musica Florea

dir. Marek Štryncl

Lassus - Villanelle, moresche e altre canzoni

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What is music coming to? With a song called "I'm Called Mister Erection," lyrics including the deathless line "it's a piece of dog sh*t," melodies so primitive that they're infantile, and harmonies so primitive that they barely exist, it's hard to imagine ever calling this stuff music. But not only was this stuff written by Orlande de Lassus, one of the greatest of the late-Renaissance composers, he even saw fit to publish most of it. Apparently, despite his transcendent motets and his exquisite madrigals, Lassus had a sense of humor and all listeners can do is to take it or leave it. But if they decide to take it, they have to take it with a grain of salt and a sense of humor.

Rinaldo Alessandrini and the Concerto Italiano clearly decided to take it with a great sense of humor because this is one of the funniest discs of so-called serious music ever released. That this is the same rarified vocal ensemble that has released so many emotionally nuanced recordings of Monteverdi's madrigals is hard to believe, but clearly the singers are enjoying their work and their enjoyment is infectious. Although the singers still sing with wonderful expressivity and tremendous flexibility, the Concerto Italiano is not shy about making the sound of its voices match the crude, rude, and lewd music. The result is a terrific disc, but certainly not for listeners with delicate sensitivities.

contents:

1 - Allala la pia calia, villanelle for 4 voices, S. x/104

2 - Saccio 'na cosa, villanelle for 4 voices, S. x/8

3 - Lucia celu hai biscamia (morescha), villanelle for 4 voices, S. x/97

4 - S'io ve dico, villanelle for 4 voices, S. x/75

5 - Ecco la ninph'ebraica chiamata, villanelle for 4 voices, S. x/76

6 - Par ch'hai lasciato, villanelle for 4 voices, S. x/82

7 - Io ti vorria contra, villanelle for 4 voices, S. x/85

8 - Hai Lucia buona cosa (morescha), villanelle for 4 voices, S. x/86

9 - Chi chilichi, moresca for 6 voices (S. x/120)

10 - O Lucia miau (morescha), villanelle for 3 voices, S. x/70

11 - Ad alter le voi dare, villanelle for 4 voices, S. x/77

12 - Tutto 'l di mi dici, villanelle for 4 voices, S. x/79

13 - Cathalina apra finestra, morescha for 6 voices, (S. 10/112)

14 - Tutto 'l di piango (Petrarca), madrigal for 5 voices, S. iv/122

15 - Matona mia cara, villanelle for 4 voices, S. x/93

16 - S'io fusse ciaul'ettu, villanelle for 4 voices, S. x/92

17 - Ogni giorno m'han ditt'a chi favelli, villanelle for 4 voices, S. x/91

18 - O bella fusa, villanelle for 4 voices, S. x/89

19 - Madonna mia pieta, villanelle for 4 voices, S. x/61

20 - Canta Giorgia canta (morescha), villanelle for 5 voices, S. x/125

21 - S'io ti vedess'una sol volt'il giorno, villanelle for 4 voices, S. x/102

22 - O occhi manza mia, villanelle for 4 voices, S. x/103

23 - Sol'e pensos i piu deserti campi (Petrarch), madrigal for 5 voices, S. ii/71

24 - Tutto 'l di mi dici, villanelle for 4 voices, S. x/79

25 - Mi me chiamere, villanelle for 5 voices, S. x/108

26 - O la o che bon echo, villanelle for 8 voices, S. x/140

27 - Zanni piasi patro, villanelle for 8 voices, S. x/135

Concerto Italiano

Rinaldo Alessandrini

Rossana Bertini, Soprano

Roberto Balconi, Alto

Monica Piccinini, Soprano

Claudio Cavina, Alto

Giuseppe Maletto, Tenor

Sandro Naglia, Tenor

Daniele Carnovich, Bass

Sergio Foresti, Bass

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

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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

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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

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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)