J.S.Bach - Violoncello Piccolo

14 tracks - MP3 192 Kbps - RAR 86Mb


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contents:


Partita E-dur BWV 1006
Sonata g-moll BWV 1013
Sonata a-moll BWV 1003


arranged by
Anner Bylsma
for
Violoncello piccolo

Dictionary of Medieval & Renaissance Instruments

2 CD - MP3 192 Kbps - RAR 102+91Mb


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See Medieval.org for contents

Sorry, I know it's important but there's no booklet in the RAR.

Cantus has performed an invaluable service for fans of early music by assembling a CD that demystifies the assortment of archaic instruments found in historically correct performances of Medieval and Renaissance repertoire. For anyone who has puzzled over the difference between a shawm and a bombard, a vielle and a vihuela, as well as anyone just curious about the wealth of wonderful but unfamiliar sounds in early music, this CD is a treasure. The collection groups the instruments by families (bowed strings, plucked strings, keyboards, winds, etc.), and offers tracks not only of each instrument playing by itself, but with other instruments and with voices in the most common period groupings. The performances, mostly taken from recordings in the Cantus catalog, but some made especially for this project, are clean and direct -- nothing fancy, but just right for doing the job of familiarizing the listener with the sounds of the instruments.

Pierre Robert - En Grands Motets

8 tracks - MP3 192 Kbps - RAR 118


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Chosen by Louis XIV in 1663 to conduct the music of his Chapel, Pierre Robert spent the next twenty years, in alternation with Henry Du Mont, composing the works that accompanied the daily services of the court of France. The creator with Du Mont and Lully, of the grands motets the emblematic genre of a 'French style' admired by all Europe, Robert was one of the last heirs to the great French polyphonic tradition which he brought to a high degree of contrapuntal complexity and rhetorical refinement, as can be seen in his 'Motets pour la chapelle du Roy' published in 1684. Olivier Schneebeli is Director of Les Pages and les Chantres de la Chapelle, the choir of the Centre de Musique Baroque de Versailles. Prior to joining the Centre in 1991, he and William Christie founded the choir of Les Arts Florissants for the modern debut of Lully's Atys.

contents:


De profundis
Quare fremuerunt gentes
Te decet hymnus Deus
Nisi Dominus


Dagmar Saskova, Damien Guillon
Robert Getchell, Jean-François Novelli
Alain Buet, Arnaud Richard

Les Pages & les Chantres du Centre de Musique Baroque de Versailles
Musica Florea
dir. Olivier Schneebeli

The Consort of Musicke - Anthony Rooley

19 tracks - MP3 192 Kbps - RAR 98Mb


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Orazio Vecchi: Selva di varia ricreatione
1. Se desio di fuggir
2. So ben mi c'ha bon tempo
3. Mo magari colona
4. Gioite tutti
5. De la mia cruda sorte
6. Tiridola non dormire
7. Diversi linguaggi
8. Je veu le cerf
9. Vieni o Morte
10. Cicirlanda, che comanda (Parte prima)
11. Ecco nuncio di gioia

Madrigali
12. Cipriano De Rore: Per mezz'i boschi
13. Luca Marenzio: Cantava la più vaga
14. Giovan Giacomo Gastoldi: A lieta vita
15. Francesco Orso: Il cantar novo

Mathias Hermann Werrecore: La battaglia taliana:
16. Parte I
17. Parte II
18. Parte III
19. Marenzio: Strider faceva le zampogne

Soprano: Emma Kirkby, Evelyn Tubb
Contralto: Mary Nichols
Tenore: Andrew King, Rufus Müller, Richard Wistreich

The Consort of Musicke
dir. Anthony Rooley

J.M.Molter - Concerti & Concertini

18 tracks - MP3 192 Kbps - RAR 83Mb


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contents:


Concerto A-Dur fur Diskant, Streicher & BC
Concertino A 4 D-Dur fur Traverso, Diskant, Streicher & BC
Concerto F-Dur fur Diskant, Streicher & BC
Concertino A 4 E-Moll fur Traverso, Diskant, Streicher & BC
Sonata G-Dur fur Diskant, Violin, Viola & BC
Concero G-Dur fur Diskant, Streicher & BC


Simone Eckert, diskant-viola da gamba
Hamburger RatsMusik

Antonio Vivaldi - Concerti "Alla Rustica"

18 tracks - MP3 192 Kbps - RAR 75Mb


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contents:


1 - Concerto for Strings in G major, RV 151 ''Alla rustica''
2 - Concerto for Oboe and Violin in B flat major, RV 548
3 - Concerto in C major, RV 558 ''Con molti stromenti''
4 - Concerto for 2 Violins in G major, RV 516
5 - Concerto for Oboe in A minor, RV 461
6 - Concerto for 2 Mandolins in G major, RV 532

The English Concert, dir. Trevor Pinnock
David Reichenberg, oboe - Simon Standage, violin
James Tyler & Robin Jeffrey, mandolin

Emilio de' Cavalieri - Rappresentatione di Anima et di Corpo

2 CD - MP3 192 Kbps - RAR 161Mb


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1600: Emilio de’ Cavalieri composes a work in the new style he has dubbed ‘recitar cantando’. For the first time an attempt is made to represent man’s feelings through allegory and vocal writing that is attentive to the meaning of words.

Marco Beasley: Corpo, Tempo
Johannette Zomer: Anima
Dominique Visse: Piacere
Jan van Elsacker: Intelletto
Stephan MacLeod: Mondo, Consiglio
Nuria Rial: Angelo Custode
Beatrice Mayo-Felip: Vita Mondana

Celine Vieslet, Elisabeth Dobbin, Laureen Armishaw: Anime Beate
Matthew Baker, Nicolas Achten: Anime Dannate
Harm Huson, Jürgen Banholzer, Stephan van Dyck, Vincent Lesage: Quatro del coro

L'Arpeggiata

Christina Pluhar, théorbe & direction

Zuchetto - La Troba

17 CD - MP3 192 Kbps - 17 RAR - 2.04 Gb


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This formation is led by Gerard Zuchetto and sings Occitan troubadours ballads from 12th and 13th centuries, the same Medieval songs which gave rise to the first modern literature of Europe. An Alchemy of words and sounds, emotions and accents, of Medieval sobriety and contemporary minimalism into the music, a living art to transport us to the most profound sentiment of Occitan poetry.
Higtly effective instrumentation and a subtil use of voices help to put together a performance which has won the seal of approval of the most stringent international festivals and which also demonstrate a capacity to surprise audiences unfamiliar with this kind of music.

