sabato 31 marzo 2012

Cantate Napoletane del 700


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Recensione (Italiano)


contents:


Niccolò Grillo - Sosutose 'no juorno, cantata for voice & strings
Giuseppe de Majo - Lo finto laccheo, opera : Aria. "Quanno lo pesce è bivo"
Nicola Ugolino - Concerto for lute, violin & strings in B flat major
Leonardo Leo - Siciliana for voice, 2 violins & continuo
Leonardo Leo - Flute Concerto No. 1 in G major
Giuseppe de Majo - Lo finto laccheo, opera : Aria. "Se crede sta' secura"
Niccolò Grillo - Visciole de' sto core, cantata for voice & strings
Nicolo Fiorenza - Sinfonia for violin & continuo
Giuseppe de Majo - Lo finto laccheo, opera : Aria. "Lo villano che 'na chianca"
Giuseppe de Majo - Lo finto laccheo, opera : Aria. "Gia' che 'sto bello sole"

Pino de Vittorio
Cappella de'Turchini

dir. Antonio Florio

venerdì 30 marzo 2012

Lidarti - VIolin Concertos


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The eighteenth-century Italian composer Christian Joseph Lidarti’s three violin concertos are all recorded here for the first time. These charming works constitute an important Italian bridge between the baroque violin literature and the music of the classical period. They are virtuoso works of great technical difficulty, clearly written for the finest players of the day. Lidarti’s String Quartet in G major is a delightful example of his chamber music: a work characterized by its antiquated style, with the two violins in constant dialogue accompanied by the viola and cello.


contents:


Violin Concerto 'No 2' in D minor
Violin Concerto 'No 3' in A major
Quartetto in G major 'Sinfonia'
Violin Concerto 'No 1' in C major


Francesco D'Orazio, violin
Auser Musici

Johann Sebastian Bach - Kammermusik (5CD)


Mp3 256 Kbps - 10 RAR files 617Mb


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CD 4 - CD 5 - Scans

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CD 1 - CD 2 - CD 3
CD 4 - CD 5 - Scans


Sonata for violin & keyboard No. 1 in B minor, BWV 1014
Sonata for violin & keyboard No. 2 in A major, BWV 1015
Sonata for violin & keyboard No. 3 in E major, BWV 1016
Sonata for violin & keyboard No. 4 in C minor, BWV 1017
Sonata for violin & keyboard No. 5 in F minor, BWV 1018
Sonata for violin & keyboard No. 6 in G major, BWV 1019
C.P.E. Bach: Sonata for flute & keyboard in G minor BWV 1020
Sonata for violin & keyboard in F major (doubtful), BWV 1022
Fugue for violin & keyboard in G minor, BWV 1026
Suite for violin & keyboard in A major (after S. L. Weiss), BWV 1025
Sonata for violin & continuo in G major, BWV 1021
Sonata for violin & continuo in E minor, BWV 1023
Sonata for violin & continuo in C minor, BWV 1024
Sonata for violin & continuo in A major, BWV Anh. 153
Sonata for viola da gamba & keyboard No. 1 in G major, BWV 1027
Sonata for viola da gamba & keyboard No. 2 in D major, BWV 1028
Sonata for viola da gamba & keyboard No. 3 in G minor, BWV 1029
Sonata for violin & keyboard No. 6 in G major (variant), BWV 1019a
Sonata for flute & keyboard in C major, BWV 1033
Sonata for flute & continuo in E minor, BWV 1034
Sonata for flute & continuo in E major, BWV 1035
Partita for solo flute in A minor, BWV 1013
Sonata for flute & keyboard in B minor, BWV 1030
Sonata for flute & keyboard in E flat major, BWV 1031
Sonata for flute & keyboard in A major, BWV 1032

Musica Antiqua Koln
dir. Reinhard Goebel

William Boyce - 8 Symphonies



MP3 192 Kbps - ZIP file 86Mb


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The English Concert
dir. Trevor Pinnock


Instrumental Music of 1600

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01 - Estienne du Tertre - Danceries
Pavane
Galliarde
Branle I
Branle II
02 - Eustache du Caurroy - 5 Fantasies
Fantasy No.1
Fantasy No.2
Fantasy No.3
Fantasy No.4
Fantasy No.5
03 - Anthony Holborne - Pavan The Funerals
04 - Thomas Morley - Fantasia Il Grillo (The Cricket)
05 - Thomas Tomkins - Alman
06 - John Cooper - Fantasia
07 - Elway Bevin - Browning
08 - Johann Sommer - Auserlesene paduanen, 1607
Pavan
Galliard
09 - Isaac Posch
Intrada
Couranta
10 - Samuel Scheidt - Canzon super 'O Nachbar Roland'
11 - Giovanni Gabrieli - Canzone A 8 'Fa Sol La Re'
11 - Giovanni Gabrieli - Canzone A 4
13 - Giuseppe Guami - Canzone A 8
14 - Tiburzio Massaiano - Canzone A 8

Concentus Musicus Wien, Nikolaus Harnoncourt


Oboe Sonatas (1700-1750)

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Thomas Vincent (ca. 1720-1783) - Sonata II in A
William Babell (ca. 1690-1723) - Sonata I in B major
Francesco Geminiani (187-1762) - Sonata I in e minor
Georg Friedrich Händel (1685-1759) - Sonata in F major HWV 363a
Carl Philipp Emanuel Bach (1714-1788) - Sonata in g minor Wq 135 (H 549)
"Forster" - Sonata in c minor

Paul Dombrecht, Wieland Kuijken, Robert Kohnen

giovedì 29 marzo 2012

George Frideric Handel - Samtliche Blasersonaten

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Sonate C-dur fur Blockflote und Bc Op. 1, No. 7
Sonate g-moll fur Oboe und Bc Op. 1, No. 6
Sonate D-dur fur Traversflote und Bc
Sonate g-moll fur Blockflote und Bc Op. 1, No. 2
Sonate c-moll fur Oboe und Bc Op. 1, No. 8
Sonate d-moll fur Blockflote und Bc (`Fitzwilliam`)
Sonate G-dur fur Traversflote und Bc Op. 1, No. 5
Sonate G-dur fur Blockflote und Bc (`Fitzwilliam`)
Sonate e-moll fur Traversflote und Bc Op. 1, No. 1b
Sonate a-moll fur Blockflote und Bc Op. 1, No. 4
Sonate B-dur fur Oboe und Bc (`Fitzwilliam`)
Sonate F-dur fur Blockflote und Bc Op. 1, No. 11
Trio F-dur fur 2 Blockfloten und Bc
Sonate h-moll fur Traversflote und Bc Op. 1, No. 9
Sonate F-dur fur Oboe und Bc
Sonate B-dur fur Blockflote und Bc (`Fitzwilliam`)

