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Rinaldo Alessandrini, Concerto Italiano - 1600: Bononcini, Castello, dall'Abaco, Frescobaldi, Gabrieli, Legrenzi (2011)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - 1600: Bononcini, Castello, dall'Abaco, Frescobaldi, Gabrieli, Legrenzi (2011)

Rinaldo Alessandrini, Concerto Italiano - 1600: Bononcini, Castello, dall'Abaco, Frescobaldi, Gabrieli, Legrenzi, de Macque, Marini (2011)
EAC | FLAC | Image (Cue & Log) ~ 359 Mb | Total time: 66:58 | Scans included
Classical | Label: Naïve | # OP30531 | Recorded: 2011

The programme chosen for this CD by the eminent early music specialist Rinaldo Alessandrini and performed by members of his hand-picked ensemble Concerto Italiano illustrate most of the forms that instrumental music adopted in the course of the seventeenth century. Amongst the composers featured are Giovanni Gabrieli, Frescobaldi, Zanetti, and Torelli, as well as lesser known figures of the period including Giovanni de Macque, Evaristo dall’Abaco, and Giovanni Bononcini.

Paul McCreesh, Gabrieli Consort & Players - A Venetian Coronation 1595 (1990)

Posted By: ArlegZ
Paul McCreesh, Gabrieli Consort & Players - A Venetian Coronation 1595 (1990)

Paul McCreesh, Gabrieli Consort & Players - A Venetian Coronation 1595 (1990)
EAC | FLAC | Image (Cue & Log) ~ 280 Mb | Total time: 71:17 | Scans included
Classical | Label: Virgin Classics | VC 7 91110-2 | Recorded: 1989

The fifth release in the Rediscoveries series from Virgin Classics is the celebrated 1990 recording A Venetian Coronation 1595 by Paul McCreesh and his Gabrieli Consort & Players. The album presents a musical reconstruction of the coronation mass for Venetian Doge Marino Grimani. Gramophone wrote of the recording: "Without doubt, this is one of the finest records of Italian Renaissance polyphony to appear for a long time; imaginative in conception, varied in content, and both exciting and thought-provoking in execution."

John Eliot Gardiner, The Monteverdi Choir, The Philip Jones Brass Ensemble - Christmas in Venice (1992)

Posted By: ArlegZ
John Eliot Gardiner, The Monteverdi Choir, The Philip Jones Brass Ensemble - Christmas in Venice (1992)

John Eliot Gardiner, The Monteverdi Choir, The Philip Jones Brass Ensemble - Christmas in Venice: Gabrieli, Bassano, Monteverdi (1992)
EAC | FLAC | Image (Cue & Log) ~ 306 Mb | Total time: 67:47 | Scans included
Classical | Label: Decca | 436 285-2 | Recorded: 1972

There is some grand and characteristically sumptuous music on this record of motets and instrumental pieces that might have been heard during the feast of Christmas in St Mark's or one of the other great churches of Venice round about 1600 or a little later. A strong point in its favour, too, is the unhackneyed choice of programme: the instrumental Sonata pian' e forte, of course, is an old favourite, and the two earlier double-choir motets of Gabrieli, Angelus ad pastores and 0 magnum mysterium, are also relatively familiar; but the three remaining Gabrieli motets, all taken from posthumous publications and among his most elaborate polychoral pieces, are much less often tackled—not surprisingly, since they call for exceptional resources.

Étienne Meyer, Les Traversées Baroques - San Marco di Venezia: The Golden Age (2018)

Posted By: ArlegZ
Étienne Meyer, Les Traversées Baroques - San Marco di Venezia: The Golden Age (2018)

Étienne Meyer, Les Traversées Baroques - San Marco di Venezia: The Golden Age (2018)
EAC | FLAC | Image (Cue & Log) ~ 338 Mb | Total time: 72:28 | Scans included
Classical | Label: Pan Classics | ACC 24345 | Recorded: 2017

It is well known that in Venice a "Golden Age" of compositional, vocal, and instrumental musical creativity and virtuosity emerged, and then flourished during the mid-1500s to the mid-1700s. The 16th century experienced a substantial development in the cappella ducale of Saint Mark's, which, until the end of the 17th century, remained the leading center of musical activity in the city. Evidence of this comes from the profusion of significant musicians that it received in that "Golden Age": either as maestri di cappella, or as organists (Claudio Merulo, Andrea and Giovanni Gabrieli), or as virtuoso instrumentalists (the cornet player Giovanni Bassano). Claudio Merulo and Andrea Gabrieli played a decisive role in the simultaneous emergence of Venetian keyboard and stile concertato music.