Vol.I

CD-1

Guilhem de Peiteus
Companho farai un vers pauc convinen
Pos de chantar m'es pres talens

Jaufre Rudel
Lanquan il jorn son lonc en mai
No sap chantar qui so no di
Quan lo rius de la fontana
Quan lo rossinhols e.l folhos

Marcabru
Bei m'es quan son li frug madur
Dirai vos senes doptansa
L'autre ier a l'eissida d'abriu
L'autr'ier jost'una sebissa
Lo vers comensa
Lo vers comens quan vei del fau
Pax in nomine Domini

CD-2

Rigaut de Berbezilh
Atressi com lo leons
Atressi com l'olifants
Atressi com Persavaus
Tuit demanden qu'es devengud'amors

Berenguier de Palazol
Ab la fresca clardat
Aitai domna com ieu sai
Bona domna cui rics pretz fa valer
De la gensor qu'om vela'l mieu semblan
Domna la genser qu'om veia
Domna sitot temps vivia
Tant m'abelis jois et amors e chants
Totz temoros e doptans

CD-3

Peire d'Alvernha
Amics Bernatz de Ventadorn
Dejosta'ls breus jorn e'ls loncs sera

Bernart de Ventadorn
Ab joi mouo lo vers e.l comens
Amors e que.us es vejaire
Ara.m conselhatz senhor
Ara non vei luzir solelh
A! tantas bonas chansons
Ben ma'n perdut fai envers Ventadorn
Conortz ara sai eu ben
En consirier et en esmai
Estat ai com om esperdutz

CD-4

Bernart de Ventadorn
La doussa votz ai auzida
Lanquan folhon bosc e jarric
Lanquan vei la folha
Non es meravelha s'ieu chant
Pos prejatz me senhor
Quan l'erba fresca e'l folha par
Quan par la flors josta.l vert folha
Quan vei la flor l'erba verd'e la folha
Quan vei la lauzeta mover
Tant ai mon cor plen de joia

Vol.II

CD-5

Raimbaut d'Aurenga
Ar resplan la flors enversa
Pos tals sabers mi sortz e·m creis

Giraut de Bornelh
Leu chansonet' e vil
Non puesc sofrir qu'a la dolor
Reis glorios verais lums e clartats
S'ie us quer conselh bel'amia Alamanda

Guilhem de Sant Leidier
Pos tant mi fors' amors que m'a fach entremetre

Raimon Jordan
Lo clar temps vei brunezir
Vas vos soplei domna primierament

Folquet de Marselha
Amors merce non mueira tan sovent
A quan gen vens et amb quan pauc d'afan
Ben an mort mi e lor
En chantant m'aven a membrar

CD-6

Folquet de Marselha
Greu fera nuls om falhensa
Ja no·i s cug om qu'ieu camje mas chansos
Mout i fetz grand pechat amors
Per Dieu amors ben sabetz veramen
S'al cor plagues ben fora ueimais razons
Si tot me sui a tard aperceubut
Tant m'abelis l'amoros pensamens
Tant mou de corteza razo
Uns volers otrecujats

Arnaut Daniel
Chanso do·lh mot son plan e prim
Lo ferm voler qu·el cor m'intra

Arnaut de Maruelh
Aissi com cel qu'ama e non es amats
La franca captenensa

CD-7

Arnaut de Maruelh
La gran beutats e·l fins ensenhamens
L'ensenhamens e·l pretz e la valors
Mout eran doutz mei consir e ses tot marrimen
Si·m destrenhetz domna vos e amors

Jordan Bonel
S'ira d'amor tengues amic gaudent

Bertran de Born
Ai ! Lemosins francha terra
Chazuts sui de mal en pena
Ges de disnar no fora ueimais matins
Rassa tant creis e mont'e poia

Gaucelm Faidit
Al semblan de rei Ties
Chan e deport joi domnei e solatz
Fortz chauza es que tot lo major dam
Gent fora contra l'afan

CD-8

Gaucelm Faidit
Ja mais nuls temps no·m pot ren far amors
Lo gen cors onratz
Lo rossinholet salvatge
Mon cor e mi e mas bonas chansos
No m'alegra chants ni crit
Quoras que·m des benanansa
Si anc nuls oms per aver fin coratge
Sitot m'ai tarzat mon chant
S'om pogues partir son voler
Tant ai sofert longamen grand afan

Vol. III

CD-9

Beatritz De Dia (end 12th c.)
A chantar m'er de so qu'ieu non volria

Raimbaut de Vaqueiras (1165-1207)
Ara·m requier sa costum e son us
Ara pot om conoisser e proar
Ara quan vei verdeiar
Calenda maia
Eissament ai guerrejat amb amor
Guerras ni plachs no·m son bon
Non m'agrad'iverns ni pascors
Savis e fols umils et orgolhos

Peire Vidal (end 12th c.-early 13th c.)
Anc non mori per amor ni per al
Baron de mon dam convid
Be'm pac d'ivern e d'estiu

CD-10

Peire Vidal (end 12th c.-early 13th c.)
Ges pel temps fer e brau
Neus e gels ni plueja ni fanh
Nuls om no·s pot d'amor gandir
Plus que'l paubres que jatz e·l ric ostal
Pos tornatz sui en Proensa
Pos vezem que l'ivern s'irais
Quand om es en autrui poder
Quand om onrats torn'en grand paubreria
S'eu fos en cort ont om tengues drechura
Tard mi veiran mei amic en Tolzan

Guilhem Magret (active 1195-1210)
Aiga pueja contra mon
Enaissi'm pren com fai al pescador

CD-11

Peire Raimon de Toulouse (active 1180-1220)
Atressi com la candela
Pensamen ai e consir

Perdigon (1190-1212)
Los mals d'amor ai ieu ben tots apres
Tot l'an mi ten amors de tal faisso
Trop ai estat mon Bon Esper non vi

Aimeric de Péguilhan (ca 1175- ca 1230)
Atressi'm pren com fai al jogador
Cel que s'irais ni guerreja amb amor
En amor trob alques en que·m refranh
En greu pantais m'a tengut longamen
Per solatz d'autrui chant soven
Qui la vi en ditz

CD-12

Raimon de Miraval (ca 1165-1229)
Aissi com es genser pascors
A penas sai don m'aprenh
Ar'ab la forsa del freis
Ara m'agra ops que m'aizis
Bel m'es qu'ieu chant e coindei
Ben aja·l cortes esciens
Ben aja'l messatgier
Be m'agrada bel temps d'estiu
Cel cui joi tanh ni chantar sap
Cel que no vol auzir chansos
Chansoneta farai vencut

CD-13

Raimon de Miraval (ca 1165-1229)
Chans quan non es qui l'entenda
Contr'amor vau durs et embroncs
D'amor es totz mos cossiriers
Entre dos volers sui pensiu
Longtemps ai agut cossiriers
Res contr'amor non es guirents
Si'm fos de mon chantar parven
Sitot s'es ma domna esquiva
Tals vai mon chant enquerren
Tot quan fas de ben ni dic
Un sonet m'es bel qu'espanda

Vol.IV

CD-14

Gui d'Ussel (v.1170-av.1225)
Ben feira chansos plus sovent
En tanta guiza m mena amors
Ges de chantar no m falh cors ni razons
Si be m partetz mala domna de vos

Monge de Montaudon (actif 1193–1210)
Ara pot ma domna saber
Fort m'enoia so auzetz dire

Guilhem Ademar (actif 1190/1195–1217)
Lanquan vei florir l'espiga

Peirol (v.1160-v.1222)
Atressi co'l signes fai
Ben dei chantar pos amors m'o ensenha
Camjat ai mos consirier
D'eissa la razo qu'ieu suelh
Del sieu tort farai esmenda…