Camerata Koln


Janequin & Sermisy - Le Cris de Paris

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1. Voulez Ouyr Les cris de Paris (Clément Janequin)
2. Languir Me Fais (Claude de Sermisy)
3. Je N'Ay Point Plus D'Affection (Claude de Sermisy)
4. Je N'Ay Point Plus D'Affection (Adrian le Roy)
5. La, La, Maistre Pierre (Claude de Sermisy)
6. Ung Mari se voulant coucher (Clément Janequin)
7. Secourez Moy (Claude de Sermisy)
8. Du Beau Tétin (Clément Janequin)
9. Or Vien Ca (Clément Janequin)
10. La Bataille (Clément Janequin)
11. La Meusniere De Vernon (Clément Janequin)
12. Dont Vient Cela (Claude de Sermisy)
13. L'Amour, La Mort Et La Vie (Clément Janequin)
14. Martin Menoit Son Pourceau (Clément Janequin)n
15. Las, Je My Plains (F. da Milano)
16. Au Joly Jeu (Clément Janequin)
17. Joyssance Vous Donneray (Claude de Sermisy)
18. Au Joly Boys (Claude de Sermisy)
19. Tu Disoys Que J'En Mourroys (Claude de Sermisy)

Ensemble Clément Janequin
Dominique Visse


mercoledì 28 marzo 2012

Bach Edition (Brilliant, 160CDs)

160 CD - MP3 192 Kbps - 161 ZIP (13Gb)


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Brilliant Classics embarked on a daring project in the year 2000, the year of the 250th anniversary of Johann Sebastian Bach's death: this budget label decided to release a complete set of Bach's works. They were not the only label to do so - Teldec and Haenssler both did as well - but the Brilliant Classics set stands out for several reasons. First, they attempted (though did not fully succeed) to create a complete set entirely recorded on period instruments, using historically informed performances. As their web site states, "The new recordings follow scrupulously the newest developments and insights offered by the leading Early Music scholars as regards the performance practice of Baroque music in general and the music of Bach in particular." Well, not all the instruments are truly period instruments, and one cannot say the that performances are 100% historically informed, but this is not much of a problem, and there is no reason for this to be seen as essentially negative.

This set stands out for one very important reason: some 65% of the 160 CDs in this set were newly recorded (the remainder was licensed from other labels), including Bach's almost 200 sacred cantatas. The scale of this project is such that one could call it folly. Recording 200 cantatas - or about 60 hours of music - in 15 months is as mad as building a cathedral or digging a tunnel across the English Channel. In fact, one could think that any conductor who would be willing to attempt such a feat is simple crazy.

Not at all. In fact, if one thing stands out in this set, it is the 60 CDs of sacred cantatas, recorded in unique conditions, by a man who had never recorded any such quantity of music before.

The Cantatas

In October 1999, the first boxes of these cantatas, each containing 5 CDs, appeared on the shelves of the Krudivat drug store chain in the Netherlands. Some 500 stores started selling Bach cantatas next to aspirin and film; on the surface, this can seem ridiculous. But, at the unprecedented price of DFL 14.95 per box - roughly $1.25 per CD - Dutch people became fans of Bach's cantatas. More than 100,000 copies of each box were sold in two years in the Netherlands alone, far more than most classical discs sell in the entire world. An amazing feat for such "obscure" music.

Pieter Jan Leusink, conductor of Holland Boys Choir and Netherlands Bach Collegium and artistic director of the Cantatas project, managed somehow, against all odds, to create a true best-seller out of what is arguably some of the finest music in the western world, but music which is generally considered to be "difficult".

The two other labels who released complete sets of Bach's works, Teldec and Haenssler, did indeed record new discs for their sets, but each of them already had the cantatas in the box. Teldec had the groundbreaking first complete recording of the cantatas by Gustav Leonhardt and Nicolas Harnoncourt, and Haenssler had the later set by Helmut Rilling. Yet the Brilliant Classics set is, oddly enough, the first complete digital recording of the cantatas. (It should be noted that two other complete sets are ongoing: one by Maasaki Suzuki, for Bis, and another by Ton Koopman, for Erato.)

The cantatas were initially panned by critics outside of the Netherlands, and some within, on their release. Of course, one just naturally assumes that such a quick recording schedule must lead to poor-quality work. In fact, I remember when I first heard about the set, on the Internet, and people were basically dismissing it as second-rate. But as time went on, more people discovered this set and found it to be not so bad; in fact, it really is quite good. Naturally, it has its weaknesses, but these weaknesses are no more apparent than in the other two complete sets, those by Rilling and Leonhardt/Harnoncourt. The former can be criticized for his hybrid approach between baroque music and modern forces and instruments; the latter is often criticized for the choice of boys to sing all the solo voices, leading to some very poor performances by boys whose voices are not up to the emotional intensity of the music.

But Leusink is not as dogmatic as Leonhardt/Harnoncourt, nor is he as free in his choices as Rilling. He manages to maintain a rare level of emotion and energy throughout the almost 200 cantatas; he used basically the same musicians, choir and soloists for each cantata. On the other hand, Leonhardt and Harnoncourt were unable to do so, because it took them nearly 20 years to record their set. While Leusink's cantatas may have some weaknesses due to the way they were recorded - they were not recorded in their entirety, for reasons of time; on certain days, only choral movements were recorded, on others arias, in order to not have the musicians sit around doing nothing. So, not one of the cantatas was actually performed completely for this set. There are occasional cantatas where this seems evident, where there is a lack of coherence among the different movements. Nevertheless, listening to the entire set, rather than focusing on individual cantatas, one is truly amazed by the quality of the music.

To choose just one cantata to look at more closely, I have selected one of the most moving cantatas, the Actus Tragicus (Gottes Zeit ist die allerbeste Zeit - God’s Time is the Best Time) BWV 106. This cantata opens with a slow, haunting sonatina, an instrumental movement played on two recorders against a lush background of viols and organ continuo. This is one of Bach’s most memorable instrumental movements among his cantatas, and is played well - the balance of the instruments is fine, though a bit rough. The second section of the cantata is a long vocal section opening with four soloists (soprano, alto, tenor and bass) singing together. Many recordings of this cantata use a choir for this section, but recent recordings have featured a one-voice-per-part strategy here, as does this one. The texture of this is excellent, although the balance between the voices wavers a bit. The tenor, bass and soprano each have ariosos within this section. Tenor Knut Schock enters a bit heavily, but his voice is quite appropriate for the melancholy tone of his section. Bass Bas Ramselarr has a slightly dark, yet clear voice. His section features a delightful accompaniment by the two recorders - in an interesting counterpoint with such a deep voice - and, again, the balance is slightly off, his voice sometimes drowning out the recorders just a bit. Soprano Marjon Strijk has an interesting voice - slightly airy, a bit weak, but very attractive in its naiveté. She sounds almost like a boy soprano, with a wispy voice that is nevertheless pure and even. While her tone wavers at times, she is very enjoyable. The third section uses the viols to their fullest, giving the unique texture this instrument brings to vocal music. Alto Syste Buwalda is a conundrum - at times excellent, at others weak, his diction is a problem. His voice does not always sound clear, although his tone is excellent. The final section of this cantata is a coro, with a lively, optimistic tone. Again, it is sung here in one-voice-per-part, giving a beautiful texture. All in all, this cantata is indicative of the entire series - with high points and low points, some singers are fine, others weak, it is a mixed bag, yet still maintains an excellent overall tone and feeling.

