Nowe nagranie kantat Jana Sebastiana Bacha napisanych przez kompozytora we wczesnym okresie twórczości w Lipsku. Wykonawcy to Collegium Vocale Gent pod dyrekcją Philippe'a Herreweghe.
Album został wydany przez wytwórnię Centaur (CRC 3501).
Without doubt, Monteverdi was the greatest of the early baroque European composers. He revolutionised the music of the theatre and the church by his dramatic and imaginative use of voices and instruments and by his daring harmonies and rhythms. Next to his Vespers of 1610, the Selva morale e spirituale of 1641 is his most significant and virtuosic collection of sacred music. Over the next few years we intend to record the complete publication with a variety of forces. His much performed Beatus vir is a mere appetiser for this delightful yet thrilling music.
Kolejna z "tematycznych" płyt nagranych przez Tona Koopmana: solowe sakralne kantaty Jana Sebastiana Bacha skomponowane na bas oznaczone odpowiednio numerami BWV 56, 82, 158, 203.Solistą jest Klaus Mertens. Uwaga: nagranie pochodzi z różnych lat: z 1995 roku i z 2001 roku.
Sonaty obojowe niemieckich kompozytorów epoki baroku takich kompozytorów jak George Philipp Telemann, Johann David Heinichen i Carl Philipp Emanuel Bach w wykonaniu Benoit Laurent - obój i prowadzenie i zespołu Lingua Franca.
Throughout a long and extremely productive career, Georg Philipp Telemann harboured a great affection for the overture-suite, consisting of a French overture followed by a number of dances and character movements. Tempering the rigid model inherited from the French tradition with his own rich powers of invention and playfulness, he remained true to the form long after it had gone out of fashion. One variant of which he was particularly fond was the ouverture pittoresque, which offered a welcome opportunity to revel in tone-painting and characterization: ‘Nobody paints with stronger brushstrokes than him’ was the verdict by one of Telemann’s contemporaries. Instances here are the so-called ‘Völker-Ouvertüre’ where we are introduced to different nationalities (Turks, Swiss and Muscovites), and the Ouverture, jointes d'une Suite tragi-comique, in which Telemann depicts various ailments (hypochondria and gout being two of them) and their possible remedies. Another early influence was folk music, and specifically the Polish folk music of the Cracow region, where Telemann spent time in his youth, as Hofkapellmeister to Count Erdmann von Promnitz. In an early example of cross over, he experimented with clothing this music of a ‘true barbaric beauty’ in ‘Italian dress’. One result was the two ‘Polish’ concertos for strings, in which Telemann’s passion for Polish music can be felt from the very first note. Dignified, festive polonoises with chromatically tinged melodic twists begin both concertos, while the fast movements include many examples of Polish colours, such as drone-like effects reminiscent of the dudy, or Polish bagpipes. With a number of highly praised recordings, the Polish band Arte dei Suonatori is firmly established as a leading ensemble performing on authentic instruments. Among the group’s recordings for BIS is a previous collaboration with Martin Gester: the set of Handel's Concerti grossi, Op.6, which was selected as ‘Orchestral Disc of the Month’ in BBC Music Magazine, and described as ‘a model of authentic Handel performance’ in the German early music magazine Toccata.
Duety lutniowe z angielskiego "złotego okresu" muzyki w epoce renesansu. Dwóch lutnistów - Ronn McFarlane i William Simms wykonują kompozycje Johna Johnsona, Francis Pilkingtona, Johna Dowlanda i Thomasa Robinsona.
On the occasion of the 400th anniversary of Giovanni Gabrieli’s death, who was one of the most influential musicians of the Venetian School, we are pleased to present you with this extraordinary recording of “La Musica per San Rocco”. "La Musica per San Rocco" can be imagined as a type of music event which must have been usual in 17th Century Venice, and which represented its relish for splendour and freedom from strict schemes very well. Thomas Coryat wrote 1611 in his report "Coryat's Crudities": "The third feast was upon Saint Roches day being Saturday and the sixth day of August, where I heard the best musicke that ever I did in all my life both in the morning and in the afternoone, so good that I would willingly goe an hundred miles a foote at any time to hear the like...This feast consisted principally of musicke, which was both vocall and instrumentall, so good, so delectable, so rare, so admirable, so superexcellent, that I did even ravish and stupifie all those strangers that never heard the like...".
