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Jean Tubery, La Fenice - Bassani: La morte delusa (2002)

Posted By: ArlegZ
Jean Tubery, La Fenice - Bassani: La morte delusa (2002)

Jean Tubéry, La Fenice - Bassani: La morte delusa (2002)
EAC | FLAC | Image (Cue & Log) ~ 285 Mb | Total time: 62:41 | Scans included
Classical | Label: Opus 111 / Naïve | # OP 30332 | Recorded: 2001

Giovanni Battista Bassani (1657-1716), a relatively important figure in Ferrara, where he served as the cathedral’s maestro di cappella. This oratorio, which in its near-exclusive reliance on arias and recitative displays many of the dramatic characteristics of opera, was composed in 1686 as a tribute to those who died “in the Christian enterprises against the Turks” in 1683. Characteristic of many similar works of the period, its theme (the title means “Death confounded”) concerns an allegorical interaction among five characters–Death, Glory, Piety, Justice, and Lucifer–in which Death laments its powerlessness against the forces of Piety and Glory, who, along with Justice have assured the departed souls of the holy warriors an eternal existence in heaven.

I Musici - Pergolesi attr. Wassenaer: 6 Concerti Armonici (1990)

Posted By: ArlegZ
I Musici - Pergolesi attr. Wassenaer: 6 Concerti Armonici (1990)

I Musici - Pergolesi attr. Wassenaer: 6 Concerti Armonici (1990)
EAC | FLAC | Image (Cue & Log) ~ 356 Mb | Total time: 64:55 | Scans included
Classical | Label: Philips | # 420 789-2 | Recorded: 1979

During the 18th century, it was not uncommon for enlightened princes with musical pretensions to commission works from their court composer and then affix their own names to the title pages. But in the recently solved riddle of the so-called Pergolesi/Ricciotti ''Concerti Armonici,'' the case seems to be just the reverse. These six works, written in the contrapuntal sdyle of the late Baroque, were long thought to be the work of Giovanni Battista Pergolesi, largely because handwritten copies of the score found in various collections attributed the set to the Italian composer.

Ensemble L'Apotheose - Albinoni: L'opera completa per flauto traverso Vol. 2 (1996)

Posted By: ArlegZ
Ensemble L'Apotheose - Albinoni: L'opera completa per flauto traverso Vol. 2 (1996)

Ensemble L'Apothéose - Albinoni: L'opera completa per flauto traverso Vol. 2 (1996)
EAC | FLAC | Image (Cue & Log) ~ 272 Mb | Total time: 54:54 | Scans included
Classical | Label: Stradivarius | # STR 33441 | Recorded: 1995

The five Sinfonie a Flauto Solo e Basso come from a manuscript in the custody of the Biblioteca Palatino of Parma, the miscellany 'Sinfonie di varij autori' (marking CF-V-23). lt is a collection containing little more than twenty compositions in sonata form, in some cases called sonate and in others slnfonie, works by such ltalian composers os Albinoni, Corelli, Somis, Valentini ond others. Most probably the collection groups together the personal repertoire of a flautist, almost certainly an amateur, active in the first half of the XVIIIth century: the manuscript therefore represents one of the few sources of the ltalian sonata repertoire for flute from the first decades of the Eighteenth-century, the total existence of which is somewhat meagre.

Gilles Colliard - Louis Gabriel Guillemain: Douze Caprices, Op. 18 pour le violon seul (2002)

Posted By: ArlegZ
Gilles Colliard - Louis Gabriel Guillemain: Douze Caprices, Op. 18 pour le violon seul (2002)

Gilles Colliard - Louis Gabriel Guillemain: Douze Caprices, Op. 18 pour le violon seul (2002)
EAC | FLAC | Image (Cue & Log) ~ 329 Mb | Total time: 64:08 | Scans included
Classical | Label: EMEC | # E-048 | Recorded: 2001

The world premiere recording of Louis Gabriel Guillemain's (1705-1770) Caprices, op. 18. The Caprices form part of a larger work entitled 'amusement'. Guillemain's last work, the Caprices demonstrate not only technical bravura but an underlying current of manic compulsiveness which may indicate the composer's encroaching personal desperation. Guillemain created the only example of concert caprices as later encountered in Paganini or Wieniawski. Gilles Colliard performs on the baroque violin.

