Subcategories

Hille Perl, Lee Santana - Marais: Les Voix Humaines (2007)

Posted By: ArlegZ
Hille Perl, Lee Santana - Marais: Les Voix Humaines (2007)

Hille Perl, Lee Santana - Marais: Les Voix Humaines (2007)
EAC | FLAC | Image (Cue & Log) ~ 304 Mb | Total time: 73:22 | Scans included
Classical | Label: Deutsche Harmonia Mundi | 88697169212 | Recorded: 2007

Viele versuchen es, aber wenige erreichen es: das Kunststück, als Popkünstler und Alte-Musik-Experten zu gleicher Zeit authentisch zu wirken. Dass sie zu denen gehört, die es erreicht hat, macht Hille Perl zur Ausnahmekünstlerin. Mögen sie und ihr Partner Lee Santana sich auch inszenieren – in ihrem Spiel gelingt der stets schwarz gekleideten Rotweinliebhaberin eine so vollkommen natürliche Verbindung zwischen Sinnlichkeit und melancholischer Endzeitbetrachtung, dass moderne und barocke Lebenslust, heutige Weltflucht und barockes Memento mori zu einem Lebensgefühl zu verschmelzen scheinen.

Aline Zylberajch - Domenico Scarlatti: Sonates (2005)

Posted By: Designol
Aline Zylberajch - Domenico Scarlatti: Sonates (2005)

Aline Zylberajch - Domenico Scarlatti: Sonates (2005)
EAC | FLAC | Image (Cue&Log) ~ 239 Mb | Mp3 (CBR320) ~ 163 Mb | Scans included
Genre: Classical | Label: Ambronay | # AMY002 | Time: 01:05:13

Reflecting the exceptional sound-world of Ambronay Abbey, Ambronay's CDs initiate musical experiences opening up a world of imagination and emotions. 'A new invention for Maria Barbara? The Queen of Spain and Portugal ordered from Bratolomeo Cristofori, creator of the pianoforte, five of his percious instruments for her music master, Domenico Scarlatti. Denzil Wraight, pre-eminent specialist of early Italian keyboards, has built the magnificent 56-note single-manual Cristofori-Ferrini instrument used on this recording - from which Aline Zylberajch unfolds a wealth of colours and shades hitherto unknown. An aesthetic, emotional revelation.

Sara Mingardo, Cenacolo Musicale - Bononcini, Lotti, Steffani: Se con stille frequenti. Duetti da camera (2016)

Posted By: ArlegZ
Sara Mingardo, Cenacolo Musicale - Bononcini, Lotti, Steffani: Se con stille frequenti. Duetti da camera (2016)

Sara Mingardo, Cenacolo Musicale - Bononcini, Lotti, Steffani: Se con stille frequenti. Duetti da camera (2016)
EAC | FLAC | Image (Cue & Log) ~ 341 Mb | Total time: 62:51 | Scans included
Classical | Label: Arcana | A424 | Recorded: 2014, 2015

In the Baroque period, the duetto da camera, usually conceived for two equal voices and continuo, was an important form of vocal chamber music, of which innumerable examples are found in the works of composers associated with Venice, the leading protagonist in the history of this genre. Venetian Sara Mingardo is joined by a large group of young, talented solo female voices (Silva Frigato, Lea Desandre… ) in this amazing project, where masterpieces by the leading composers of the time have been entrusted to the voices best suited to highlight the respective particular musical content.

Michèle Dévérité -Giovanni Maria Trabaci: Clavicembalo Napoletano (2002)

Posted By: ArlegZ
Michèle Dévérité -Giovanni Maria Trabaci: Clavicembalo Napoletano (2002)

Michèle Dévérité -Giovanni Maria Trabaci: Clavicembalo Napoletano (2002)
EAC | FLAC | Image (Cue & Log) ~ 299 Mb | Total time: 50:35 | Scans included
Classical | Label: Arion | ARN 68538 | Recorded: 2001

