Na płycie usłyszymy m.in. Concerto for 2 Violins, Strings and Continuo in G major, R. 516, Concerto in D major for 2 violins, strings & continuo, RV511, Concerto in D minor for 2 violins, strings & continuo, RV514
Tracklista:1. Dies irae, LWV 64 no 12. Miserere, LWV 253. Memorare
1. Teil 1, 1 Sinfonia2. Teil 1, 2 Figlio, la via del Cielo (Rezitativ Giovanna)3. Teil 1, 3 Augellini, che lavsi a volo (Giovanna)4. Teil 1, 4 Mia genitrice (San Nicola)5. Teil 1, 5 E fiorito il sentier (San Nicola)6. Teil 1, 6 Nicola? A#cenni tuoi (Epifanio, San Nicola)7. Teil 1, 7 Per godere un diletto (Epifanio)8. Teil 1, 8 Padre? Che chiedi? (San Nicola, Epifanio)9. Teil 1, 9 All Uomo fan guerra (San Nicolo)10. Teil 1, 10 Di si degna vittorio (Epifanio)11. Teil 1, 11 Se cinto di costanza (Epifanio)12. Teil 1, 12 Giovanna? Mio consorte? (Epifanio, Giovanna, San Nicola)13. Teil 1, 13 M#incateni, e si mi scogli14. Teil 1, 14 Sempre Madre amorosa (Giovanna)15. Teil 1, 15 A girar (Giovanna)16. Teil 1, 16 Scolpisce il tuo desio (San Nicola, Giovanna)17. Teil 1, 17 Un dolce affetto (Giovanna)18. Teil 1, 18 Stelle, deh non ardete (Giovanna)19. Teil 1, 19 Tutto fiamme (Clizio)20. Teil 1, 20 Mai qui giunge Nicola (Clizio, San Nicola)21. Teil 1, 21 Il diletto e una Sirena (San Nicola)22. Teil 1, 22 Entro a dotto Licco (San Nicola, Clizio)23. Teil 1, 23 Anche il Cielo (Clizio)24. Teil 1, 24 Al misero vivente (San Nicola, Clizio)25. Teil 1, 25 Io non vivo (San Nicola)26. Teil 2, 1 Il diletto? (Clizio, San Nicola)27. Teil 2, 2 D#un bel ciglio (San Nicola)28. Teil 2, 3 Piu d#ogni vezzo (Clizio, San Nicola)29. Teil 2, 4 Anima infida (Clizio)30. Teil 2, 5 Son gl#interni disastri (Clizio, San Nicola, Giovanna)31. Teil 2, 6 Die tue flebili pupille (Giovanna)32. Teil 2, 7 Clizio, non far (Epifanio, Clizio)33. Teil 2, 8 Fan temer l#Onde (Epifanio)34. Teil 2, 9 Santo dentro al mio petto (Clizio)35. Teil 2, 10 Raggio eterno (Clizio)36. Teil 2, 11 O come la tua fronte (San Nicola)37. Teil 2, 12 Gli astri, che in Ciel scintillano (San Nicola)38. Teil 2, 13 Se in eta cosi acerba (Clizio, Giovanna)39. Teil 2, 14 So, che sdegna (Giovanna)40. Teil 2, 15 Sempre del mio desio (San Nicola, Epifanio)41. Teil 2, 16 Ancor nel primo albore (Epifanio)42. Teil 2, 17 Madre? Mio genitor? (San Nicola, Giovanna, Epifanio)43. Teil 2, 18 Al pensiero lusinghiero (San Nicola)44. Teil 2, 19 Figlio, se in tanta pugna (Giovanna)45. Teil 2, 20 Quando il Cielo (Giovanna, San Nicola)
Tracklista: 1. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: O praise the Lord with one consent2. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: Praise him, all ye that in his house3. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: For this our truest int'rest is4. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: That God is great5. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: With cheerful notes6. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: God's tender mercy7. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: Ye boundless realms of joy8. Chandos Anthem No.9 in E flat, 'O Praise the Lord With One Consent', HWV 254: Your voices raise9. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: Sonata. Andante - Allegro10. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: Let God arise11. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: Like as the smoke vanisheth12. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: Let the righteous be glad13. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: O sing unto God14. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: Praised be the Lord!15. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: At thy rebuke, O God16. Chandos Anthem No.11 in B flat major, 'Let God Arise', HWV 256: Blessed be God17. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: Sonata. Largo e staccato - Allegro18. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: My song shall be alway19. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: For who is he among the clouds20. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: God is very greatly to be feared21. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: The heav'ns are thine22. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: Righteousness and equity23. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: Blessed is the people24. Chandos Anthem No.7 in G, 'My Song Shall Be Alway', HWV 252: Thou art the glory
Johann Paul von Westhoff (1656-1705) był jednym z najwybitniejszych kompozytorów-wirtuozów w XVII-wiecznym Dereźnie. Napisał jako pierwszy suity na skrzypce solo, jego sława została później przyćmiona przez kompozycje Jana Sebastiana Bacha. Utwory te wykonuje świetna młoda skrzypaczka Plamena Nikitassova.