Enrico Di Felice, Accademia dei Solinghi - Albinoni: L'opera completa per flauto traverso Vol. 1 (1995)

Posted By: ArlegZ
Enrico Di Felice, Accademia dei Solinghi - Albinoni: L'opera completa per flauto traverso Vol. 1 (1995)

Enrico Di Felice, Accademia dei Solinghi - Albinoni: L'opera completa per flauto traverso Vol. 1 (1995)
EAC | FLAC | Image (Cue & Log) ~ 271 Mb | Total time: 56:37 | Scans included
Classical | Label: Stradivarius | # STR 33377 | Recorded: 1994

Enrico Di Felice completed his flute diploma in 1978 with full marks cum laude. His teachers for modern flute were G. Pellegrini and M. Ancillotti and Stephen Preston for the baroque flute. He has performed as soloist in the most prestigious European concert halls, including the Concertgebouw in Amsterdam, the Musikhalle of Hamburg, the Hall of Geneva Conservatoire, as well as Montreal, Tokyo, Dijon, Brussels, Strasbourg, Dresden, Leipzig, Bern, Innsbruck etc. He has also recorded numerous CDs of the most important works for flute by Vivaldi, Albinoni, Telemann, Scarlatti and Monteclair. His CD recording of Pergolesi and Leo’s concertos for flute was given maximum recognition in the prestigious French music publication Diapason. On May 2014 he published a CD with the complete works for flute and piano by Astor Piazzolla (Stradivarius - STR 14001) valued with "Five Stars" by the two best musical italian magazines Amadeus and Musica.

Musica Pacifica - Francesco Mancini: Concerti da Camera (1999)

Posted By: ArlegZ
Musica Pacifica - Francesco Mancini: Concerti da Camera (1999)

Musica Pacifica - Francesco Mancini: Concerti da Camera (1999)
EAC | FLAC | Image (Cue & Log) ~ 414 Mb | Total time: 71:21 | Scans included
Classical | Label: Dorian | # DOR-93209 | Recorded: 1998

The concertos of Francesco Mancini (1672-1737) recorded here all come from a 1725 manuscript collection now in the Biblioteca del Conservatorio di Musica di Napoli…The collection is entitled "Concerti di Flauto, Violino, Violetta e Basso di Diversi Autori". Interestingly enough, in the individual part-books, the pieces are all called "sonatas". This discrepancy of nomenclature reflects the general fluidity of form throughout the Baroque era. The forms of pieces called "concerto", "quartet", "sonata", "canzona", and "fantasia" were not standardized, and the terms were frequently used interchangeably.

Early Choral Music at Trinity College, Cambridge [6CD] (2016)

Posted By: ArlegZ
Early Choral Music at Trinity College, Cambridge [6CD] (2016)

Early Choral Music at Trinity College, Cambridge [6CD] (2016)
EAC | FLAC | Image (Cue & Log) ~ 1,65 Gb | Total time: 7:09:35 | Scans included
Classical | Label: Sony Classical | # 88985323472 | Recorded: 1990-1995

Cambridges renowned Trinity College Choir, conducted by Richard Marlow, is heard in a 6-CD compilation of acclaimed Renaissance and early Baroque recordings. In the compositions by Lassus, Victoria, Praetorius, Sweelinck, Monteverdi and Schutz heard here, Gramophone has praised the choirs superb discipline fresh and natural voices as well as Marlows astute and imaginative direction His sensitivity and responsiveness are tireless.

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 6 (2015)

Posted By: ArlegZ
Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 6 (2015)

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 6 (2015)
EAC | FLAC | Image (Cue & Log) ~ 353 Mb | Total time: 73:42 | Scans included
Classical | Label: Toccata Classics | # TOCC0180 | Recorded: 2011, 2013

This is the sixth CD in the first complete recording of the 72 cantatas in Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to appear in print. The cantatas are designated for voice, an obbligato instrument (recorder, violin, transverse flute or oboe) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 5 (2013)

Posted By: ArlegZ
Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 5 (2013)

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 5 (2013)
EAC | FLAC | Image (Cue & Log) ~ 268 Mb | Total time: 59:41 | Scans included
Classical | Label: Toccata Classics | # TOCC0102 | Recorded: 2008

This is the fifth CD in the first complete recording of the 72 cantatas from Georg Philipp Telemann's collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 — the first complete set of cantatas for the liturgical year to be appear in print. The cantatas are designated for voice, an obbligato instrument (recorder, violin, transverse flute or oboe) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann's cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 4 (2012)

Posted By: ArlegZ
Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 4 (2012)

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 4 (2012)
EAC | FLAC | Image (Cue & Log) ~ 298 Mb | Total time: 67:20 | Scans included
Classical | Label: Toccata Classics | # TOCC0084 | Recorded: 2007

This is the fourth CD in the first complete recording of the 72 cantatas from Georg Philipp Telemann's collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 — the first complete set of cantatas for the liturgical year to appear in print. The cantatas are designated for voice, an obbligato instrument (recorder, violin, transverse flute or oboe) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann's cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 3 (2011)

Posted By: ArlegZ
Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 3 (2011)

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 3 (2011)
EAC | FLAC | Image (Cue & Log) ~ 326 Mb | Total time: 71:23 | Scans included
Classical | Label: Toccata Classics | # TOCC0074 | Recorded: 2006

This is the third CD in the first complete recording of the 72 cantatas from Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to be published. The cantatas are designated for voice, an obbligato instrument – recorder (as on this disc), violin, transverse flute or oboe – and basso continuo, and take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 2 (2009)