London Brass, Philip Pickett - Gabrieli In Venice: Gabrieli, Viadana, Marini, Massaino, Frescobaldi (1994) Reissue 2002 [Re-Up]

Posted By: Designol
London Brass, Philip Pickett - Gabrieli In Venice: Gabrieli, Viadana, Marini, Massaino, Frescobaldi (1994) Reissue 2002 [Re-Up]

London Brass, Philip Pickett - Gabrieli In Venice (1994) Reissue 2002
Giovanni Gabrieli, Lodovico da Viadana, Biagio Marini, Tiburtio Massaino, Girolamo Frescobaldi

EAC | FLAC | Image (Cue&Log) ~ 240 Mb | Mp3 (CBR320) ~ 154 Mb | Scans included
Genre: Classical, Renaissance | Label: Apex | # 0927 40823 2 | Time: 01:01:19

There is no shortage of discs around featuring transcriptions of Renaissance music for brass. Whilst played on modern instruments the main difference here however is that London Brass, several of whom play period instruments in other ensembles, have enlisted the specialist knowledge of Philip Pickett to direct them.

Giovanni Antonini, Il Giardino Armonico - La morte della Ragione (2018)

Posted By: ArlegZ
Giovanni Antonini, Il Giardino Armonico - La morte della Ragione (2018)

Giovanni Antonini, Il Giardino Armonico - La morte della Ragione (2018)
EAC | FLAC | Image (Cue & Log) ~ 392 Mb | Total time: 73:07 | Scans included
Classical | Label: Alpha Classics ‎| Alpha 450 | Recorded: 2017

The senses reign, and Reason now is dead (Petrarch). Giovanni Antonini, flautist and founder of the legendary Italian ensemble Il Giardino Armonico, enjoys musical voyages, the discursiveness of music. He begins with an anonymous 16th century pavane, La Morte della Ragione (The Death of Reason), which he believes refers to In Praise of Folly, in which its author Erasmus distinguishes between two forms of madness: a sweet illusion of the spirit, and a negative form, one that the vengeful Furies conjure up from hell…

Paul McCreesh, Gabrieli Consort & Players - Gabrieli, Lassus: Venetian Easter Mass (1997)

Posted By: ArlegZ
Paul McCreesh, Gabrieli Consort & Players - Gabrieli, Lassus: Venetian Easter Mass (1997)

Paul McCreesh, Gabrieli Consort & Players - Gabrieli, Lassus: Venetian Easter Mass (1997)
EAC | FLAC | Image (Cue & Log) ~ 347 Mb | Total time: 79:58 | Scans included
Classical | Label: Archiv Produktion | 453 427-2 | Recorded: 1996

Many people imagine the music of 17th century Venice was so fabulous that the great 16th century polyphonists were forgotten. Not so–particularly in the case of Masses. (Indeed, after arriving at San Marco, Monteverdi ordered copies of Masses by Palestrina and Lassus.) Paul McCreesh's Venetian reconstruction reflects this practice, adding motets and canzonas by the Gabrielis to Lassus's Missa Congratulamini. Particularly interesting is the ceremony opening the service, where the Doge and the Archbishop reenact the arrival of the disciples at the empty sepulchre.

Johannes Strobl, Les Cornets Noirs, Capella Murensis - Polychoral Splendour: Giovanni Gabrieli, Heinrich Schütz (2012)

Posted By: ArlegZ
Johannes Strobl, Les Cornets Noirs, Capella Murensis - Polychoral Splendour: Giovanni Gabrieli, Heinrich Schütz (2012)

Johannes Strobl, Les Cornets Noirs, Capella Murensis - Polychoral Splendour: Giovanni Gabrieli, Heinrich Schütz (2012)
EAC | FLAC | Image (Cue & Log) ~ 363 Mb | Total time: 73:07 | Scans included
Classical | Label: Audite | 92.652 | Recorded: 2011

To visit the great Venetian cathedrals in the 17th century was to bow deeply to the polychoral or “cori spezzati” style that reigned there, pioneered by Giovanni Gabrieli. The young Heinrich Schutz was no exception. Unable to resist the sparkling sounds arising from polychoral writing and antiphonal placement, Schutz carried the style back to his native Germany. Capella Murensis and Les Cornets Noirs here present with absolute fidelity works by Schutz and Gabrieli that epitomize the high Ventian style.

