Faventina, The liturgical music of Codex Faenza 117

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The Codex Faenza 117 in the Bibloteca Communale Manfredina is the oldest complete surviving manuscript of instrumental music in the world, started by a single scribe around 1380, but heavily recompiled between 1400 and 1420. In the early 1470s, yet another scribe scraped some of its pages clean and added yet more music, creating a "palimpsest"; a manuscript that has been recycled, yet contains traces of the information that went down before. (continue)

Contents:

Codex Faenza

Ordinarium missae
Kyrie Cunctipotentes genitor Deus (Fa 117, ff. 79r-79v)
Kyrie Cunctipotentes genitor Deus (Fa 117, ff. 88r-90r)
Gloria (Fa 117, ff. 90r-92v)
Kyrie Fons et origo (Fa 117, ff. 2r-3r)
Alleluja Ego sum pastor bonus (I-Gua, f. 194v)
Kyrie Orbis factor (Fa 117, ff. 62r-26r)

Cantasi come
Nostra avocata sei, cantasi come Deduto sei (Vat266, f. 32v; ff. 46v-48r)
Per verità portare. Cantasi si come Non al suo amante (I-Ricc2871, f. 59v)
Non al suo amante (Fa 117, ff. 78r-79r)

Ad vesperas
[Deus im adjutorium meum intende] (Fa 117, ff. 93r-94r)
Antiphona: Hec est regina (I-SM572, f. 141r); psalmus: Laudate pueri Dominum
Ave Maris stella (Fa 117, ff. 96v-97r)
Antiphona: Ave regina celorum (I-SM574. Ff. 109v-110r)
Magnificat (Fa 117, ff. 955-96v)
Sicut erat in principio, cantasi come [Soventt mes pas] (Fa 117, f. 94v)
Benedicamus Domino, Deo gratias (Fa 117, ff. 79r-79v)
Benedicamus Domino (Fa 117, ff. 79r-79v)
Benedicamus Domino (Fa 117, ff. 57r-58r)

(more infos)


Mala Punica
dir. Pedro Memelsdorff

G.P.da Palestrina - First book of madrigals for four voices

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contents:


1. Deh, hor foss’io col vago della luna
2. S’I’l dissi mai, ch’io veng’in odio a quella
3. Queste saranno ben lagrime, e questi
4. Che non fia che giammai dal cor si sgombri
5. Rime, dai sospir miei nate e dal pianto
6. Lontan dalla mia diva
7. Nessun visse giamai più di me lieto
8. Là ver l’aurora che sì dolce l’aura
9. Chiara, sì chiaro è de’ vostr’occhi il sole
10. Chi estinguerà il mio foco
11. Donna vostra mercede
12. Già fu chi m’ebbe cara e volentieri
13. Che debbo far, che mi consigli Amore
14. Over de sensi è priva
15. Amor, Fortuna e la mia mente schiva
16. Ne spero i dolci dì tornin’indietro
17. Gitene liete rime ov’hor si siede
18. Mentr’à le dolci & le purpure labbia
19. Amor, che meco in quest’ombre ti stavi
20. Ecc’ove gionse prima e poi s’assise
21. Vaghi pensier che così passo passo
22. Mentre ch’al mar descenderanno i fiumi
23. Quai rime fur si chiare
Sestina
24. Ecc’oscurati i chiari raggi al Sole
25. Rara beltà non mai più vista in terra
26. Questo doglioso stil colmo di pianto
27. Mai fu più crud’o spietata morte
28. Privo di fed’oltra l’usato corso
29. Ma voi fioriti e honorati colli


Concerto Italiano
dir. Rinaldo Alessandrini



Chiara, sì chiaro è de' vostr'occhi il sole

Chiara, sì chiaro è de' vostr'occhi il sole
Che se l'augel, che per antico stile
Si rinnovella ai raggi d'Oriente
Qualche novella sente
Dal vostro vago lume, vago e gentile,
Havrà per cosa vile
Arder nel foco u'rinovar si sole,
Et cangierà per i vostr'occhi il sole.