Posted By: ArlegZ
Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 2 (2009)

Bergen Barokk - Telemann: Harmonischer Gottes-Dienst, Vol. 2 (2009)
EAC | FLAC | Image (Cue & Log) ~ 261 Mb | Total time: 55:27 | Scans included
Classical | Label: Toccata Classics | # TOCC0057 | Recorded: 2006

This is the second CD in the first complete recording of the 72 cantatas from Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to be published. The cantatas are designated for voice, an obbligato instrument (violin on this disc) and basso continuo, and take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

Philip Higham - Bach: Suites for Solo Cello (2015)

Posted By: ArlegZ
Philip Higham - Bach: Suites for Solo Cello (2015)

Philip Higham - Bach: Suites for Solo Cello (2015)
EAC | FLAC | Image (Cue & Log) ~ 380 Mb | Total time: 130:37 | Scans included
Classical | Label: Delphian | # DCD34150 | Recorded: 2014

This is Philip Higham's second recording, following his debut of Benjamin Britten's three solo suites. | Bach's cello suites, Britten's inspiration, are a pinnacle of the repertoire for any cellist. The suites were written between 1717–1723, when Bach served as a Kapellmeister in Köthen. | Higham's thoughtful yet daring approach also leads him to combine elements of period and modern style both in his playing and in his choice of instruments – a 1697 cello for the first five suites and a 2013 five-string instrument to bring out the extraordinary range of colours with which Bach invested the crowning Sixth. | On this recording, Higham uses tAnna Magdalena Bach's manuscript copy of the works. | In recent months Higham has appeared as soloist with the Philharmonia Orchestra, the Hallé Orchestra at Bridgewater Hall, the Royal Northern Sinfonia and Bournemouth Symphony Orchestra.

Ann Hallenberg, Ditte Andersen, Wolfgang Katschner, Lautten Compagney Berlin - Mia vita, mio bene (2006)

Posted By: ArlegZ
Ann Hallenberg, Ditte Andersen, Wolfgang Katschner, Lautten Compagney Berlin - Mia vita, mio bene (2006)

Ann Hallenberg, Ditte Andersen, Wolfgang Katschner, Lautten Compagney Berlin - Mia vita, mio bene (2006)
EAC | FLAC | Image (Cue & Log) ~ 390 Mb | Total time: 78:30 | Scans included
Classical | Label: Berlin Classics | # 0017902BG | Recorded: 2005

Danish soprano Ditte Andersen and Swedish mezzo-soprano Ann Hallenberg were heard to stunning effect in Spedidam's splendid 2006 recording of Gluck's Aristeo and Bauci e Filemone with the ensemble Les Talens Lyriques under Christophe Rousset. Here they tackle another obscure corner of the Baroque: cantatas and operatic arias discovered in the libraries of the palaces at Meinungen and Sonderhausen, many of which were previously unknown. The Italian composers represented include a few who are well known, but they are predominantly obscure – Antonio Caldara, Giovanni Battista Bononcini, as well as his brother Antonio, Francesco Gasparini, Giovanni Battista Alveri, Giuseppe Maria Andrea di Orlandini, Attilio Ariosti, Giovanni Porta, and Tommaso Bernardo Gaffi.

Sophie Yates - Armand-Louis Couperin: Pieces de Clavecin (2005)

Posted By: Designol
Sophie Yates - Armand-Louis Couperin: Pieces de Clavecin (2005)

Sophie Yates - Armand-Louis Couperin: Pièces de Clavecin (2005)
EAC | FLAC | Image (Cue&Log) ~ 490 Mb | Mp3 (CBR320) ~ 189 Mb | Artwork included
Classical | Label: Chandos (Chaconne Series) | # CHAN 0718 | Time: 01:19:49

The New Grove Dictionary has entries on 10 musically active members of the Couperin dynasty, of whom Armand-Louis is, chronologically speaking, the eighth. Born in 1725, he was the son of one of the great François Couperin’s cousins, and held a number of organ posts in Paris, including the virtually family-owned one of St Gervais, on the way to Vespers at which he was killed in a road accident just a few months before the Revolution. According to accounts he was a likeable man whose life was led free from strife and uncorrupted by ambition, and it is not fanciful to say that such are the qualities which inform his harpsichord music. Mostly rather rangy character pieces, though with a sprinkling of dances, they show the bold textural richness of the later French harpsichordist-composers, if without the galloping imagination of figures such as Rameau, Balbastre or Royer. Instead, they prefer to inhabit a contented rococo world, into which they bring considerable professional polish. If that makes the pieces sound predominantly ‘pleasant’, well, so they are… as agreeable a body of solo harpsichord music as any. But they are not vapid and neither are they easy, and we can be grateful that this selection has fallen to a player as technically assured and as musically sympathetic as Sophie Yates.