CD-15

D'un bon vers vau pensant com lo fezes
D'un sonet vau pensant
En joi que m demora
Maintas gens me mal razona
M'entencion ai tota en un vers meza
Mout m'entremis de chantar volontiers
Nuls om non s'auci tan gent
Per dam que d'amor mi venha
Quand amors trobet partit
Quoras que m fezes doler
Si be m sui luenh et entre gent estranha
Tot mon engenh e mon saber

CD-16

Uc Brunenc (actif 1190–1220)
Coindas razos novelas e plazents

Albertet de Sisteron (1194-1221)
A me non fai chantar folhe ni flors
En mon cor ai tal amor encobida
Mos coratges s'es cambiat

Pistoleta (actif 1185–1228)
Ar agues ieu mil marcs de fin argent

Guillem Augier Novella
Ses alegratge

Falquet de Romans (actif 1215–1233)
Far vuelh un nou sirventès

Cadenet (début 13e s.)
Non sai qual conselh mi prenda
S'anc fui bela ni prezada

Pons de Capduelh (actif 1190–1237)
Leials amics cui amors ten joios
Mielhs qu'om non pot dir ni pensar
S'ieu fis ni dis nula sazon
Uns gais conortz me fai gaiamen far

CD-17

Blacasset (actif 1233–1242)
Ben volgra que venques merces

Aimeric de Belenoi (1216-1242)
Nuls en res non falh

Pons d'Ortafà (v. 1170–1246)
Si ai perdut mon saber

Ug de Saint Circ (1213-1257)
Anc enemics qu'ieu agues
Nuls om non sap d'amic tro l'a perdut
Tres enemics e dos mals senhors ai

Peire Cardenal (1180-1278)
Ar me posc ieu lauzar d'amor
Rics om que greu ditz vertat e leu ment
Un sirventes novel vuelh comensar

Daude de Pradas (actif 1214–1282)
Bela m'es la votz autana

Troubadours Art Ensemble*
dir. Gérard Zuchetto

* among the others: Sandra Hurtado-Ròs, Esther Lamandier, Maurice Moncozet, Martina de Peira, Equidad Barès, Isabelle Bonnadier, Étienne Gaucher...

Dinastia Borgia (avi)

XviD AC3 DVDRiP - 25fps - 1200kbps - 80' - 9 RAR 880Mb

Towards the end of each year the Savall/Figueras family label Alia Vox outdoes itself with lavish multi-disc and hardback book sets, telling unique ancient musical stories: Christopher Columbus, Don Quixote, the pilgrim Francis Xavier, the city of Jerusalem, and the Cathar sect have all provided inspiration for previous sets, all best-sellers. This year they give us their first set with a DVD, and they explore the music and culture of Italy's infamous Borgia Dynasty(1238-1572.) The set follows their origins in Valencia, Spain, to their control over much of renaissance Italy, including making a Pope, a saint, and the infamous Lucrezia, a rumoured serial poisoner, and Cesare, whose plan to rule all of Italy collapsed in 1503. From the masterpieces of Islamic and Sephardic Spain to the glories of Venetian Gregorian chant and the crowning glories of Cristobal de Morales and Josquin des Prez, this set contains 3SACDs and a splendid "making of" DVD. Much of the music is rare and anonymous. As always with these sets, the glossy colour hardback book tells a fascinating story of the music and the history. At 400 pages, worth the price of admission alone!

In the folder you'll find the booklet, the MP3s, (previously posted here) and two sets of RAR containing this "making of": suffix FR for french subs, EN for english subs.

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The Father, the Son and the Godfather

21 tracks - MP3 192 Kbps - RAR 111Mb


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The title The Father, the Son, and the Godfather refers literally to J.S. Bach, C.P.E. Bach, and Georg Philipp Telemann, respectively; Telemann was the elder Bach's professional rival, but there seems to have been no personal enmity, and Telemann served as Bach's son's godfather. That's about all there is to the concept of this BIS release, but the appeal of the sheer variety of the music is enhanced by the knowledge that it was all written between the 1720s and the 1750s, and all came out of roughly the same milieu. This is a kinetic, exciting group of pieces that bounce off each other in interesting ways. Sweden's Paradiso Musicale, named for harpsichordist Anna Paradiso, is a crack historical-instrument group that individualizes these pieces to the maximum, which is just what's desired. The images of them on the packaging and graphics are purely fanciful; the group includes only a recorder player, cellist, violist, and harpsichordist. Highlights include the folkish "Polish" finales of the two Telemann sonatas included, the subtle interplay between the unusual bass recorder and the viola in the C.P.E. Bach Trio sonata in F major, Wq 163, and the recorder playing of Dan Laurin in general. The chilly sound from Sweden's Länna Church represents a misstep for BIS; this quintessentially domestic music requires a gentler sound environment. That aside, this is a near-ideal Baroque chamber music recital that gives the music the weight and distinctiveness it deserves.

This is the first recording of Paradiso Musicale, an ensemble featuring the acclaimed recorder player Dan Laurin and made up of an unusual combination of instruments.

contents:


Georg Philipp Telemann
Sonata for recorder, viola da gamba & continuo in D minor, TWV 42:d7

Johann Sebastian Bach
Sonata for flute & keyboard in B minor, BWV 1030

Carl Philipp Emanuel Bach
Trio sonata for viola, bass recorder & harpsichord in F major, H. 588, Wq. 163

Georg Philipp Telemann
Sonata for cello & continuo in D major (GMM No. 16), TWV 41:D6

Carl Philipp Emanuel Bach
Sonata for viola da gamba & continuo in G minor, H. 510, Wq. 88

Georg Philipp Telemann
Sonata for recorder, viola da gamba & continuo in G minor, TWV 42:g9


Paradiso Musicale

Dan Laurin, recorder
Henrik Frendin, viola
Mats Olofsson, cello
Anna Paradiso, harpsichord

Dinastia Borgia

3 CD - MP3 192 Kbps - RAR


CD I, II, & III (325Mb)
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Full booklet (407Mb)
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Just Covers & Tracklists (20Mb)
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contents:


Disc: 1

1. Billadi Askara Min adbi Llama, traditional mowachah
2. Le Ductia
3. Saltarello, for ensemble (after G. Dufay)
4. Da pacem Domine, antiphon for 3 voices, K. 34
5. Deserts d'amichs, de béns e de senyor (Recitation)
6. Ce jour de l'an, rondeau for 3 voices
7. Correno multi cani, strambotto-caccia, CM 140
8. Zappay lo campo, strambotto, CM20
9. Ave maris stella, hymn for 3 voices (2 versions)
10. Makam Muhayyer 'Küme' usules Düyek - A cemler, war march for ensemble
11. Exultet caelum laudibus, vespers hymn (66)
12. Adoramus te Domine, for 4 voices, CM 4
13. Viva el Gran Re Don Fernando
14. Miserere nostri / Vexilla Regis, for 4 voices, CM 106
15. Le gran dolor (Recitation)
16. El cervel mi fa
17. Patres nostri peccaverunt, for 4 voices
18. De tous biens plaine, chanson
19. Ottoman Tasim & Dance, for kaval & percussion
20. Viva el gran Re Don Fernando con la Reina Don Isabella
21. Lamento per la morte di Lorenzo Il Magnifico (Recitation)
22. La rosa enflorece, song