Leopold Mozart and Georg Druschetzky - Musica Curiosa

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Leopold Mozart (1719-1787)

1. Die Bauernhochzeit
Peasant wedding
(Divertimento in D major)
(orchestra with bagpipe and hurdy-gurdy)

2. Sinfonia Pastorella
Pastoral Symphony in G major
(orchestra with alphorn)

Georg Druschetzky (1745-1819)

3. Parthia auf Bauerninstrumenten
Partita for rustic instruments in B flat major
(bagpipe, hurdy-gurdy, dulcimer, 2 alphorns, fiddle, cittern,
tromba marina, 2 oboes, 2 clarinets, 2 horns, and 2 bassoons)

Capella Savaria
dir. Pal Nemeth

J.S.Bach - Sonatas

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This winter, celebrated violinist Lara St. John and Marie-Pierre Langlamet, principal harpist of the Berlin Philharmonic, present an album of J.S. Bach sonatas offering a new perspective and performed on violin and harp. The album will be released as an iTunes digital exclusive on January 17, 2012, with a wide release to all retailers on Valentine’s Day, February 14, 2012.

Always a thought-provoking musician, St. John raises the question of authenticity and performance practice on this new disc. Bach was a prolific composer, but also an inveterate arranger of his own work and that of others. The adaptability of this music, its capacity to be reinterpreted in new contexts, by different instruments, is perhaps its most authentic quality. It is in this spirit that the pieces are performed here with violin and harp. What is the impact on the listener when hearing familiar pieces with new sounds?

St. John shares the inspiration behind this recording: “I have had a lifelong relationship with Bach’s solo instrumental works, from when I was four years old and first performed the double concerto with my brother, to my first E Major Partita movements a few years later. As a Canadian, I grew up with the omnipresent Glenn Gould. Oddly, as a pre-teen, I also developed an obsession with Bach’s organ works.”

contents:


Sonata No. 1 for Violin and Keyboard in B minor, BWV 1014
Sonata No. 3 for Violin and Keyboard in E major, BWV 1016
Sonata for Violin and Keyboard in G minor, BWV 1020
Sonata for Flute and Keyboard in B minor, BWV 1030
Siciliana from Sonata for Flute and Harpsichord in E-flat major, BWV 1031


Lara St.John, violin
Marie-Pierre Langlamet, harp

G.F.Handel - La Lucrezia

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When Handel arrived in Italy he became acquainted with several musical genres which were particularly popular there, the chamber cantata, the oratorio and the serenata. Soon he started to compose his own works in those genres. These works were substantial and he would use them - or material from them - for compositions he should write in his English period.

Handel composed a large number of cantatas, usually - as was the tradition in Italy - for soprano with basso continuo. A number of cantatas were later reworked for alto, and that was mainly due to Elizabeth Legh, one of his great admirers in England who also became his pupil. These cantatas are often sung by male altos, but in the booklet of this recording Dinko Fabris claims they are first recorded here with a female alto. He suggests all cantatas - with the exception of La Lucrezia - were adapted by Handel to suit Elizabeth Legh's voice.

contents:


Dolc' e pur d'amor l'affanno, HWV 109a
Siete rose ruggiadose, HWV 162
Qualor crudele, si ma vaga Dori, HWV 151
Fra pensieri quel pensiero, HWV 115
Stance di piu soffrire, HWV 167
La Lucrezia (O Numi Eterni), HWV 145

Sonia Prina, Contralto

Sfera Armoniosa
dir. Mike Fentross

Happy Birthday

Happy Birthday, Hémiole!

Navidad Renacentista

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contents:


01. Pastores dicite - Antifona
02. Bien vengades pastores - Anonymous
03. Yo me soy la morenica - Cançoner del Duc de Calàbria
04. Gozate Virgen Sagrada - Cançoner del Duc de Calàbria
05. E la don don - Cançoner del Duc de Calàbria
06. Dadme Albricias - Cançoner del Duc de Calàbria
07. Riu, riu, chiu - Cançoner del Duc de Calàbria
08. Soleta y verge estich - Cançoner de Gandia
09. La Negrina - Ensalada de Mateo Flecha
10. Cant de la Sibil·la Valenciana


Capella de Ministrers