The secular cantatas included are a recording made by Peter Schreier in the 1970s. Schreier is perhaps the finest evangelist in Bach's sacred vocal works, and has proved to be a very competent conductor of these works as well. His secular cantatas are very well-performed, and feature excellent soloists, such as Schreier, sopranos Edith Mathis and Arleen Augér, bass Theo Adam among others. The choirs on these recordings is not, perhaps, the best, but the overall sound is quite good.

Sacred Vocal Works

Here, again, Brilliant Classics has licensed recordings of the passions, masses and other works. The St. Matthew and St. John passions are good recordings by the Brandenburg Consort and the King's College Choir; I find these two passions to be a bit weak, and this is a shame.

The B Minor Mass is a fine performance by The Sixteen and Harry Christophers, which is subtle and well-sung. The choir, which is fairly large at 26 singers (whereas some recordings in recent years have used much smaller groups) is nevertheless of a size that allows the individual voices to stand out in the choral melange. The instrumentalists also play in perfect balance with the choir - the obbligato instruments fit perfectly with the vocal texture, and the overall sound of the orchestra is excellent.

Among the other vocal works - a total of 37 CDs - are some interesting works which are not recorded often: a collection of chorales, based on hymns, and Bach's "sacred songs". Most Bach lovers are unfamiliar with these works, which, while not being masterpieces, are fine music.

Orchestral Works

Many of the works in this set were licensed from other labels; a total of about 35% of the 160 CDs were obtained in this manner. Naturally, Brilliant Classics could not afford to get the best baroque performers - this is a super budget set - but one thing that the listener discovers in this set is that there are many fine, even excellent "second tier" performers of Bach's music. Many of the instrumental ensembles whose recordings are in this set are excellent. The Consort of London, for example, is a pleasant surprise. They perform the Brandenburg Concertos and the Orchestral Suites. Their Brandenburg set is an excellent performance of these concertos; the tempi are excellent; this is no staid, boring performance, as is too often the case, where the concertos are played far too slowly as though they are monuments rather than living music. The musicians here have found the right rhythms and give these pieces energy and emotion. The Orchestral Suites come across with the same vigor and energy, and these two sets of orchestral music are, in my opinion, among the best available on disc.

Chamber Music

Bach's "chamber music" includes a variety of works, from sonatas for violin and harpsichord to trio sonatas, from flute pieces to sonatas for viola da gamba and harpsichord. One disc that stands out is the Trio Sonnerie’s recording of the violin sonatas BWV 1021 and 1023, on a CD that also includes trio sonatas BWV 1038 and 1039 performed by two other ensembles. The performance of the violin sonatas sparkles, with the musicians, Monica Huggett on violin, Sarah Cunningham on viol, and Mitze Meyerson on harpsichord, clearly enjoying every second of this music. The two trio sonatas on the same CD, played by the Ensemble Il Quadrifoglio and the Bach Ensemble Heidelberg, are good recordings, but nothing special.

Solo Instrumental Works

Some of Bach's finest music is for solo instruments (other than the keyboard). His suites for solo cello, his sonatas and partitas for solo violin, and his lute works are among the most poignant and moving music he wrote.

The recording of the cello suits, by Robert Cohen, is a magnificent version of these amazing works. He these suites at relatively slow tempi, and plays all repeats. His reading of these works is highly personal, and his flexibility concerning tempi can be a bit disturbing at first - in some movements he plays the repeats much slower than the first expositions. Nevertheless, this gives this version a unique individuality that many other cellists lack. Cohen plays the music without showing off; it is clear that he is interested in the inner music that lies under the surface of these works.

The lute works are an excellent recording by Jakob Lindberg, recorded for Bis. He is a fine performer, and his playing is crystal-clear, though occasionally lacking in emotion; at times, his playing is a bit hesitant - something often heard on this instrument - but this does not mar the overall tone of these recordings.

The solo violin works are one of the major weak points in this set. It is quite a shame, because these are some of Bach's finest compositions. Mark Lubotsky suffers from an overuse of vibrato, making some of the movements sound like Gypsy music, and from a very poor rhythmic feel for the pieces. In some of the faster movements, it sounds as if he is rushing so much that he totally loses the flow.

Organ Works

The 17 CDs of organ music included in this set are by Hans Fagius, a set that was originally released by Bis records in Sweden. This is a fine set, indeed one of the best complete recordings of Bach's organ music. Fagius demonstrates a magnificent understanding of Bach's organ music, and the instruments used are excellent. One work, however, is lacking: the Art of Fugue played on the organ. It is included here only in a harpsichord version, although it is often played on the organ. (There is also no orchestral version of the work, either; but, you can't have everything!)

One work that stands out is the huge Partite diverse sopra "Sei gugrüsset, Jesu gütig", BWV 768. This long work, at over 19 minutes, is a series of variations of a choral prelude. After an initial presentation of the chorale, Bach takes off in his most brilliant set of variations for the organ. Using every resource available for the organ, he displays an incredible variety of styles, from simple two-part sections to elaborate counterpoint. Fagius’ performance of this piece is excellent, and he uses a wide range of registrations.

Keyboard Works

One of the advantages and disadvantages of this set as compared to the Teldec and Haenssler sets is that all the keyboard music is recorded on the harpsichord. This is an advantage because Bach wrote most of his keyboard music for the harpsichord - the piano was only invented near the end of his life. Not that there is anything wrong with playing Bach's music on the piano; I am instrument-agnostic. But there is a certain coherence here that arises from the constant use of the harpsichord.

Yet, this is also a disadvantage. The Haenssler set, in particular, features some unique, little-recorded instruments - there is a magnificent disc of music for the lautenwerk, or lute-harpsichord; there is a fair amount of music recorded on the clavichord; and, Robert Hill's masterful recording of the Well-Tempered Clavier - one of the finest on disc - is recorded on several instruments: harpsichord, clavichord, fortepiano and organ.

In any case, the keyboard box in this set is excellent. On 23 CDs, some wonderful performers are present. Joseph Payne's French Suites (originally recorded for Bis) are among the finest recordings of these popular works. Payne's approach to these suites is intimate and reserved, yet he does not hesitate to play somewhat more freely in the repetitions of the various movements. His interpretation is clear and unambiguous; firm in, say the first suite, more delicate, almost dainty in the sixth suite. Under Joseph Payne's fingers, these works take on a new feeling.