Disc: 2

1. Salva regis Mater / Hic sacerdos, for vocal ensemble
2. Adonay malakh geout labech (Psalm 93) (Portugal)
3. Elogio de Lucrecia (Recitation)
4. Nymphes des bois/Requiem aeternam/Deploration de la Mort de Jehan Ockeghem, lament for 5 parts
5. Fortuna Desperata
6. Absalon, Fili Mi, motet for 4 parts (poss. spurious)
7. Un Cavalier Di Spagna, for consort
8. Torture and Execution of Savonarola, for drums & bells
9. Birth of Rodrigo, the son of Lucrezia and Alfonso ('Une musique de Buscaye'), for ensemble (after Josquin Desprez)
10. Donna, questa è la mia voglia
11. Si abrá en estre baldrés, villancico
12. Amor la tua virtute, madrigal (doubtful)
13. Absolve quesumus/Requiem aeternam, motet for 6 parts
14. Pavana alla ferrarese, for lute
15. Éloge de la duchesse de Ferrara (Recitation)
16. Aquí yaze u poco tierra, epitaph for voice, soprano viol & bass viol
17. Castalios latices ploranda (Recitation)
18. Missa 'Hercules Dux Ferrariae', for 4 parts: Agnus Dei
19. The Trumpets of the Apocalypse, fanfare for ensemble
20. Sibil-la Valenciana (Valencia) (reconstructed by J. Savall after Alfonso de Mondéjar & Bartolomé Cárceres)

Disc: 3

1. Fantasia 1
2. La Battaglia, for lute
3. Proch Dolor / Pie Jhesu, for 7 voices (attributed)
4. Todos los buenos soldados (Fragmento de la Ensalada 'La Guerra')
5. Fantasia No. 2 for lute
6. Tau garcó la durundena
7. Meis olhos van por lo mare, song
8. Égloga IIII: Aquella voluntad honesta y pura (Recitation)
9. Jubilate Deo Omnis Terra, for 6 voices
10. O Voy
11. Credo
12. Kyrie No. 1 for lute
13. Alma, buscarte has en Mi, contrafacta of 'Dama, mi grande querer' (CMP)
14. Lachrimosa dies illa, motet
15. Mille regretz, song for 4 parts
16. The Turks Attack Malta, traditional Turkish improvisation & dance for ensemble
17. Fanfare
18. Psalm 35: Deba contre mes debateurs, for vocal ensemble
19. Requiem: Pie Jesu Domine
20. El Rey y por S.M. Don Luis Carrillo, page 34 (Valencia 1611) (Recitation)
21. Lament for the Expulsion of the Moors, improvisation for ensemble
22. Tiento XVII de 'Pange lingua' 5th tone punto alto


Hesperion XXI
dir. Jordi Savall

G.P.Telemann - Wassermusik - 3 Concertos

22 tracks - MP3 192 Kbps - RAR 82Mb


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contents:


Ouverture C-Dur "Hamburger Ebb' und Flut"

Concerto B-Dur
(2 rec, 2 ob, 2 bsn, 2vl, vlc, 2 clv)
Concerto F-Dur
(2 rec, 2 ob, 2 bsn, 2vl, vlc, 2 clv)
Concerto a-moll
(2 rec, 2 ob, 2 bsn, 2vl, vlc, 2 clv)


Musica Antiqua Koln
Reinhard Goebel

J.S.Bach - Weihnachtsoratorium [Christmas Oratorio]

3 CD - MP3 192 Kbps - 3 RAR (81+78+73Mb)


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Recorded
Feb-Mar, June 1965


Gundula Janowitz, Soprano [Arias, Angel]
Christa Ludwig, Contralto [Arias]
Fritz Wunderlich, Tenor [Arias, Evangelist]
Franz Crass, Bass [Arias, Herodes]


Münchener Bach-Chor
Münchener Bach-Orchester
Karl Richter

Vivaldi - Opera Arias

14 tracks - MP3 192 Kbps - RAR 148Mb


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contents:

01 Combatta un gentil cor 4:30
[Lucio – Tito Manlio, atto II, scena XI]

02 Leggi almeno, tiranna infedele 5:40
[Caio – Ottone in villa, atto II, scena VI]

03 Da due venti un mar turbato 3:15
[Ippolita – Ercole sul Termodonte, atto II, scena I]

04 Non ti lusinghi la crudeltade 8:48
[Lucio – Tito Manlio, atto II, scena I]

05 Rete, lacci e strali adopra (Geminiano Giacomelli) 4:14
[Filindo – Dorilla in Tempe, atto II, scena IX]

06 Se garrisce la rondinella 6:11
[Ersilla – Orlando finto pazzo, atto II, scena XIV]

07 Ombre vane, ingiusti orrori 6:34
[Costanza – Griselda, atto III, scena V]

08 Fra le procelle del mar turbato 4:43
[Lucio – Tito Manlio, atto II, scena XVIII]

09 Dite, ohimè! Ditelo, al fine 2:38
[Morasto – La fida ninfa, atto III, scena X]

10 Nacque al bosco e nacque al prato 4:07
[Leocasta – Il Giustino, atto I, scena VI]

11 Tu dormi in tante pene 8:40
[Servilia – Tito Manlio, atto III, scena I]

12 Gelosia, tu già rendi l’alma mia 3:12
[Caio – Ottone in villa, atto I, scena XI]

13 Se mai senti spirarti sul volto 10:26
[Cesare – Catone in Utica, atto II, scena IV]

14 Dopo un’orrida procella 4:27
[Ottone – Griselda, atto III, scena VI]

Roberta Invernizzi, soprano
La Risonanza
Fabio Bonizzoni, harpsichord & direction

The Hilliard Collection

81 CD - MP3 192 Kbps - RAR 8.9Gb


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DISCOGRAPHY
(Not available at the moment are highlighted in green)
(refer to the number to pinpoint your downloads)