Na płycie nagrane są suity na wiolonczelę solo Jana Sebastiana Bacha oraz "7 Ricercari" (1689) skomponowane przez włoskiego kompozytora Domenico Gabrielliego z Bolonii. Wykonawca to Mauro Valli, który posiadł dogłębną wiedzę na temat wiolonczelowego repertuaru epoki baroku. Artysta w niniejszym nagraniu stawia tezę, że sławne suity Bacha inspirowane były tymi utworami włoskiego kompozytora.
Giuseppe Tartini (Pirano d'Istria 1692 - Padua 1770) był wirtuozem gry na skrzypcach. Był także kompozytorem, teoretykiem i nauczycielem muzyki. Był jednym z czołowych włoskich kompozytorów epoki baroku. Jego koncerty skrzypcowe są dowodem nadzwyczajnych zdolności i umiejętności Tartiniego jako wykonawcy. Artyści nagrani na płycie to Laura Marzadori - skrzypce i Ferruccio Busoni Chamber Orchestra oraz dyrygent Massimo Belli.
Tracklista: 1. Psalm 47 2:38 2. Psalm 46 2:21 3. Psalm 118 3:21 4. Psalm 134 1:20 5. Psalm 11 2:07 6. Psalm 22 3:03 7. Psalm 26 2:44 8. Psalm 28 3:12 9. Psalm 30 3:43 10. Psalm 76 1:57 11. Psalm 137 5:54 12. Psalm 64 2:12 13. Psalm 117 1:10 14. Psalm 45b 5:25 15. Psalm 16 3:44 16. Psalm 142b 5:22 17. Psalm 20 2:06 18. Psalm 41 1:21 19. Psalm 103 2:46 20. Psalm 97 2:26 21. Psalm 81 2:33 22. Psalm 138 1:27 23. Psalm 29 3:07
In their survey of the trio sonata, the four members of London Baroque have already visited France, England and Germany before arriving at the actual birthplace of the genre – Italy in the 17th century. There the years around 1600 had seen ground-breaking developments in vocal music, such as the seconda prattica characterised by the clear division between a single melodic line and a supporting continuo bass. Now instrumental music was becoming important in its own right, and soon the violin was recognized as the ideal vehicle for a new style which is obvious already in the very first trio sonatas, such as Giovanni Paolo Cima’s Sonata a tre from 1610. The term ‘trio sonata’ is a later expression, and in 17th-century Italy the terms commonly used were ‘Sonata a due’ (two melody instruments plus continuo), and ‘Sonata a tre’ (three melody instruments – usually two soprano and one bass – plus continuo). The form could also vary, from ‘free’ sonatas to sets of variations, chaconnes and passacaglias. From this almost bewildering variety, London Baroque has selected 16 works which chart the development from the origins of the genre to its ‘coming of age’ with Arcangelo Corelli, in the 1680s. Already famous in his own lifetime, when he was one of the most influential composers in all of Europe, Corelli is an exception among the composers featured here: many of his colleagues are all but forgotten today, and little is known about their lives. There are also great gaps in our knowledge about the music itself – for instance regarding the instrumentation (what kind of cello would have been used?) and the use of ornaments. In such uncharted waters, London Baroque provides much-needed and expert guidance, as testified to in a review of their recording of sonatas from 17th-century France on the German website Klassik Heute: ‘Everything that one might possibly wish for in a performance of this music is present here: charm, elegance, eloquence, force, flexibility, fire, intimacy, and most importantly: soul.’
Postać Jean-Marii Leclair'a jest znana niewielu ludziom, a jeszcze mniej z nich zdaje sobie sprawę o jego sławie jednego z najwybitniejszych skrzypków 18 wieku. Jego sonaty na dwie pary skrzypiec brzmią doprawdy wspaniale w wykonaniu Floriana Deutera i Moniki Waisman.