Pieter-Jan Belder's Partitas are sensitive and moving, though they do not approach the excellent recording by Trevor Pinnock, which is part of the Haenssler set. Belder has a judicious approach to the Partitas, though it could be considered a bit conservative.

The Well-Tempered Clavier is arguably Bach’s greatest collection of keyboard pieces. The recording here by Leon Berben is a mixed bag. The sound of his harpsichord has both good and bad points - it is an attractive instrument, but it suffers from a bit too much reverb. His playing is adequate, but his interpretation of the works ranges from inspired, in some of the pieces, to confused in others. It sometimes sounds as if he is right at home with the music, but, at other times, he seems to be unfamiliar with it, playing hesitantly.

Pieter-Jan Belder’s Goldberg Variations are quite good. He has a light, delicate touch in the opening aria, which starts this work out in a very attractive tone. His harpsichord, a Ruckers copy, sounds magnificent - just the right level of presence and strength. It sounds as though the instrument was miked very closely, giving a crisp sound, with each string’s plucking being heard very clearly. Often, such recording leads to a bad sound, but here it works very well. His playing is lively in the faster variations, and sensitive in the slower ones. This is indeed a fine performance.


How can one conclude such a review? With a simple yes or no recommendation? Well, if it were that simple, I would give a resounding "yes"; I do, indeed, highly recommend this set. I have recordings of all of Bach's works, and did before receiving this set - I have some 700 Bach CDs - yet I was delighted and surprised as I listened to the many pearls that I discovered in this set.

There are some drawbacks, though, mostly those inherent in buying any such complete set. While many of the recordings are excellent, there are some which are mediocre. Nevertheless, the good ones do outweigh the lemons, and, if you like Bach's music, you owe it to yourself to get this set - at its super-bargain price, even those recordings you don't like will not cause too much disappointment, but the quality of the excellent ones is such that you will certainly be delighted. (Note that the cost of some of the recordings in this set that have been licensed from other labels would far exceed the total cost of the entire set.) If only to have the 60 CDs of sacred cantatas, and to discover what is an incredible collection of moving and memorable music, this set is worth having. Treat yourself to 160 CDs of Bach, then, take a few weeks off to enjoy this music.

Kirk McElhearn


Read more: here


Contents:



VOLUME I
MUSICA ORCHESTRALE E MUSICA DA CAMERA

CD 1 e 2 - Concerti Brandeburghesi
Musica Amphion - Pieter-Jan Belder, direzione
Data di registrazione: giugno 2006

CD 3 e 4 - Suites orchestrali
Masahiro Arita, flauto traverso - Christoph Lehmann, ogano
La Stravaganza Köln - Direzione Andrew Manze
Luogo e data di registrazione : Maison de la Radio de Cologne, 1994

CD 5 – Concerti per violino
Emmy Verhey, violino – Camerata Antonio Luco
Concerto en re maggiore BWV 1064 (3 violini)
Rainer Kussmaul, Henk Rubingh, Thomas Hengelbrock, violini
Amsterdam Bach Soloists
Data di registrazione: 1992, 1988

CD 6 e 7 – Concerti per clavicembalo
Christine Schornsheim, Armin Thalheim, Mechtild Stark, Violetta Liebsch, clavicembalo
Neues Bachisches, Collegium Musicum - Burkhard Glaetzner, direzione
Data di registrazione: 1990, 1992

CD 8 – Concerti per 2 e 3 clavicembali
Musica Amphion - Pieter-Jan Belder, direzione
Data di registrazione: giugno 2006

CD 9 – Concerti doppi
Marieke Schneemann, flauto - Liz Perry, violino - Menno van Delft, clavicembalo - Daniëlle Kreeft, oboe - Juditha Heberlin, violino - Ensemble Bach des Pays-Bas
Rob Visser, oboe d’amore - Solistes Bach d'Amsterdam
Darius Polack e Kamil Drzyzgula, violino – Orchestra da Camera di Lodz
Zdzislav Szostak, direzione

CD 10 e 11 – Sonate e partite per violino
Mark Lubotsky, violino (J.B. Guadagnini 1728)
Registrazione originale Brilliant Classics
Luogo e data di registrazione : Utrecht, Chiesa Maria Minor - novembre 1987

CD 12 e 13 - Suites per violoncello da BWV 1007 a BWV 1012
Jaap Ter Linden, violoncello
Registrazione originale Brilliant Classics
Data di registrazione: giugno 2006

CD 14 e 15 - Sonate per flauto da BWV 1030 a BWV 1035
Stephen Preston, flauto traverso
Tevor Pinnock, calvicembalo
Jordi Savall, viola da gamba

CD 16 e 17 – Musica per liuto da BWV 995 a BWV 1000
Jakob Lindberg, liuto
Luogo e data di registrazione: Djursholm, Suède, 1992

CD 18 – Sonate per viola da gamba
John Dornenburg, viola da gamba
Malcom Proud, clavicembalo
Data di registrazione: 1991

CD 19 - L’Offerta musicale BWV 1079
Candy Thompson, violino
Marieke Schneedmann, flauto
Floris Mijnders, violoncello
David Jansen, clavicembalo
Krijn Koetsveld, organo e direzione
Luogo e data di registrazione: Utrecht, Pays-Bas -1999

CD 20 e 21 - Sonate per violino e clavicembalo da BWV 1014 a 1019
Luis Otavio Santos, violino
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 22 - Quaderno di Anna Magdalena Bach
Pieter-Jan Belder, clavicembalo e organo
Johannette Zomer, soprano
Luogo e data di registrazione: Utrecht, 1999

CD 23 – Sonate per violino e basso continuo BWV1022 e BWV 1023, Sonate in trio BWV 1038 e BWV 1039
Trio Sonnerie: Monica Huggett, violino – Sarah Cunningham, viola da gamba – Mitzi Meyerson, clavicembalo – Ensemble Il Quadrifoglio – Bach Ensemble Heildeberg
Data di registrazione: 1987




VOLUME II
MUSICA PER TASTIERA

CD 1-4 – Il clavicembalo ben temperato (Libro I e II)
Leon Berben, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 5-6 - Partite per clavicembalo da n° 1 a n° 6 da BWV 825 a BWV 830
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione : Rotterdam e Utrecht, 1999

CD 7-9 - Sonate, Suite, Preludi e Fughe (musica composta tra il 1700 e il 1710)
Christiane Wuyts, clavicembalo
Data di registrazione: Bruxelles, 1988

CD 10 - Concerto in stile italiano, Fantasia cromatica e Fughe, Ouverture alla francese
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Rotterdam, Utrecht, 1999

CD 11 – Variazioni Goldberg
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Rotterdam, Utrecht, 1999

CD 12 e 13 – Suites inglesi
Bob Van Asperen, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 14 e 15 – Trascrizioni di concerti
Pieter Dirksen, clavicembalo
Luogo e data di registrazione: Rotterdam, Utrecht, 1999