01-Music for Tudor Kings. Henry VII and Henry VIII - New London Consort
02-The Romantic Englishman
03-Songs for a Tudor King (Fayrfax, Cornysh)
04-Power, Leonel - Missa Alma redemptoris mater & Motets
05-17th & 18th Century Songs & Catches
06-Monte, Philippe de - Sacred & Secular Works
07-Isaac, Heinrich - Sacred & Secular Works
08-Rore, Cipriano de - Le Vergine
09-Dunstable, John (DUNSTAPLE) (c.1390-1453) Motets
10-Medieval English Music
11-Marenzio Madrigals
12-36-Josquin Desprez - Motets et Chansons
13-Lassus, Orlande de - Motets & Chansons
14-Schutz, Heinrich - Matthaus Passion
15-Byrd, William - Masses for 3, 4 & 5 voices, Ave verum
16-Bach, J.S. - Motetten (1984)
17-Ockeghem, Johannes - Requiem (Missa pro defunctis) - Missa 'Mi-mi' (Missa quarti toni)
18-Sumer is Icumen in - Medieval english songs
19-The Singing Club - Ravenscroft, Lawes, Purcell, Arne
20-Palestrina, Giovanni - Canticum canticorum - Spiritual madrigals [2cd]
21-Schutz, Heinrich - Opus ultimum
22-Lassus, Orlande de - Penitential Psalms + Kees Boeke Consort
23-Dufay, Guillaume - Missa 'L'homme arme'. Motetts
24-Part, Arvo - Arbos
25-Byrd, William - Songs of Sundrie Natures + London Baroque
26-Tallis, Thomas - The Lamentations Of Jeremiah
27-Machaut, Guillaume de - Messe De Notre Dame
28-Sacred and Secular Music from Six Centuries
29-Music from the time of Christian IV, Church music at court and in town
30-44-English and Italian Renaissance Madrigals
31-Mozart - Vespers k321 & 339. Ave Verum Corpus
32-Part, Arvo - Passio
33-Ockeghem, Johannes - Missa Prolationum - Marian motets
34-Dowland, John - Ayres (with score)
35-Perotin (c. 1160-1240)
36-12-Desprez, Josquin - Missa Hercules Dux Ferrariae. Motets et Chansons [2cd]
37-German romantic partsongs - Lieder fur Mannerstimmen
38-Gesualdo Principe Di Venosa, Carlo - Tenebrae - Responsoria
39-Part, Arvo - Miserere + Orchester der Beethovenhall Bonn
40-Rue, Pierre de La - Missa Cum iocunditate, Motets
41-The Old Hall Manuscript
42-Spain & The New World
43-Morales, Cristobal De - Missa Mille Regretz (1991 Sevilla)
44-30-English and Italian Renaissance Madrigals
45-Frye, Walter - Walter Frye
46-Codex Specialnik
47-Gavin Bryars Vita Nova
48-Jan Garbarek & The Hilliard Ensemble (1994) Officium
49-Lassus - Missa pro defunctis
50-Giya Kancheli - Abii ne viderem
51-Rolf Riehm Aprikosenb„ume gibt es, Aprikosenb„ume
52-A Hilliard Songbook - New Music For Voices
53-Part, Arvo - Litany
54-Lilies - Soundtrack By Mychael Danna
55-Sweet Love, Sweet Hope
56-Hilliard Live 1 - Perotin and the ars antiqua
57-Hilliard Live 2 - For Ockeghem
58-Hilliard Live 3 - Antoine Brumel
59-In Paradisum - Music of Victoria and Palestrina
60-Bryars, Gavin - Cadman Requiem, Adnan Songbook, etc.+ Fretwork
61-Hilliard Live 4 - Dufay - Se la Face ay Pale
62-Jan Garbarek & The Hilliard Ensemble - Mnemosyne
63-Andrew Keeling Quickening the Dead
64-Lockerby Memorial Concert
65-Bondt, Cornelis De - Bloed + Nederlands Blazers Ensemble
66-Bach, J.S. - Morimur
67-Bach, J.S., Webern, Anton - Ricercar
68-Machaut, Guillaume de - Motets
69-Tigran Mansurian Monodia
70-Gombert, Nicolas - Missa Media Vita In Morte Sumus
71-Hartke - Tituli - Cathedral in the Thrashing Rain
72-Internationale Barocktage Stift Melk 2003 - 2004
73-Rihm - Sciarrino - Moody - Metcalf (Singer Pur)
74-Thomas Druckman Hartke
75-Bach, J.S. - Motetten 2003
76-Luca Belcastro ... germinacion y canto
77-Thy Kiss Of A Divine Nature - The Contemporary Perotin (Bonus CD)
78-Audivi Vocem (English Renaissance Music)
79-Arvo Part Lamentate
80-Roger Marsh Albert Giraud's Pierrot Lunaire
81-James MacMillan Quickening Three Interludes from 'The Sacrifice'
82-Trigonale 2007 - Festival der Alten Musik
83-Schnittke - Symphony No.9
84-Guido Morini - Una Iliade
85-Officium Novum
86-Boris Yoffe - Song of Songs
87-Gesualdo - Quinto Libro di Madrigali
88-Night Music Voice in the Leaves

J.S.Bach - Motets BWV 225-229

5 tracks - MP3 192 Kbps - RAR 103Mb


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contents:


01 - Singet dem Herrn ein neues Lied - BWV 225
02 - Der Geist hilft unser Schwachheit auf - BWV 226
03 - Jesu, meine Freude - BWV 227
04 - Furchte dich nicht - BWV 228
05 - Komm, Jesu, komm - BWV 229


Regensburger Domspatzen
Hanns-Martin Schneidt

J.S.Bach - Cantatas BWV 211 & 212

34 tracks - MP3 192 Kbps - RAR 84Mb


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contents:


Coffee cantata (Kaffee-kantate)
Peasant cantata (Bauern-kantate)


Kammerorchester Berlin
Peter Schreier

G.P.Telemann - Concerto in D

21 tracks - MP3 192 Kbps - RAR 97 Mb


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contents:


Concerto for 3 Horns, Violin and Orchestra
"La Bouffonne" Suite
Grillen-Symphonie
Aelster-Ouverture


Collegium Musicum 90
dir. Simon Standage

Antonio Vivaldi - Concerto Rustico

20 tracks - MP3 192 Kbps - RAR 97Mb


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contents:


Concerto in Sol maggiore per archi e BC RV 151 'Alla Rustica'
Concerto in Do maggiore per flautino, archi e BC RV 441
Concerto in Re maggiore per viola d'amore archi e BC RV 392
Concerto in re minore per viola d'amore, liuto, archi e BC RV 540
Concerto in Re maggiore per liuto, 2 violini e BC RV 93
Concerto in re minore per 2 oboi, archi e BC RV 535

Academia Montis Regalis
dir. Alessandro de Marchi

J.S.Bach - Cantatas & Arias

20 tracks - MP3 192 Kbps - RAR 105Mb


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contents:


Cantata "Ich habe genug," BWV 82 (BC A169)
Cantata No. 4, "Christ lag in Todes Banden," BWV 4 (BCA 54): Sinfonia
BWV 43 (BC A77): Recitativo: Es will der Höchste sich ein Siegsgepräng bereiten
BWV 43 (BC A77): Aria: Ja tausend mal tausend begleiten den Wagen
BWV 55 (BC A157)
BWV 18 (BC A44): Sinfonia
Trauer-Ode: BWV 198 (BC A120): Aria. Der Ewigkeit saphirnes Haus
Easter Oratorio BWV 249 (BC D8): Aria. Sanfte soll mein Todeskummer
BWV 7 (BC A177): Recitativo: Dies hat Gott klar
BWV 7 (BC A177): Aria: Des Vaters Stimme ließ sich hören
BWV 139 (BC A159): Aria: Gott ist mein Freund
Peasant Cantata BWV 212 (BC G32): Sinfonia

Ian Bostridge, tenor
Europa Galante
dir. Fabio Biondi

George Frideric Handel - Concerti Grossi Opus 3

Here, in my humble opinion, we're talking about the Encyclopedia of Concerto Grosso: everything one wants to know about this musical form is depicted in these masterpieces courtesy of the Caro Sassone. So I decided to scout the net trying to find out some interesting versions of this masterpiece.