Giovanni Maria Trabaci was born in Monte Pelusio (Irsina) around 1575, and died in Naples on 31 December 1647. This close contemporary of Girolamo Frescobaldi (1583-1643) spent his entire career at Naples. He was engaged as a tenor at SS Annunziata at the age of nineteen, and in 1597 was invited to examine the organ of the Oratorio dei Filippini, whose organist he subsequently became. On 30 October 1601 he was appointed to the prestigious post of organist of the chapel of the Spanish Viceroys of Naples, where he was joined in 1602 by his contemporary Ascanio Mayone, who played the second organ…

George Malcolm, Neville Marriner, Academy of St Martin in the Fields - Handel: Organ Concertos Op.4 & Op.7 (1996)

Posted By: ArlegZ
George Malcolm, Neville Marriner, Academy of St Martin in the Fields - Handel: Organ Concertos Op.4 & Op.7 (1996)

George Malcolm, Neville Marriner, Academy of St Martin in the Fields - Handel: Organ Concertos Op.4 & Op.7 (1996)
EAC | FLAC | Image (Cue & Log) ~ 692 Mb | Total time: 147:47 | Scans included
Classical | Label: Decca | 452 235-2 | Recorded: 1972, 1973

The combination of Neville Marriner and his always sterling evocation of excellence from the Academy of St. Martin's-in-the-Fields offers the perfect accompaniment and support for Malcolm's playing. The late George Malcolm was a brilliantly gifted organist even though his real specialty had always been harpsichord. He always seems to find the lightest most delightful playing to fit the idea of the piece.

Trevor Pinnock, The English Concert - Handel: Ode for St Cecilia's Day (1986)

Posted By: ArlegZ
Trevor Pinnock, The English Concert - Handel: Ode for St Cecilia's Day (1986)

Trevor Pinnock, The English Concert - Handel: Ode for St Cecilia's Day (1986)
EAC | FLAC | Image (Cue & Log) ~ 218 Mb | Total time: 50:28 | Scans included
Classical | Label: Archiv Produktion | 419 220-2 | Recorded: 1985

Verses in praise of music for St Cecilia's Day were fashionable in the seventeenth century but in poetic inspiration none equalled Dryden's two poems in which he attempts to imitate the effects of music in language. He wrote this one, his Song for St Cecilia's Day, in 1687; it was set to music during the poet's lifetime but not, of course, by Handel whose setting dates from 1739… The highlight of Handel's score for me is, without question, his hauntingly beautiful setting of Dryden's second stanza, ''What Passion cannot Musick raise and quell!''. Here, especially, Handel matches a text which Dr Johnson regarded as exhibiting the highest flights of fancy with a tenderly expressive cello obbligato.

VA - Marc-Antoine Charpentier: Te Deum H146, Magnificat H73, Litanies de la Vierge H83, In Honorem Sancti Ludovici H365 (2018)

Posted By: delpotro
VA - Marc-Antoine Charpentier: Te Deum H146, Magnificat H73, Litanies de la Vierge H83, In Honorem Sancti Ludovici H365 (2018)

VA - Marc-Antoine Charpentier: Te Deum H146, Magnificat H73, Litanies de la Vierge H83, In Honorem Sancti Ludovici H365 (2018)
EAC Rip | FLAC (tracks+log+.cue) - 386 Mb | MP3 CBR 320 kbps - 200 Mb | Covers included | 01:22:50
Classical | Label: Les indispensables de Diapason

Long completely forgotten and then hailed, in the twentieth century, as a Baroque genius, Charpentier was born in Paris, in 1643. In the mid-1660s, he traveled to Rome, where he spent three years studying with Carissimi and mastering the Italian style. Upon his return to Paris, Charpentier accepted employment and patronage from the powerful and pious Marie de Lorraine, known as Mademoiselle de Guise, last scion of the illustrious Guise family. In 1627, already known for his religious music, Charpentier agreed to provide incidental music for Molière's comedies. With astounding facility, the church composer wrote witty, charming, and delightful music in perfect consonance with Molière's comedic genius, as exemplified by the extraordinary score for Le Malade imaginaire.