CD 16 e 17 – Suites francesi
Joseph Payne, clavicembalo
Luogo e data di registrazione : Boston, USA - 1992

CD 18 – Toccate
Menno Van Delft, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 19 e 20 – L’arte della Fuga
Menno Van Delft, clavicembalo
Luogo e data di registrazione: Utrecht, 1999

CD 21 22 e 23 - Sonate, Suites, Fantasie, Preludi e Fughe, Invenzioni e Sinfonie
Pieter-Jan Belder, clavicembalo
Luogo e data di registrazione: Utrecht, 1999



VOLUME III
(30 CD)

CANTATE SACRE - I
Ruth Holton e Marjon Strijk, soprani
Sytse Buwalda, controtenore
Nico van der Meel, Knut Schoch, Marcel Beekman, tenori
Bas Ramselaar, basso
Holland Boys Choir - Netherlands Bach Collegium - Direzione Pieter Jan Leusink
Luogo e data di registrazione Grote Kerk Elburg (Olanda), 1999/2000

Produzione originale Brilliant Classics


VOLUME IV
(30 CD)

CANTATE SACRE II
Ruth Holton e Marjon Strijk, soprani
Sytse Buwalda, controtenore
Nico van der Meel, Knut Schoch, Marcel Beekman, tenori
Bas Ramselaar, basso
Holland Boys Choir - Netherlands Bach Collegium - Direzione Pieter Jan Leusink
Luogo e data di registrazione Grote Kerk Elburg (Olanda), 1999/2000

Produzione originale Brilliant Classics


VOLUME V
MUSICA VOCALE

CD 1 e 2 - Messa in si minore BWV 232
Catherine Dubosc, soprano I - Catherine Denley, soprano II – James Bowman, controtenore – John
Mark Ainsley, tenore – Michael George, basso
The Sixteen Choir & Orchestra - Direzione Harry Christophers
Luogo e data di registrazione: Londra, 1994

CD 3 e 4 – 4 Messe
Renate Krahmer, soprano – Annelies Burmeister, contralto – Peter Schreier, tenore – Theo Adam,
basso – Dresdner Kreuzchor
Dresdner Philharmonie - Direzione Martin Flämig
Luogo e data di registrazione : Dresda, 1972

CD 5 e 6 - Lieder spirituali
Georg Jelden, baritono
Heinz Schnauffer, organo
Luogo e data di registrazione: Monaco, 1974

CD 7 – Mottetti
Ensemble Vocale di Losanna - Direzione: Michel Corboz
Luogo e data di registrazione: Cevins (Svizzera), 1995

CD 8 - Oratorio di Pasqua BWV 249
Christine Brenk, soprano - Anne Greiling, contralto - Frank Bossert, tenore - Thomas Pfeiffer, basso - Ensemble di trombe Pfeiffer - Coro Motets de Pforzheim
Orchestra da Camera di Pforzheim - Direzione Professor Rolf Schweizer
Luogo e data di registrazione: Pforzheim (Germania), 1999

Da CD 9 a CD 16 – Cantate profane
Edith Mathis e Arleen Auger, soprani
Carolyn Watkinson, Julia Hamari e Astrid Pilzecker, contralti
Peter Schreier e Eberhard Büchner, tenori
Siegfried Lorenz e Theo Adam, bassi
Solisti di Berlino
Orchestra da Camera di Berlino - Direzione Peter Schreier
Su licenza di Edel Classics
Data di registrazione: tra il 1978 e il 1985

CD 17, 18 e 19 – Passione secondo Matteo BWV 244
Rogers Covey-Trump, tenore (Evangelista) - Michael George, basso (Gesù) - Emma Kirkby, soprano - Michael Chance, controtenore - Martyn Hill, tenore - David Thomas, basso
The Choir of King's College, Cambridge - The Choir of Jesus College, Cambridge
The Brandeburg Consort - Direzione Stephen Cleobury
Luogo e data di registrazione : Cappella del King’s College di Cambridge, 1994

CD 20 e 21 – Passione secondo Giovanni BWV 245
John Mark Ainsley, tenore (Evangelista) - Stephen Richardson, basso (Gesù), Catherine Bott,soprano - Michael Chance, contralto - Paul Agnew, tenore - Stephen Varcoe, basso - The Choir of King's College, Cambridge
The Brandeburg Consort - Direzione Stephen Cleobury
Luogo e data di registrazione : Cappella del King’s College di Cambridge, 1996

CD 22 e 23 – Passione secondo S.Marco BWV 247

CD 24 e 25 – Passione secondo S.Luca BWV 246

CD 26, 27 e 28 – Oratorio di Natale BWV 248
Lynda Russell, soprano – Catherine Wyn-Rogers, contralto – Mark Padmore, tenore – Michael George, basso
The Sixteen Choir & Orchestra - Direzione Harry Christophers

CD 29 – Oratorio dell’Ascensione BWV 11
Marjon Strijk, soprano – Sytse Buwalda, contralto – Knut Schoch, tenore – Bas Ramselaar, basse - Holland Boys Chor – Netherlands Bach Collegium - Direzione Pieter Jan Leusink

CD 30 - Tilge, Höchster, meine Sünden BWV 1083 e Mottetti
Marjon Strijk, soprano – Sytse Buwalda, contralto - Holland Boys Chor – Netherlands Bach Collegium - Direzione Pieter Jan Leusink

CD 31 - Magnificat BWV 243 e Corali
Lynda Russell, soprano I – Gillian Fisher, soprano II – Alison Browner, contralto – Caroline Trevor, contralto – Ian Partridge, tenore – Michael George, basso
The Sixteen Choir & Orchestra - Direzione Harry Christophers
Chamber Choir Of Europe – Solistes du Freiburger Barockorchester - Direzione Nicol Matt

Da CD 32 a CD 37 – Corali
Chamber Choir Of Europe - Solistes du Freiburger Barockorchester - Direzione Nicol Matt
Data di registrazione: 1999