Paul McCreesh, Gabrieli Consort & Players - A Venetian Christmas: Music by G. Gabrieli, de Rore (2001)

Posted By: ArlegZ
Paul McCreesh, Gabrieli Consort & Players - A Venetian Christmas: Music by G. Gabrieli, de Rore (2001)

Paul McCreesh, Gabrieli Consort & Players - A Venetian Christmas: Music by G. Gabrieli, de Rore (2001)
EAC | FLAC | Image (Cue & Log) ~ 336 Mb | Total time: 80:57 | Scans included
Classical | Label: ARCHIV Produktion | # 471 333-2 | Recorded: 1998

Here's another of Paul McCreesh's "as it might have been" reconstructions, this time of the First Mass of Christmas in Venice's St. Mark's church "around 1600". McCreesh's customary focus on bringing to life the pomp and ceremony of a huge celebratory occasion offers huge rewards for the listener as musicology, the finest performing forces, and first-rate sound engineering combine to deliver a bold and beautiful "you are there" experience. The whole thing centers around Cipriano de Rore's seven-part mass Praeter rerum seriem, a parody on a six-part motet by Josquin. It's a gorgeous setting, and McCreesh's vocal ensemble really digs into the emotional and spiritual heart of this music.

Robert King, The King's Consort - Lo Sposalizio: The wedding of Venice to the sea (1998)

Posted By: ArlegZ
Robert King, The King's Consort - Lo Sposalizio: The wedding of Venice to the sea (1998)

Robert King, The King's Consort - Lo Sposalizio: The wedding of Venice to the sea: Giovanni & Andrea Gabrieli, Gussago, Guami, Viadana, Massaino, Kapsberger, Monteverdi (1998)
EAC | FLAC | Image (Cue & Log) ~ 371 Mb | Total time: 88:59 | Scans included
Classical | Label: Hyperion | # CDA67048 | Recorded: 1998

From the eleventh century, Venetian mariners gathered together once each year to offer prayers to San Nicolò, the patron saint of sailors, asking for his continued protection. Initially the service was a simple benediction in which the Adriatic Sea was blessed with holy water. By the late-sixteenth century the ceremony had evolved into one of the most lavish and important dates in the Venetian calendar. Ascension Day now launched a large spring festival which was headed by the symbolic wedding of Venice to the Adriatic—the Sposalizio.

Jeffrey Skidmore, Ex Cathedra - Giovanni Gabrieli: Sacred Symphonies (2012)

Posted By: ArlegZ
Jeffrey Skidmore, Ex Cathedra - Giovanni Gabrieli: Sacred Symphonies (2012)

Jeffrey Skidmore, Ex Cathedra - Giovanni Gabrieli: Sacred Symphonies (2012)
EAC | FLAC | Image (Cue & Log) ~ 305 Mb | Total time: 66:15 | Digital booklet (PDF)
Classical | Label: Hyperion | # CDA67957 | Recorded: 2012

A welcome return to Hyperion for Ex Cathedra and Jeffrey Skidmore, whose exuberant recordings of Baroque music from around the world have made them one of the best-loved ensembles of today. These magnificent liturgical settings from the heart of the Venetian polychoral tradition are full of drama, wonder and extraordinary spatial effects. His Majestys Sagbutts & Cornetts and Concerto Palatino provide the sonic gilding that would have been an essential part of the original performances, when extra musicians crowded the galleries of St Mark’s for special occasions.

Paul McCreesh, Gabrieli Consort & Players - Giovanni Gabrieli: Music for San Rocco (1996)

Posted By: ArlegZ
Paul McCreesh, Gabrieli Consort & Players - Giovanni Gabrieli: Music for San Rocco (1996)

Paul McCreesh, Gabrieli Consort & Players - Giovanni Gabrieli: Music for San Rocco (1996)
EAC | FLAC | Image (Cue & Log) ~ 348 Mb | Total time: 78:15 | Scans included
Classical | Label: ARCHIV Produktion | # 449 180-2 | Recorded: 1995

The polychoral and antiphonal works of Giovanni Gabrieli sound best performed in the acoustics for which they were conceived, such as the Scuola Grande di San Rocco in Venice, where this splendid collection was recorded. Whether in extroverted pieces like the Sonatas 18 and 20, or the introspective and harmonically rich Domine, Deus meus, the sounds that resonate between the notes are crucial to this composer's expression. Time and again one's ears perk up at Gabrieli's genius for blending the most unlikely sonorities imaginable, such as six low voices and six sackbuts (early relatives of the trombone) in the extraordinary Suscipe clementissime.