OK, Richter's recording could wrinkle some noses but please consider that it happened in 1971 and anyway this is the first version I ever listened to so I'm pretty partial about it.

Gardiner's is for Giovanni & Gustavo (if my memory's good).

Egarr's is really good and I posted it before.

Pinnock's is a Classic (Capital "C")

Lamon's is a mouthful of fresh air.

Harnoncourt's is what you expect...

Goodman's is my favourite, listen to it and let me know... let's start.

-=o=-

English Baroque Soloists
dir. Sir John Eliot Gardiner
1981
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(89Mb)

-=o=-


Concentus Musicus Wien
dir. Nikolaus Harnoncourt
1981
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(98Mb)

-=o=-


The Brandenburg Consort
dir. Roy Goodman
1992
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(112Mb)

-=o=-


The English Concert
dir. Trevor Pinnock
1992
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(123Mb)

-=o=-


Tafelmusick
dir. Jeanne Lamon
(~1991)
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(87Mb)

-=o=-


Academy of Ancient Music
dir. Richard Egarr
2007
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(100Mb)

Booklet (16Mb)
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-=o=-


Munchener Bach-Orchester
dir. Carl Richter
1971
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(98Mb)

-=o=-


Early Minkowsi, when he and his Musicians du Louvre were becoming known. This version of the concerti grossi was awarded a diapason d'or by Diapason magazine in France.
1992
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(98Mb)

-=o=-

G.P.Telemann - Harpsichord Overtures

21 tracks - MP3 192 Kbps - 2 RAR (80+29Mb)


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contents:

6 Ouverturen nebst zween Folgesatzen
bei jedweder , Franzosisch, Polnisch
oder sonst tandelnd und Welsch
TWV 32

Concerto in B minor
App. TWV 33:1

Harald Hoeren, harpsichord

Oboe Romantico (Vinyl rip)

3 tracks - MP3 256 Kbps - RAR 73Mb

LP rip

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Contents:

Vincenzo Bellini
Concerto in Mi bemolle

Johann Nepomuk Hummel
Introduzione, tema e variazioni in fa, op.112

Johann Wenzeslaus Kalliwoda
Concertino in Fa, op.110

Han De Vries, oboe
Amsterdam Philarmonic Orchestra
dir. Anton Kersjes

Vivaldi - Mancini - Barbell - Flute Concertos

28 tracks - MP3 192 Kbps - RAR (112Mb)


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Contents:

Antonio Vivaldi
Concerto for recorder, 2 violins & continuo in A minor, RV 108
Concerto for flute, violin & continuo in D major, RV 84
Concerto, for flute, 2 violins & continuo in G major (attr.), RV 102
Concerto for flute, 2 violins & continuo in D major (attr.), RV 89
Sonata for 2 violins & continuo in D minor ("La follia"), Op. 1/12, RV 63
Francesco Mancini
Sonata for recorder in E minor
Francesco Barbella
Sonata for recorder in C major
Francesco Mancini
Sonata for Recorder in d minor


Musica Antiqua Koln
Reinhard Goebel

Gudrun Heyens: Recorder (1-3,16-28)
Reinhard Goebel, Hajo Bass: Violins (15)
Wilbert Hazelzet: Transverse Flute (4-14)

Hesperion XX - El Barroco Espanol

14 tracks - MP3 192 Kbps - RAR 73


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Spanish music flourished in the 17th century, yet only now, after two centuries of neglect, are we beginning to realize the greatness of this music. Throughout the Iberian peninsula Spanish composers, singers and instrumentalists have always enriched the lives of their people, but so popular was the music of the 17th century that it was copied outside Spain in Italy, France, Holland, England and even America.

While not the only place, the court in Madrid was the focal point of this musical activity from the beginning of the 17th century. The capilla real included 30 or 40 men who sang, composed or played keyboard instruments, the harp, the "violon" (viola da gamba), the violin, and various wind instruments. It provided music for all religious and nonreligious occasions at court, sometimes supplemented by city musicians from Madrid and elsewhere in the realm; and it also assisted at municipal festivities outside court whose magnificence required the skills and numbers of the best musical group in Spain. There were also gifted musicians at the two chief royal monastery-convents: Descalzes Reales and Encarnacion. Men of much simpler outlook and ability served the five Madrilenean parroquial churches, several other monasteries, and the city. Outside Madrid elaborate capillas were to be found in Cathedrals and monasteries in such places as Valladolid, Segovia, Burgos, Palencia, El Escorial, Barcelona, Valencia, Seville, etc.

Religious music dominated. Besides Latin liturgical pieces there were primarily the countless villancicos, and Spanish sacred organ music reached new heights in the hands of Correa de Arauxo (c. 1576-1654) in Jaen and Seville and Cabanilles in Valencia. But there was also much secular music. The tono humano (secular song), which often was intended to be sung as part of a zarzuela or opera, consists of a series of stanzas (coplas) sung to the same music; usually there is also a refrain (estribillo) which precedes and follows each copla. Most tonos are for one voice with accompaniment of basso continuo (lute, harp, guitar or harpsichord with violon) and occasionally obligato instruments (violin, oboe). Early in the 17th century, however, secular songs are usually polyphonic vocal pieces (romances, letras and other poetic types), collected in cancioneros, or guitar pieces with improvised vocal lines. They customarily have instrumental ritornellos (frequently termed pasacalla, folia, ruggiero, or chacona), a practice which was less common in the second half of the century. Only in the middle of the century did the classical tono humano as described above begin to appear, and it is this song which is represented in this recording.

One of the most popular composers in the 17th century in Spain was Juan Hidalgo. A member of the capilla real from about 1631 until his death in 1685, he was primarily a harpist and harpsichordist As a composer he attained considerable fame for his tonos humanos and for his dramatic music. He worked closely with Calderon de la Barca, the principle mid-century court poet and dramatist, with whom Hidalgo helped create the earliest Spanish operas c. 1600. In the operas Hidalgo incorporates the Italian recitative style as well as more traditional strophic arias and choruses. For the Spanish Queen Mother's birthday on December 22,1672, Hidalgo composed music for Juan V6lez de Guevara's "Los celos hacen estrellas", which may be the earliest zarzuela whose music survives intact The five tonos humanos on this recording are typical of Hidalgo's music. On the one hand the short "Ay que me rio de amor" (3 coplas and estribillo) is folklike: triple dance rhythm with hemiolas, small range, syllabic. On the other hand the long "Ay corazon amante" (6 coplas and estribillo) is Italianate: ornate runs that paint the words "exciting the sea into waves" (alborotado el mar en olas). "Con tanto respecto adoran" (5 coplas and estribillo), "Peynandose estaba un olmo" (only 1 copla and the estribillo survive), and "Atiende y da" (6 coplas and estribillo) have considerable motivic development that demonstrates Hidalgo's artistic virtuosity.