Tracklista: CD 1 1. Sonata 3’15 2. Choral: Schmücke dich 1’00 3. Aria (Jesus): Gute Nacht, ihr meine Lieben 3’45 4. Recitativo (Jesus): Doch, dass ihr möget 0’52 5. Aria (Die Andacht): Sollt ich deiner wohl vergessen 3’57 6. Recitativo (Jesus): Ich will euch noch 0’52 7. Choral: Dein Blut der edle Saft 0’36 8. Recitativo (Die Andacht): Gottlob es ist das Alte nun vergangen 1’41 9. Aria (Die Andacht): Sollt ich deiner nicht gedenken 3’55 10. Recitativo (Jesus): Nun werd ich bald erfahren 1’07 11. Aria (Petrus): Foltern, foltern 4’16 12. Recitativo (Jesus): Es wird der Hahn 0’22 13. Aria (Petrus): Foltern, foltern 1’30 14. Recitativo (Die Andacht): Ach Petre 0’49 15. Aria (Die Andacht): Denke nach 4’52 16. Choral: Gott gross über alle Götter 0’55 17. Aria (Jesus): Vater, Vater 2’38 18. Accompagnato (Die Andacht): O Anblick 1’30 19. Aria (Die Andacht): Ihr blut’gen Schweissrubinen 4’59 20. Choral: Tritt her 0’45 21. Aria (Caiphas): Recht und Gerechtigkeit 3’51 22. Rectativo (Caiphas/Jesus): Gefangener, was hören wir 1’28 23. Aria (Jesus): Wenn die Gerichtsposaune 4’10 24. Recitativo (Caiphas): Wie, dass doch Gott 0’45 25. Aria (Die Andacht): Menschemhände Menschenlippen tun 5’00 26. Recitativo (Die Andacht): Doch denke nach 0’37 27. Choral: Du edles Angesichte 0’54 Total time: 60’52 CD 2 1. Accompagnato (Petrus): Ach, ach, was hab ich 0’55 2. Aria (Petrus): Mir ist die ganze Welt 5’51 3. Accompagnato (Petrus): Ach, könnt ich doch 1’23 4. Aria (Der Glaube): Tränen, die der Glaube 4’10 5. Choral: Straf mich nicht 0’39 6. Recitativo (Die Andacht): So rufet ihr 0’34 7. Aria (Die Andacht): Droht der Satan 2’36 8. Recitativo (Die Andacht): Wen seh ich dort 0’42 9. Aria (Die Andacht): Ich treff auf deinen blut’gen Rücken 4’42 10. Choral: O Haupt, voll Blut 1’00 11. Recitativo (Jesus): Nun schliess ich bald 0’30 12. Aria (Jesus): Ich will kämpfen 5’48 13. Recitativo (Die Andacht): So wirst du Lebensbaum 0’41 14. Aria (Die Andacht): Jese wird ans Holz geschlagen 3’48 15. Choral: Jesus unter deinem Kreuz 0’51 16. Aria (Jesus): Es ist vollbracht 2’14 17. Choral: O grosse Gott 0’30 18. Recitativo (Zion): Ihr Gottesmörder 0’45 19. Aria (Zio): Erstaunet 4’58 20. Choral: Nun gibt mein Jesus 0’35 21. Aria: (Die Andacht): Jesus spannt die Gnadenflügel 4’34 22. Recitativo (Die Andacht): Nun endlich hat mein Jesus 1’35 23. Choral: Erscheine mir zum Schilde 0’56 Total time: 50’52
Muzyka sakralna francuskiego kompozytora epoki baroku Marc-Antoine Charpentiera nagrana podczas koncertów w kaplicy królewskiej pałacu w Wersalu. Na płytach SACD oraz DVD nagrania kilku koncertów w wykonaniu solistów oraz zespołów La Capella Reial de Catalunya i Le Concert des Nations pod dyrekcją Jordiego Savalla.