VOLUME VI
MUSICA PER ORGANO

CD 1 - BWV 651 - 661
CD 2 - BWV 645 - 650, 662 - 668
CD 3 - BWV 531, 532, 592, 730, 731, 733, 653b, 736, 737, 589, 588, 735
CD 4 - BWV 551, 535, 766, 525, 542, 690, 691, 131a
CD 5 - BWV 599 - 633
CD 6 - BWV 635 - 644, 561, 585, 553 - 560
CD 7 - BWV 536, 539, 705, 576, 563, 593, 587, 590, 696 - 704, 694, 695
CD 8 - BWV 767, 700, 702, 706, 707, 709, 710, 526, 541, 586, 564
CD 9 - BWV 1090 - 1107, 567, 569, 549, 570, 571, 594
CD 10 - BWV 1108 - 1120, 533, 550, 527, 582
CD 11 - BWV 562, 713, 575, 768, 537, 528, 544
CD 12 - BWV 565, 594, 579, 718, 1027a, 548
CD 13 - BWV 568, 943, 729, 545, 572, 597, 540
CD 14 - BWV 547, 595, 574, 577, 578, 583, 538
CD 15 - BWV 669 - 685
CD 16 - BWV 686 - 689, 802 - 805, 596, 529, 566
CD 17 - BWV 534, 543, 546, 770, 530, 580
Hans Fagius, organi (organo baroque della Chiesa Kristine di Falun - Organo Cahman del 1728 di Leufsta Bruk - Orguano Mats Arvidsson della chiesa Mariefred - Orguano Nils-Olof Berg della Chiesa della Missione di Uppsala – Organo Wahlberg del 1764 della Chiesa Fredrik di Karlskrona)
Date di registrazione: 1983, 1985, 1986, 1987, 1988, 1989

martedì 27 marzo 2012

Isabella Leonarda - Sonate a 1, 2, 3 e 4 istromenti


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Isabella Leonarda was one of a small number of women musicians of the seventeenth century, and the only one to have left us such a vast amount of music. Her life certainly differed from that of her more or less famous male “colleagues”, for she was a nun composer with a great sense of devotion to the Virgin Mary. Music was for Leonarda an expression of her deep faith, a reflection of the parallel between divine and human order, contemplated and experienced through her own creative abilities. Her more than two hundred compositions include her instrumental works: the twelve sonatas for 1, 2, 3 and 4 instruments from her op. XVI. The sonata as a form took hold in the centers of northern Italy, and for 3/4th of a century, or approximately until 1650, it was cultivated almost exclusively in that area. It was nearly always published in groups of 6 or 12, and collections would conclude with a final sonata, often in the form of variations (such as Corelli’s Follia, op. V, n. 12) or another single composition. Leonarda herself followed this practice: her op. XVI indeed contains 12 sonatas, eleven of which are for 2 violins, violone and basso continuo, while the twelfth piece is for solo violin and basso continuo.


contents:


Sonata Prima
Sonata Seconda
Sonata Terza
Sonata Quarta
Sonata Quinta
Sonata Sesta
Sonata Settima
Sonata Ottava
Sonata Nona
Sonata Decima
Sonata Undecima
Sonata Duodecima


Cappella Strumentale
del Duomo di Novara

Servio Bona, violino
Igor Del Vecchio, violino
Claudia Poz, violoncello
Alberto Sala, organo positivo

T.Arne - Dr. Arne at Vauxhall Gardens


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contents:


The morning
Sigh no more
What tho his guilt
Cymon and Iphigenia
Frolic and free
Thou soft flowing Avon
Jenny
The lover's recantation



Emma Kirkby, soprano
Richard Morton, tenor

The Parley of Instruments
dir. Roy Goodman



lunedì 26 marzo 2012

The Golden Age of English Polyphony


10 CD - MP3 192 Kbps - RAR 1.85Gb


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contents:


CD1 - Robert Fayrfax (1464-1521)

Aeternae laudis lilium

Missa Albanus
Gloria
Credo
Sanctus and Benedictus
Agnus Dei

CD2 - John Taverner (c1490-1545)

Archangeli Michaelis interventione - Anonymous - Medieval
Leroy Kyrie

Missa O Michael
Gloria
Credo
Sanctus and Benedictus
Agnus Dei

Dum transisset Sabbatum I
Gaude plurimum
Ex eius tumba

CD3 - John Taverner (c1490-1545)

Missa Corona spinea
Gloria
Credo
Sanctus and Benedictus
Agnus Dei I
Agnus Dei II

In pace, in idipsum
O splendor gloriae
Te Deum
Alleluia. Veni, electa mea

CD4 - John Taverner (c1490-1545)

Missa Gloria tibi Trinitas
Gloria
Credo
Sanctus and Benedictus
Agnus Dei

In nomine a 4
Audivi vocem de caelo
Dum transisset Sabbatum II

CD5 - John Taverner (c1490-1545)

Hodie nobis caelorum rex
Mater Christi sanctissima
Magnificat a 4 – Nesciens mater 'Nesciens mater virgo virum'
Quemadmodum a 6

Missa Mater Christi sanctissima
Gloria
Credo
Sanctus
enedictus
Agnus Dei

CD6 - John Taverner (c1490-1545)

The Western Wynde Mass
Gloria
Credo
Sanctus
Benedictus
Agnus Dei

O Wilhelme, pastor bone

Missa Sancti Wilhelmi devotio 'Small Devotion'
Gloria
Credo
Sanctus and Benedictus
Agnus Dei

CD7 - John Sheppard (c1515-1558)

Missa Cantate
Gloria
Credo
Sanctus and Benedictus
Agnus Dei

Salvator mundi, Domine
Verbum caro factum est
Laudem dicite Deo
Reges Tharsis et insulae
In manus tuas I
Filiae Hierusalem
In pace, in idipsum
Paschal Kyrie
Jesu salvator saeculi, verbum

CD8 - John Sheppard (c1515-1558)

The Western Wynde Mass
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
Second Service
Evening Canticle 1: Magnificat 'My soul doth magnify the Lord'
Evening Canticle 2: Nunc dimittis 'Lord, now lettest thou thy servant depart in peace'

Te Deum
Spiritus Sanctus procedens I
Iusti in perpetuum vivent
Libera nos, salva nos I
Libera nos, salva nos II
Audivi vocem de caelo
Deus tuorum militum I
Ave maris stella
Jesu salvator saeculi, redemptis

CD9 - John Sheppard (c1515-1558)

Spiritus Sanctus procedens II
Beata nobis gaudia
In manus tuas II
Gaude, gaude, gaude Maria
Haec dies quam fecit Dominus
Impetum fecerunt unanimes
Dum transisset Sabbatum I
Sancte Dei pretiose
Sacris solemniis
Hostis Herodes impie
Dum transisset Sabbatum II
In manus tuas III
Aeterne rex altissime

CD10 - William Mundy (c1529-1591)

O Lord, the maker of all things
Videte miraculum
Sive vigilem
Ah, helpless wretch
Vox Patris caelestis
Kyrie 'Orbis factor'
O Lord, the world's Saviour
Magnificat 'in medio chori' 'My soul doth magnify the Lord'
Nunc dimittis 'in medio chori' 'Lord, now lettest thou thy servant depart in peace'
The secret sins
Beatus et sanctus
Adolescentulus sum ego


The Sixteen
dir. Harry Christophers



A.Vivaldi - Concerti per Fagotto I


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contents:


Concerto RV 493 in sol maggiore
Concerto RV 495 in sol minore
Concerto RV 477 in do maggiore
Concerto RV 488 in fa maggiore
Concerto RV 503 in si bemolle maggiore
Concerto RV 471 in do maggiore
Concerto RV 484 in mi minore



Sergio Azzolini, fagotto
L'Aura Soave




If you are interested in other Naive issues you may pay a visit here:


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index:

VIVTDP00 - Il Furioso
VIVTDP07 - Stabat Mater Concerti sacri Clarae Stellae, Scintillate
VIVTDP08 - Concerti da Camera
VIVTDP10 - Juditha Triumphans
VIVTDP11 - Concerti per Flauto Traversiere
VIVTDP12 - La Senna Festeggiante
VIVTDP13 - Concerti e Cantate da Camera I
VIVTDP14 - l Concerti di Dresda
VIVTDP15 - L'Olimpiade
VIVTDP16 - La Verità In Cimento
VIVTDP17 - Mottetti
VIVTDP18 - Vespri per l'Assunzione di Maria Vergine
VIVTDP19 - Sonate da Camera
VIVTDP20 - Concerti per Archi
VIVTDP21 - Orlando Finto Pazzo
VIVTDP22 - Concerti per Fagotto e Oboe
VIVTDP23 - Concerti e Cantate da Camera II
VIVTDP24 - Orlando Furioso
VIVTDP25 - Concerti per vari strumenti
VIVTDP26 - Concerti e Cantate da Camera III
VIVTDP27 - Arie d'Opera
VIVTDP28 - Tito Manlio
VIVTDP29 - Concerti per Violino I - "La Caccia"
VIVTDP30 - Arie Per Basso
VIVTDP31 - In Furore
VIVTDP32 - Griselda
VIVTDP33 - Musica per Mandolino e Liuto
VIVTDP34 - Concerti per Violoncello I
VIVTDP35 - Concerti per violino II - "Di Sfida"
VIVTDP36 - Atenaide
VIVTDP37 - Arie Ritrovate
VIVTDP38 - Concerti per violoncello II
VIVTDP39 - La Fida Ninfa
VIVTDP40 - Concerti per Violino III - "Il Ballo"
VIVTDP41 - Farnace
VIVTDP42 - Concerti per Oboe
VIVTDP43 - Gloria
VIVTDP44 - Armida al Campo d'Egitto
VIVTDP45 - Concerti per Fagotto I
VIVTDP46 - Ottone in Villa
VIVTDP47 - Arie per Tenore
VIVTDPND - New Discoveries
VIVTDPOP - Operas


G.F.Handel - Samson


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Thomas Randle, Samson
Mark Padmore, Israelite man, Philistine man
Lynda Russell, Dalila
Lynne Dawson, Israelite woman, Philistine woman, virgin
Catherine Wyn-Rogers, Micah
Michael George, Manoa
Jonathan Best, Harapha
Matthew Vine, messenger



The Sixteen
The Symphony of Harmony and Invention
dir. Harry Christophers


W.A.Mozart - Idomeneo


3 CD - MP3 VBR 2Inserisci link40 Kbps - RAR 421Mb


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scans & libretto


Richard Croft, tenor, Idomeneo
Bernarda Fink, mezzo-soprano, Idamante
Sunhae Im, soprano, Ilia
Alexandrina Pendatchanska, soprano, Elettra
Kenneth Tarver, tenor, Arbace
Nicolas Rivenq, baritone, Gran Sacerdote
Luca Tittoto, bass, La Voce


RIAS Kammerchor
Freiburger Barockorchester
dir. René Jacobs



domenica 25 marzo 2012

Barbara Strozzi, Isabella Leonarda - Kurtisane und Nonne


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contents:


CD 1

Barbara Strozzi: Lagrime Mie
Barbara Strozzi: Non occore
Barbara Strozzi: Tradimento, tradimento!
Barbara Strozzi: Lill, dici
Barbara Strozzi: Miei pensieri
Barbara Strozzi: Luci belle
Barbara Strozzi: Soccorete luci avare
Barbara Strozzi: Apresso à i molli argenti

CD2

Barbara Strozzi: Hor che Apollo
Isabella Leonarda: Sonata seconda
Isabella Leonarda: Alta del ciel regina
Isabella Leonarda: Sonata duodecima
Isabella Leonarda: Veni amor, veni Jesu


Rosina Sonnenschmidt, soprano
Sephira-Ensemble Stuttgart


sabato 24 marzo 2012

G.Dufay - Music for St Anthony of Padua


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contents:


Missa de S. Anthonii de Padua (à 3)
1. Introitus: In medio ecclesie
2. Kyrie
3. Gloria
4. Graduale: Os justi meditabitur sapientiam
5. Alleluia: Anthoni, compar inclite
6. Credo
7. Offertorium: Veritas mea
8. Sanctus
9. Agnus Dei
10. Communio: Domine, quinque talenta

11. O proles Hispaniae / O sidus Hispaniae (à 4)




Binchois Consort
Mark Chambers, Fergus McLusky (discantus)
Edwin Simpson, Matthew Vine, Andrew Carwood, Chris Watson (tenors)
dir. Andrew Kirkman



-O-




S.Antonio in Padova

Italianer in Dresden

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contents:


Carlo Farina - Pavana Prima
Heinrich Schütz - Paratum cor meum
Carlo Farina - Gagliarda Seconda á 4
Antonio Scandello - Schein uns du liebe Sonne
Antonio Scandello - Der Wein der schmeckt mir also wol
Antonio Scandello - Kein lieb on leid
Carlo Farina - Balletto Tertio á 4
Antonio Scandello - Lobet den Herrn denn er ist sehr freundlich
Antonio Scandello - Habe fiduciam in Domino, ex toto corde tuo
Antonio Scandello - Lasset die Kindlein zu mir kommen
Carlo Farina - Volta Tertia á 4
Giovanni Battista Pinello - Un vago pastorello Pastorale a 3
Giovanni Battista Pinello - Se gl`occhi Tuoi non miro
Giovanni Battista Pinello - Anima mia diletta
Giovanni Battista Pinello - Pater noster
Carlo Farina - Passamezzo Primo à 3
Heinrich Schütz - Exultavit cor meum
Johann Hermann Schein - O Schäferin, o Filli mein
Johann Hermann Schein - Ach weh, bin ich Amor
Johann Hermann Schein - Ich bin ein Bergmann wohlgemut
Giovanni Battista Pinello - Battaglia in lode della vittoria Christiana
Carlo Farina - Balletto Secondo à 3




Instrumenta Musica



Pinello - Un vago pastorello

Concerti per due Clavicembali


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contents:


J.S.Bach - Concerto BWV 1060
J.L.Krebs - Concerto in la minore
J.S.Bach - Concerto BWV 1062
W.F..Bach - Concerto in Fa (Fk10)
J.S.Bach - Concerto BWV 1061



Mariangiola Martello & Giorgio Tabacco, clavicembali
Academia Montis Regalis



venerdì 23 marzo 2012

Handel - Arias


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Imeneo: Kay Stiefermann, bass
Tirinto: Ann Hallenberg, mezzo-soprano
Rosmene: Johanna Stojkovic, soprano
Clomiri: Siri Karoline Thornhill, soprano
Argenio: Locky Chung, bass