Bob van Asperen - Louis Couperin edition, Vol. 2: Passacaille de Mr. Couperin (2008)

Posted By: ArlegZ
Bob van Asperen - Louis Couperin edition, Vol. 2: Passacaille de Mr. Couperin (2008)

Bob van Asperen - Louis Couperin edition, Vol. 2: Passacaille de Mr. Couperin (2008)
EAC | FLAC | Image (Cue & Log) ~ 679 Mb | Total time: 69:11 | Scans included
Classical | Label: Aeolus | # AE10114 | Recorded: 2006

AEOLUS presents the second volume of the Louis Couperin Edition with Bob van Asperen. The recording was made on the 1681 Vaudry harpsichord in London’s Victoria and Albert Museum and is currently the only audio document available of this famous instrument. The SACD contains harpsichord suites composed by Louis Couperin, who lived in Paris in the 17th century. Among the pieces is the famous "Tombeau de Mr Blancrocher".

Roberta Invernizzi, Antonio Florio, I Turchini - Arias for Domenico Gizzi (2015)

Posted By: ArlegZ
Roberta Invernizzi, Antonio Florio, I Turchini - Arias for Domenico Gizzi (2015)

Roberta Invernizzi, Antonio Florio, I Turchini - Arias for Domenico Gizzi (2015)
EAC | FLAC | Image (Cue & Log) ~ 276 Mb | Total time: 56:49 | Scans included
Classical | Label: Glossa | GCD922608 | Recorded: 2014

A new Antonio Florio-directed recording from Glossa, once more focusing on a famous Italian singer from the Baroque era, again features the gorgeous vocal qualities of the modern-day Italian interpreter of such music, Roberta Invernizzi. This new and glorious succession of virtuoso arias captivated audiences in Roman theatres through the vocal chords of one eminent singer from 1718 onwards…

VA - Henry Purcell: 17 Songs (2018)

Posted By: delpotro
VA - Henry Purcell: 17 Songs (2018)

VA - Henry Purcell: 17 Songs (2018)
EAC Rip | FLAC (tracks+log+.cue) - 362 Mb | MP3 CBR 320 kbps - 199 Mb | Covers included | 01:22:42
Classical | Label: Les indispensables de Diapason

Although he incorporated Italian and French stylistic elements into his compositions, Purcell developed a properly English form of Baroque music. A complete musician, he eclipses by the quality and variety of his work all that his contemporaries have been able to write in the genres he addressed: opera, stage music, secular and religious cantatas, music for keyboard or chamber music.

Xenia Löffler - The Oboe in Dresden (2019)

Posted By: delpotro
Xenia Löffler - The Oboe in Dresden (2019)

Xenia Löffler - The Oboe in Dresden (2019)
XLD Rip | FLAC (tracks+log+.cue) - 418 Mb | MP3 CBR 320 kbps - 182 Mb | Digital booklet | 01:17:59
Classical | Label: Accent Records

Under the reign of Augustus II the Strong Dresden developed into one of the most important centres of the European music scene. He brought the most important composers and musicians to his court. BR Klassik respectfully called Xenia Löffler “the queen of Baroque oboe.” The founding member of Akademie für Alte Musik Berlin, Xenia presents on her new album a fine selection of oboe sonatas from the Dresden repertoire with works by Vivaldi, Platti, Stölzel, Fasch, Hasse et al. Her fellow musicians include Michael Bosch (oboe), Györgyi Farkas (bassoon), and Vaclav Luks (horn).

Graham Johnson - Britten: Complete Purcell Realizations (2006)

Posted By: ArlegZ
Graham Johnson - Britten: Complete Purcell Realizations (2006)

Graham Johnson - Britten: Complete Purcell Realizations (2006)
EAC | FLAC | Image (Cue & Log) ~ 474 Mb | Total time: 143:37 | Scans included
Classical | Label: Hyperion | CDD22058 | Recorded: 1995

It is more or less axiomatic now that anything Graham Johnson turns his hand to will be perfectly realised, and here it proves once again to be the case. That he is accompanying eight of the finest voices in the young and middle generations of British singers can only have helped. Hyperion supplies full texts and a recorded sound of complete fidelity. These are, moreover, well filled discs. It is plain that nothing short of a strong recommendation will do.