Few musicians can claim the notoriety that surrounds the name of Jos6 Marin, perhaps the greatest Spanish song writer. Born c. 1619, he was an ordained priest serving in the Encarnacion Monastery when, in 1654 and again in 1656, as legend has it, he was imprisoned, accused of robbery and several murders, whipped, unfrocked, and banished from Madrid for ten years (the last sentence of which was not completely carried out since he was again in Madrid in 1657). Little else is known about him, but he was sufficiently worthy to merit an obituary in the Gaceta de Madrid on March 17,1699, where his age is given as 80 and it is stated that he was "known in and outside Spain for his rare skill in composition and performance." All Marin's surviving works are tonos humanos, about 60 for one voice and two for two voices, accompanied by guitar or basso continuo. "Aquella sierra nevada" survives in two versions. The one used here is for solo soprano accompanied by a guitar of 5 strings (Fitzwilliam Ms.); it has 6 coplas with an instrumental ritornello at the end of each copla, and there is no estribillo. The other version is a duo for soprano and tenor with basso continuo accompaniment (Madrid Bibl. nac. Mus. 3881, no. 33); it has no ritornello but, in addition to the 6 coplas, whose soprano music is the same as that in the Fitzwilliam Ms., it does have an estribillo, Marin sings in glorious rapture over the seasonal changes in nature, "but in my sorrow there is no change."

Juan del Vado flourished in Madrid from 1660 to the 1680's. He was both organist and violinist in the capilla real and came from a family of violinists (his brother Bernardo joined the capilla real as violinist in 1648 and Felipe del Vado, probably a relative and wrongly identified as Juan by some scholars, joined as violinist in 1633). Although famous as a composer of secular tonadas during his own lifetime, he is known today for a large amount of sacred music, principally in two large manuscripts in the Madrid Bibl. nac. His tonos can be found in the Cathedrals in Segovia and Valladolid and in libraries in Barcelona, Madrid, Munich and New York. "No te embarques" warns of the lure of Sirens, whose voice and harmony can destroy one. It consists of two coplas surrounded by an estribillo.

"Dexa la aljava y las flechas" by the unknown composer De Milanes, is a typical tono with a long estribillo and 4 coplas; it also has a final refrain. Syllabic except for a poignant "Ay" in the estribillo, it is addressed to Cupid, the all-powerful one.

The last great maestro in the 17th century capilla real was Sebastian Duron. After a successful career as organist in the Cathedrals of Seville (1680-1685), Burgo de Osuna (1685-1686) and Palencia (1686-1691), Duron became the successor to Jose Sanz as second organist of the capilla real. His fame as an organist, however, was greatly surpassed by his fame as a composer of sacred vocal music (archives in Spain, Latin America and elsewhere are full of these Latin and Spanish works) and as a composer of zarzuelas and operas for the royal theatre, of which he became a director. In 1706 when Carlos II was forced from the throne of Spain, the loyalist Duron was driven into exile in southern France, where he spent the remainder of his life. He was a prolific composer whose works sometimes are traditional Spanish types - semi-sacred villancicos and tonos humanos - but at other times new Italian types-cantatas resembling those of Alessandro Scarlatti with da capo arias and recitatives. The latter were often so florid that his contemporaries criticized Duron for introducing too many Italianisms into Spain, though surely Hidalgo and others had already made much use of at least some recitative and other Italian devices. "Sosieguen, descansen" is not so radical a departure from Dur6n's Spanish predecessors' music for zarzuelas. It is a segment of the comedia heroica "Salir el amor del mundo" (which may be the same as the very early 1680 zarzuela "Venir el amor al mundo"), a fiesta in two acts (jornados) with a preliminary loa, performed before the king. It is traditional in that it opens and closes with an estribillo and includes inbetween three coplas; it is forward looking in that it also includes a dramatic recitative after the three coplas and before the return of the estribillo. The estribillo uses expressive musical intervals, especially a downward leap. A change of meter from duple to triple distinguishes each copla here from the traditional copla which is in only one meter.

Juan Cabanilles was the greatest Spanish organist of the 17th century. Born in Algemesi (near Valencia) on September 5 or 6, 1644, he was appointed first organist at the Cathedral in Valencia in 1665, where he remained for the rest of his life.

Apparently a condition of his job was for him to become a priest, for one month after his appointment he started working on minor orders and was ordained on September 22, 1668. He was not only a famous composer and performer in his own time but also a highly respected teacher. Pupils came from all over Spain and France, and some of them helped fashion keyboard styles in the 18th century. Cabanilles's surviving compositions are almost exclusively sacred keyboard works, though there are eight liturgical vocal works (including a Mass) found today in Valencia and Barcelona. He wrote hundreds of organ verses (i.e., organ arrangements of or accompaniments to psalms, hymns, Mass sections, the Magnificat, etc.), 183 tientos, 6 toccatas, 5 galliards, pasacalles, batalles, paseos and 1 corrente. The keyboard instrument was probably organ for most of these pieces, but performance on the harpsichord would have been a likely option for any of them and the likely choice for the secular galliards and corrente. The two works performed here - a toccata and a galliard - demonstrate Cabanilles's extraordinary inventiveness in harmony and figuration. The short toccata is basically homophonic; in two sections, the first is with simple elaboration of the chords and the second, which begins without any break, is a faster, more complicated elaboration, with rapid modulations. The galliard is in duple meter and thus has no tie to the well-known 17th-century dance of that name in triple meter. It is a long set of variations, far exceeding the toccata in complexity and intensity, and it is one of Cabanilles's most brilliant works.

Antonio Martin y Coll was one of the leading Spanish organists of the next generation. He studied at the Franciscan Monastery San Diego in Alcala de Heneres where he also was organist, and later he served as first organist at the Monastery San Francisco el Grande in Madrid, remaining there until his death. He published five large volumes of music, mostly for the organ (1706-1709). Volumes 1-4 contain almost 2000 works by other, mostly anonymous composers, and present a good sampling of 17th-century Spanish organ music. Volume 5 contains Martin y Coil's own works, mostly verses. Not all the works are intended for the organ; volume 5 includes Martin y Coll's treatise on keyboard instruments in general and the harp, which suggests that many of the pieces might be performed on any keyboard instrument or the harp, and some of the pieces in the earlier volumes actually designate other instruments. Furthermore, it is possible that the secular works such as the three on this recording would have been just as appropriately played on gamba, with harpsichord or lute and violon as sustaining instrument, as on the organ. The first diferencias (variations) will immediately remind the listener of Corelli's more famous setting of the same harmonic bass "La Folia".

The Chacone and Canary are also harmonic bass patterns. The Chacone is based on the pattern G - F - E flat -D - D - G. The Canary, taken from a famous late-16th-century court dance, is the shortest of the three variations: the bass pattern is D - G - F sharp - E - D.