VokalEnsemble Köln
Capella Augustina
dir. Andreas Spering



-O-





14 tracks - MP3 192 Kbps - RAR 153Mb


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contents:


01 - Serse (1737): Act III, scene 11
Crude furie degl'orridi abissi
02 - Teseo (1713): Act II, scene 1
Dolce Riposo
03 - Teseo (1713): Act II, scene 6
Ira, sdegni, e furore...
O stringerò nel sen
04 - Teseo (1713): Act V, scene 1
Morirò, ma vendicata
05 - Giulio Cesare (1724). 1 air de Sesto: Act II, scene 6
Figlio non è chi vendicar non cura
L'angue offeso mai riposa
06 - Admeto (1727), Air d'Admeto: Act I, scene 1
Lentamento
Orride larve
Chiudetevi miei lumi
07 - Hercules (1745), Air de Dejanira: Act I, scene 2
Then I am lost
There in myrtle shades
08 - Semele (1744), Air de Juno: Act II, scene 1
Hence, Iris Hence away
09 - Imeneo (1740), Air de Tirinto: Act II, scene 3
Sorge nell'alma mia
10 - Ariodante (1734): Act II, scene 3
E vivo ancora... Scherza infida
11 - Admeto (1727), Air d'Alceste: Act II, scene 7
Gelosia, spietata Aletto
12 - Amadigi (1715), 2 airs de Melissa: Act II, scene 10
Desterò dall'empia Dite
13 - Hercules (1745), Air de Dejanira: Act II, scene 6
Dissembling, false, perfidious Hercules!...
Cease, ruler of the day, to rise
14 - Hercules (1745), Air de Dejanira: Act III, scene 3
Where shall I fly



Joyce DiDonato, mezzo-soprano
Les Talents Liriques
dir. Christophe Rousset



-O-




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contents:


01 - Poro, rè dell'Indie, HWV 28: Duetto
Caro amico amplesso!
02 - Serse (Xerxes), HWV 40: Recitativo
Romilda infida
03 - Serse (Xerxes), HWV 40: Duetto
Troppo oltraggi la mia fede
04 - Admeto, Rè di Tessaglia, HWV 22: Recitativo
Quivi tra questi solitari orrori
05 - Admeto, Rè di Tessaglia, HWV 22: Aria
Ah, sì, morrò
06 - Admeto, Rè di Tessaglia, HWV 22: Duetto
Alma mia, dolce ristoro
07 - Muzio Scevola, Act III, HWV 13: Duetto
Ma come amar?
08 - Rodelinda, regina de' Langobardi, HWV 19: Aria
Ritorna, o caro e dolce mio tesoro
09 - Rodelinda, regina de' Langobardi, HWV 19: Recitativo
Non ti bastò
10 - Rodelinda, regina de' Langobardi, HWV 19: Duetto
Io t'abbraccio
11 - Arminio, HWV 36: Ouverture
12 - Arminio, HWV 36: Recitativo
Fuggi, mio bene
13 - Arminio, HWV 36: Duetto
Il fuggir, cara mia vita
14 - Arminio, HWV 36: Duetto
Ritorna nel core vezzosa
15 - Arminio, HWV 36: Menuetto
16 - Teseo, HWV 9: Recitativo
Parte Agilea, per venerar la Dea

17 - Teseo, HWV 9: Aria
Ti credo, si, ben' mio
18 - Teseo, HWV 9: Recitativo
Commanda dunque o bella
19 - Teseo, HWV 9: Aria
Ah! Cruda gelosia!
20 - Teseo, HWV 9: Recitativo
Dunque all'affetto mio
21 - Teseo, HWV 9: Duetto
Addio! Mio caro bene



Nuria Rial, soprano
Lawrence Zazzo, countertenor
KammerorchesterBasel
dir. Laurence Cummings



-O-





17 tracks - MP3 192 Kbps - RAR 106Mb


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contents:


01 - Ezio, opera, HWV 29 Act I, No.6
Perche tanto tormento?
Se un bell'ardire
02 - Ezio, opera, HWV 29 Act II, No.8
Folle è colui
Nasce al bosco
03 - Ezio, opera, HWV 29 Act III, No.13
Che indegno!
Gia risonar
04 - Sosarme, re di Media, opera, HWV 30 Act I, No.5
Addio principe scrupoloso
Fra l'ombre e gli orrori
05 - Sosarme, re di Media, opera, HWV 30 Act II, No.7
Quanto più Melo
Sento il cor
06 - Sosarme, re di Media, opera, HWV 30 Act III, No.9
Tanto s'eseguirà
Tiene Giove
07 - Esther, oratorio, HWV 50b Act I, No.3
I'll hear no more
Pluck root and branch
08 - Esther, oratorio, HWV 50b Act II, No.6
Turn not, o Queen
09 - Esther, oratorio, HWV 50b Act III, No.6
How art thou fall'n
10 - Acis and Galatea, oratorio, HWV 49 Part II
Avampo
Ferito son d'Amore
11 - Tolomeo, rè d'Egitto, opera, HWV 25 Act II, No.7
Piangi pur
12 - Orlando Paladino, opera, Act I, No.2
Mira prendi l'essempio!
Lascia Amor
13 - Orlando Paladino, Act III, No.6
Impari ognun da Orlando
O voi del mio poter
Sorge infausta una procella
14 - Deborah, oratorio, HWV 51 Act I, No.3
Barak my son
Awake the ardour
15 - Deborah, oratorio, HWV 51 Act II, No.2
Thy ardours warm
Swift inundation
16 - Deborah, oratorio, HWV 51 Act III, No.2
Tears such as tender fathers shed
17 - Athalia, oratorio, HWV 52 Act I, No.1
Ah canst thou but prove me!



David Thomas, bass
Philharmonia Baroque Orchestra
dir. Nicholas McGegan



-O-





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contents:


01. Judas Maccabaeus
I feel the Deity within...Arm, arm ye brave
02. Arm, arm ye brave
03. Te Deum in D, Dettingen
Vouchsafe, O Lord
04. Samson
Honour and arms scorn such a foe
05. Berenice
Si, tra i ceppi
06. Alcina
Verdi prati, selve amene
07. Orlando
O voi, del mio poter
08 - Sorge infausta una procella
09. Acis and Galatea
I rage, I melt, I burn!
10 - O ruddier than the cherry
11. Semele
Where'er you walk
12. Alexander's Feast
Revenge, revenge, Timotheus cries - Behold, a ghastly band
13. Giulio Cesare
Va tacito e nascosto
14. Serse
Frondi tenere e belle
15 - Ombra mai fù
16. Messiah
Thus saith the Lord
17 - But who may abide the day of His coming
18 - Why do the nations
19 - Behold I tell you
20 -
The trumpet shall sound


Bryn Terfel, bass & baritone
Scottish Chamber Orchestra
dir.Charles Mackerras