Wolumin piąty "Podróży poprzez barokową Europę". Na płycie muzyka z Czech. Wykonawcy to zespół Ars Antiqua Austria pod dyrekcją Gunara Letzbora.
BACH J L CANTATAS MAX, BACH JOHANN LUDWIG
Od czasów 15 wiecznej popularności muzyki polifonicznej i prymatu muzyki Niderlandzkiej - wiele się zmieniło. Teraz główny ton muzycznej Europy wiedzie Francja i Włochy.
Tracklista: CD 1: Suite No.4 In G Minor 1. La Marella 2. La Clément 3. La D’aubonne: Sarabande 4. La Bournonville 5. La Sainscy 6. Le Carillon De Passy 7. La Latour Suite No.2 In G 8. La Bouron 9. La Mandoline 10. La Du Breüil 11. La Leclair 12. La Buisson: Chaconne Suite No.1 In D Minor 13. La Laborde: Allemande 14. La Forqueray 15. La Cottin 16. La Bellmont CD 2: Suite No.1 In D Minor Continued 1. La Portugaise 2. La Couperin Suite No.3 In D 3. La Ferrand 4. La Regente 5. La Tronchin 6. La Angrave 7. La Du Vaucel 8. La Eynaud 9. La Morangis Ou La Plissay Suite No.5 In C Minor 10. La Rameau 11. La Guignon 12. La Léon: Sarabande 13. La Boisson 14. La Montigni 15. La Sylva 16. Jupiter
Album został wydany przez wytwórnię Chandos (CHSA 5050). Tracklista: Reges Terrae: 1. Music from the Time of Charles V
Tracklista: Goldberg Variations, For Keyboard (Clavier-Übung Iv), Bwv 988 (Bc L9) 1. Variation 5 Goldberg Variations, For Keyboard (Clavier-Übung Iv), Bwv 988 (Bc L9) 2. Variation 6 Goldberg Variations, For Keyboard (Clavier-Übung Iv), Bwv 988 (Bc L9) 3. Variation 7 Goldberg Variations, For Keyboard (Clavier-Übung Iv), Bwv 988 (Bc L9) 4. Variation 8
Szósta część cyklu poświęconego dziełom Palestriny prowadzoana przez Harry’ego Christophersa z zespołem The Sixteen. Wśród utworów na płycie, niesłusznie pomijana pięcigłosowa msza „L’Homme arme”.
Tracklista: 1. Sonata in F major Op. 5, No. 1 2. Sonata in G minor Op. 5, No. 2 3. Sonata in A major, Op. 69 4. Sonata in C major Op. 102, No. 1 5. Sonata in D major Op. 102, No. 2
Who is this mysterious “musa plebia” – Raffael’s beautiful mistress, the daughter of a baker? Or does the famous beauty not stand for the power of the poetry of the people, Arcadian source, and inspiration for the poets of the Renaissance?On this new release on the Raumklang label, the Italian musician Francis Biggi and his ensemble Lucidarium have succeeded in saving a musical treasure from oblivion: the centuries-old tradition of the sung recitation of verses that the poet-singer “invents” spontaneously exists to the present day in the folk music in several parts of Central Italy, on Sardinia and Corsica. This tradition demands flawless technique, solid knowledge of poetic meters and rhythms, musicality, a good ear, and a good voice – but above all: the singers, people from all walks of life, sing from the bottom of the heart about the muse who touches the heart, the tongue, and the mind. They improvise and sing their feelings, their outrage, their tenderness, and their dreams on the spur of the moment; they know how to share feelings and opinions with their audience; they analyze and comment upon the world with the wonderful weapon of poetry.Biggi frames these unique specimens of a waning culture with the most beautiful and the justifiably most famous songs and instrumental pieces of the Italian Renaissance. The North Italian courts of the fifteenth century were the fruitful soil in which a musical style could blossom, a style that blended the refined polyphony of the Franco-Flemish school with the Italian love of beautiful melody and clear counterpoint, and that in this way influenced the aesthetics of music throughout Europe way beyond the following century.
Jan Dismas Zelenka’s music for the funeral rites of Augustus the Strong – Officium defunctorum ZWV 47 (Invitatorium, Nocturno I-III) and Requiem ZWV 46 – reveals the most impressive face of the Baroque theatre of death. The man in the chief role of this spectacle follows the appeal in the 95th psalm of the introductory antiphon of the invitatorium “the King, in whom everything lives, let us worship Him”, and bows his head before God and the majesty of death. The sombre atmosphere of the invitatorium, which is characterised by the relentless alternation of the lessons with the responses and the strict counterpoint of the Gregorian Chant, contrasts starkly with theexhilarating splendour and variety of the Requiem. The Requiem Mass is not only funeral music here, but is above all the omen for the resurrection and the apotheosis of the Sovereign. Zelenka takes complete advantage of every possibility which was at his disposal from the court orchestra. Trumpets and horns together with concertante transverse flutes, oboes and bassoons are supplemented by the chalumeau.The Prague baroque orchestra Collegium 1704 and vocal ensemble Collegium Vocale 1704 were founded by harpsichordist and conductor Václav Luks in 2005. Their recordings for Arta records (Benda), Supraphon (Zelenka, Reichenauer), and Zig-Zag (Zelenka) have been favourably received in Europe and further afield. The present recording marks the beginning of a long-term cooperation between Collegium 1704/Václav Luks and the label Accent.