-John H. Baron, 1978


1 - Dexa Aljava - De Milanes
2 - Aquella Sierra Nevada - Jose Marin
3 - Peynandose Estaba Un Olmo - Juan Hidalgo
4 - Diferencias Sobre Las Folias - Antonio Martin y Coll
5 - La Chacona - Anonymous
6 - Canarios - Anonymous
7 - Atiende y Da - Juan Hidalgo
8 - Ay Corazon Amante - Anonymous
9 - Sosiegen Descansen - Sebastian Duron
10 - Toccata - Juan Cabanilles
11 - Gallarda - Anonymous
12 - Con Tanto Respecto Adoran - Juan Hidalgo
13 - No Te Embarques - Juan Del Vado
14 - Ay Que Me Rio De Amor - Juan Hidalgo


Hesperion XX

Christophe Coin (Violoncello)
Hopkinson Smith (Guitar)
Montserrat Figueras (Soprano Voice)
Ton Koopman (Harpsichord)
Jordi Savall (Viola Da Gamba)

Franz Joseph Haydn - Complete String Quartets

MP3 192 Kbps - 23 CDs - Notes, front & back covers


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CD 1: Opus 1, N°1-4
CD 2: Opus 1, Opus 2
CD 3: Opus 2, Opus 42
CD 4: Opus 9, N°1,3,4
CD 5: Opus 9, N°2,5,6
CD 6: Opus 17, N°1,3,4
CD 7: Opus 17, N°2,5,6
CD 8: Opus 20, N°1-3
CD 9: Opus 20, N°4-6
CD 10: Opus 33, N°1,2,5
CD 11: Opus 33, N°3,4,6
CD 12: Opus 50, N°1-3
CD 13: Opus 50, N°4-6
CD 14: Opus 54, N°1-3
CD 15: Opus 55, N°1-3
CD 16: Opus 64, N°1-3
CD 17: Opus 64, N°4-6
CD 18: Opus 71, N°1-3
CD 19: Opus 74, N°1-3
CD 20: Opus 76, N°1-3
CD 21: Opus 76, N°4-6
CD 22: Opus 76, N°1-2
CD 23: Opus 51, Opus 103


Kodaly Quartet

Antonio Vivaldi - Concerti e Cantate

22 tracks - MP3 192Kbps - RAR 104Mb


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contents:

Concerto per archi in Do maggiore RV117
Cantata 'Amor, hai vinto' per alto & archi RV683
Concerto per violoncello in la minore RV422
Concerto per archi in mi minore RV134
Cantata 'Cessate, omai cessate' per alto & archi RV684
Concerto per violino e archi n° 8 in re minore Op 4 RV249
Concerto per archi 'Alla rustica' in Sol maggiore RV151

Sara Mingardo, alto
Concerto Italiano
dir. Rinaldo Alessandrini

Antonio Vivaldi - Salve Regina

7 tracks - MP3 192 Kbps - RAR 97Mb


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Contents:

Salve Regina RV 616
Introduction au Miserere RV 641
Concerto per Violino RV 581
Introduction au Gloria RV 637
Salve Regina RV 618

Gerard Lesne, alto
Fabio Biondi, violin
Il Seminario Musicale

Hasse - Sonatas and Trio Sonatas

24 tracks - MP3 192 Kbps - RAR


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Hasse: Sonatas and Trio Sonatas represents the maiden voyage for decade-old period instrument ensemble Epoca Barocca on the Chandos label. For the occasion, Epoca Barocca has elected to perform six previously unrecorded chamber works of late Baroque composer Johann Adolf Hasse, which have scrupulously been sought out in manuscripts and early prints canvassed from the libraries of Europe. Hasse's own library of compositions perished in a fire during the bombardment of Leipzig by forces under Frederick the Great in 1760, so in Hasse's case it is hard to know where the good stuff is and how much of it is left. Epoca Barocca is to be commended for making this effort, and its interpretation of this music is top drawer.

contents:


Trio Sonata in F major (arr. for oboe, violin & BC)
Trio Sonata in E minor (arr. for oboe, violin & BC)
Violin Sonata in E minor, Op. 5, No. 5
Violin Sonata in G major, Op. 2, No. 4 (arr. for oboe & BC)
Sonata in F major for Chalumeau, Oboe, Bassoon & BC
Trio Sonata in D major (arr. for oboe, violin & BC)


Epoca Barocca

Vivaldi - New Discoveries II

18 tracks - MP3 192 Kbps - RAR 95Mb


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Will we ever hear Feraspe, the last opera Vivaldi composed for Venice, in the autumn of 1739? Or the patriotic strains of the Adelaide he presented in Verona in 1735? Will we have the good fortune of discovering at last those 'Brno' violin concertos of whose existence we learn and whose incipits we may read in an inventory of 1752 but which, like the two operas mentioned, are today lost? Examination of the Ryom catalogue1 reveals so many losses amid the prolific output of the indefatigable Venetian that one catches oneself dreaming of all those buried treasures, hopelessly missing pieces from one of the most fascinating jigsaw puzzles in musical history. Fortunately, the most recent discoveries, some due to kindly chance, others to the tireless prospecting work of Vivaldian archaeologists, keep one's optimism alive. It must be said that the new millennium began under favourable auspices with the unearthing of the score of Motezuma in Kiev and the arias of La costanza trionfante in Gloucestershire, then a Dixit Dominus and a Nisi Dominus in Dresden, followed by the discovery of fragments of Argippo in Regensburg. And the pace has shown no signs of slowing down since then. Three years after the release of the CD New Discoveries, which enriched the Vivaldi Edition with an initial selection of miraculously recovered gems, the harvest is again abundant enough to nourish a second volume of Vivaldian revelations. And we may marvel anew at these jewels that have escaped from their long oblivion and have been unearthed for us all over Europe.

contents:


Concerto in re minore ‘Il Gran Mogol’ RV 431a
per flauto traversiere,archi e basso continuo
Aria ‘Son nel mar d’aspri tormenti’
da L’Inganno trionfante in Amore, RV 721, II.10
Aria ‘S’odo quel rio che mormora’
da L’Inganno trionfante in Amore, RV 721, II.2
Concerto in la maggiore RV 817
per violino principale, archi e basso continuo [Dresda]
Aria ‘Palpita il core, e freme’
da L’Inganno trionfante in Amore, RV 721, I.8
Aria ‘Langue il fior su l’arsa sponda’
da L’Inganno trionfante in Amore, RV 721, II.13
Sonata in re maggiore RV 816
per violino e basso continuo
Aria ‘Vaghe luci, luci belle’
da Ipermestra, RV 722, I.1
Sonata in do maggiore RV 815
per violino e basso continuo

Ann Hallenberg, soprano
Anton Steck, violino
Alexis Kossenko, flauto traversiere

Modo Antiquo
Federico Maria Sardelli, direttore


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
VIVTDP48 - Concerti per Fagotto II
VIVTDP49 - Teuzzone
VIVTDP50 - Sonate da Camera a tre, opus 1
VIVTDP51 - Concerti per violino vol. IV "L'Imperatore"
VIVTDPND - New Discoveries
VIVTDPND2 - New Discoveries II
VIVTDPOP - Operas
VivFolViv - La Folie