Tracklista: CD 1 1. Canon über das Post-Hörnl 2. Eripe me Domine 3. Domine 4. Missa Rectorum Cordium CD 2 1. Missa Sanctissimae Trinitatis 2. Missa Gloriosae Virginis in Coelo
Religijna muzyka angielskiego renesansu w wykonaniu młodego świetnego angielskiego zespołu wokalnego Stile Antico. Płyta jest wydana jako CD-katalog, czyli zawiera katalog firmy Harmonia Mundi na 2015 rok.
Tracklista:1. Trio Sonata for 2 violins & continuo in D minor ("La follia"), Op. 1/12, RV 63 11:232. Sonata for violin & continuo in C minor ("Manchester Sonata" No. 7, "a Pisendel" No. 2), RV 6 11:383. Trio Sonata for 2 violins & continuo (optional) in F major, RV 68 9:284. Trio Sonata for 2 violins & continuo (optional) in G major, RV 71 11:525. Trio Sonata for 2 violins & continuo (optional) in B flat major, RV 77 13:546. Trio Sonata for 2 violins & continuo (optional) in F major, RV 70 11:14
Tracklista: Gustav Holst 1. The Planets Edward Elgar 2. Serenade for Strings, Op. 20
Kwintety smyczkowe Mozarta, a szczególnie ostatnie cztery (KV 515, 516, 593 i 614) są często cytowane jako jedne z najlepszych przykładów jego muzyki kameralnej. Czteropłytowy box, oprócz wyżej wymienionych utworów, przedstawia nagrania pozostałych kwintetów z lat 1989-2004, którym towarzyszą najwybitniejsi muzycy, w tym Radovan Vlatković, Martin Frost, Stephen Hough.
Opera skomponowana przez dwóch francuskich kompozytorów epoki baroku - Andre Cardinal Destouches i Michel-Richard Delalande. Wykonawcy to zespół Les Surprises pod dyrekcją Louisa Noël Bestion de Camboulas. W tradycji opery francuskiego baroku opery zawierały wiele elementów tańca, nosiły często nazwę opera-ballet.
'This disc is delicious' (American Record Guide)'Authoritative performances of some very important chamber music for strings ... there is no doubting [Locke's] mastery and his greatness. This recording should find him the audience he richly merits' (Early Music Review)'La lectura de The Parley of Instruments supone un total acierto... tanto en la recreación estilistica como en la factura de las lecturas' (Scherzo, Spain)'An irresistible program, especially in performances as vigorous and bracing as Holman's' (Fanfare, USA)'Essential listening for anyone interested in 17th-century chamber music' (Goldberg)
Muzyka religijna włoskiego kompozytora Bonifazio Grazianiego tworzącego w Rzymie w połowie XVII wieku. Na płycie nagrane sa dwa oratoria kompozytora oraz motety. Wykonawcy to zespół Consortium Carissimi pod dyrekcją Garricka Comeaux.
Muzyka średniowieczna - Ecole de Notre Dame, msza na Boże Narodzenie w wykonaniu zespołu Ensemble Organum pod dyrekcją Marcela Pérèsa.
Cantus Cölln under the direction of Konrad Junghänel is one of the most renowned vocal ensembles for Renaissance und Baroque music. Following their long-term partnership with Harmonia Mundi France, the ensemble now presents its first recording for Accent with Bach’s St John Passion (further projects are planned)This recording is distinguished through two special features: firstly, the utilisation of the seldom performed late fourth version of the passion dating from 1749 and, secondly, the ideal sound of the soloist vocal ensemble which performs the entire work as a double vocal quartet. This produces not only a vocal brilliance and immaculate solo sections, but also extreme transparency which also extends to the turba choruses and chorale settings – Cantus Cölln employs a wide emotional spectrum in their performance ranging from breathtaking drama to intense ardency.The St John Passion was performed a last time under the direction of the composer in the year prior to his death in 1750 in a version which on the one hand cast a glance back to the notated musical text of the original version dating back to 1724, but simultaneously looked forward to embrace the subsequent tonal developments in aesthetic ideals since the time of its composition. The instrumental ensemble was considerably extended: the harpsichord was added as an accompanying instrument alongside the organ, the bass register was reinforced by a contrabassoon and the woodwind orchestration in several of the turba choruses was reinforced by the strings. Bach undertook extensive alterations to text and timbre in a number of arias, and the movements 2 to 10 diverge in numerous details from the text of the now customarily performed version based on the revised score from 1739. The seldom performed version on this recording will perhaps provide a welcome opportunity to hear this all too familiar work with completely new ears.