John Eliot Gardiner, The English Baroque Soloists - Purcell: The Fairy Queen (1982)

Posted By: ArlegZ
John Eliot Gardiner, The English Baroque Soloists - Purcell: The Fairy Queen (1982)

John Eliot Gardiner, The English Baroque Soloists - Purcell: The Fairy Queen (1982)
EAC | FLAC | Image (Cue & Log) ~ 664 Mb | Total time: 137:46 | Scans included
Classical | Label: Archiv Produktion | # 419 221-2 | Recorded: 1981

This 1981 recording was the first period-instrument version of Purcell's most famous "semi-opera." This Restoration-era hybrid was a play with a complete (spoken) script plus numerous musical numbers for soloists, chorus, and pit orchestra. The Fairy Queen is based on Shakespeare's A Midsummer Night's Dream, although you'd never know it from the music, which has (typically for the genre) no real connection to the plot. (Most of the songs and dances are masques performed for the entertainment of Titania, Oberon, or Hippolytus.) The advantage to this is that Purcell's score can be performed fairly well on its own. The Fairy Queen includes some of Purcell's best-loved comic scenes ("The Drunken Poet" and "Coridon and Mopsa") and songs ("Hark the echoing Air," "Ye gentle spirits," and "Hark how all things in one sound rejoice"–the last sung here by Jennifer Smith, sounding more beautiful than on any recording she's made since).

Bob van Asperen - Louis Couperin edition, Vol. 1: Preludes de Mr. Couperin (2006)

Posted By: ArlegZ
Bob van Asperen - Louis Couperin edition, Vol. 1: Preludes de Mr. Couperin (2006)

Bob van Asperen - Louis Couperin edition, Vol. 1: Preludes de Mr. Couperin (2006)
EAC | FLAC | Image (Cue & Log) ~ 664 Mb | Total time: 72:05 | Scans included
Classical | Label: Aeolus | # AE 10094 | Recorded: 2005

The music of Louis Couperin has never had quite the celebrity of that of his uncle François or of the other famous French keyboard composers of the eighteenth century. The harpsichord works here date from around 1650. They were thus contemporary with reign Mazarin, the courtier and prime minister who really ruled France, at least until the rebellion known as the Fronde curbed the power of the court. The lush booklet does an excellent job of placing Couperin against his cultural background, and really the disc is worth purchasing for the lavish illustrations of the period French harpsichord used (the small picture of the Greek god Pan above the keyboard is reproduced at full size inside, and it's fabulous).

Bryn Terfel, Charles Mackerras, Scottish Chamber Orchestra - Handel Arias (1997)

Posted By: ArlegZ
Bryn Terfel, Charles Mackerras, Scottish Chamber Orchestra - Handel Arias (1997)

Bryn Terfel, Charles Mackerras, Scottish Chamber Orchestra - Handel Arias (1997)
EAC | FLAC | Image (Cue & Log) ~ 360 Mb | Total time: 73:24 | Scans included
Classical | Label: Deutsche Grammophon | 453 480-2 | Recorded: 1997

Bryn Terfel has it all. His rich, deep baritone voice is capable of navigating the rapids and doing the vocal leaps and cartwheels that Handel routinely demands of his singers, even the ones with big, deep voices that usually move more slowly. He is Welsh, and in his mastery of words–clarity of projection and precise emotional expression–he calls to mind another great Welsh performer, Richard Burton. This recital, accompanied by Sir Charles Mackerras with skill and sensitivity, runs the whole gamut of Handel's vocal styles, from military bluster (powerfully present in the first aria, "Arm, arm, ye brave") to humble piety (in the second selection, "Vouchsafe, O Lord"). There is erotic awe in "Where'er you walk," comic grotesquerie in "O ruddier than the cherry," and pure splendor in "The trumpet shall sound." A marvelous recital.