1 Nesciens Mater 2 Ave Maria, Gemma Virginum 3 Exsultet Coniubilando 4 Verbum Bonum Et Suave 5 Missa Tu Es Petrus 6 Bona Vita, Bona Refectio 7 Factum Est Silentium
Msze skomponowane przez renesansowego kompozytora Guillaume Dufaya w roku 1453. Wykonawcy to zespół Cantica Symphonia pod dyrekcją Giuseppe Maletto.
Muyzcy: Artysta: Gaetano Nasillo Artysta: Marchiol Kompozytor: Salvatore Lanzetti Artysta: Bennici Tracklista: Bennici, Sara - Sonate Fuer Violoncello Und Basso 1. II. Andante Cantabile 2. III. Menuet Bennici, Sara - Sonate Fuer Violoncello Und Basso 3. I. Adagio 4. II. Allegro 5. III. Andante Bennici, Sara - Sonate Fuer Violoncello Und Basso 6. I. Allegro 7. II. Adagio 8. III. Allegretto 9. IV. Presto Bennici, Sara - Sonate Fuer Violoncello Und Basso 10. I. Allegretto 11. II. Adagio 12. III. Allegro Bennici, Sara - Sonate Fuer Violoncello Und Basso 13. I. Andante 14. II. Allegro 15. III. Largo 16. IV. Rondeau: Andante Bennici, Sara - Sonate Fuer Violoncello Und Basso 17. I. Allegro 18. II. Adagio 19. III. Allegro 20. IV. Rondeau: Andante
Following Ensemble Caprice’s first recording of Vivaldi’s sacred music ( Gloria! Vivaldi and his Angels) we return to Vivaldi’s Venice and find ourselves yet again within the confines of the Ospedale della Pietà orphanage where, beginning in 1703, Vivaldi, the Red Priest, not only taught the orphan girls violin and singing (!), but also composed many of his most dazzling concertos as well as a substantial part of his highly inspired corpus of sacred music. To this day, it seems almost unbelievable that these very demanding scores could be successfully performed by young women. However, their concerts must have been of a very high standard, judging from the celebrity status they enjoyed throughout Europe. Of course the picturesque scenario of young women performing in church undoubtedly fired the imagination of countless listeners who would come from far and wide to hear the orphans perform musical miracles in Venice. In 1720 an English traveler, Edward Wright, gives us the following account of those events: Every Sunday and holiday there is a performance of music in the chapels of these hospitals, vocal and instrumental, performed by the young women of the place, who are set in a gallery above and, though not professed, are hid from any distinct view of those below by a lattice of ironwork. The organ parts, as well as those of other instruments, are all performed by the young women. They have a eunuch for their master, and he composes their music. Their performance is surprisingly good, and many excellent voices are among them. And this is all the more amusing since their persons are concealed from view. It was both absurd and comical for Wright to assume that the composer was a eunuch, but it shows how the imagination of the male listeners got carried away when hearing those celestial angelic sounds produced by an invisible female orchestra and choir. After having met Vivaldi in Venice in 1739, a French jurist, Charles de Brosse, reports that …about forty girls take part in every concert. I vow to you that there is nothing so diverting as the sight of a young and pretty nun in white habit, with a bunch of pomegranate blossoms over her ear, conducting the orchestra and beating time with all the grace and precision imaginable. Further proof of the incredible quality (and attraction) of these concerts is provided by no less a celebrity than the sophisticated French philosopher (and part-time composer) Jean-Jacques Rousseau, who in 1743 had nothing but praise for the achievements of the young girls: Every Sunday, vocal music for a large chorus with a large orchestra, which is composed and directed by the greatest masters in Italy, is performed in barred-off galleries solely by girls, of whom the oldest is not twenty years of age. One can conceive of nothing as voluptuous, as moving, as this music. Knowing for instance that J.S. Bach only heard his own sacred music sung publicly in church by boys and men and never by women, we can only assume how much the titillation of these exciting rumours about the female choir and orchestra in Venice must have stirred the imagination of music lovers north of the Alps. During the course of the present recording, we move from Vivaldi’s description of war to his musical depiction of the joys of peace. Juditha triumphans Juditha triumphans from 1716 is the best known of the Vivaldi oratorios (of which only four have survived). Subtitled Sacrum Militare Oratorium, it relates the gruesome Old Testament story of Judith, a beautiful widow chosen by God to put an end to the life of the Assyrian general Holofernes – who was out to destroy her hometown – by decapitating him. At the time the oratorio was composed, the Republic of Venice was engaged in its 6th war against the Ottoman Empire and despite its ultimate triumph in 1718, the situation looked rather bleak two years earlier after two successive crushing defeats by the strong Ottoman army. In a typical baroque crossover mingling religious and worldly matters on the same battlefield, the oratorio Juditha triumphans was obviously aimed at strengthening the war efforts of the Venetian Republic. We know that this oratorio was performed at the Ospedale della Pietà, with an all-(young)-woman cast on both vocal and instrumental parts. It could only have added to the already wide range of exotic sensations when the overwhelmed listener heard these young women in nun’s habits engaging in musical warfare. Gloria, RV 588 However, let us not forget that Vivaldi’s talent also radiated its light upon the depiction of peace. The intense plea Et in terra pax (from Gloria RV 588), with its gripping harmonic tensions, serves as a worthy final statement for this recording, where war is gradually replaced by the hope for peace. Psalms, Concertos, Motet On the road towards peace we encounter brilliant psalm settings with powerful rhythms in choir and orchestra (In exitu Israel RV 604, Laudate Dominum RV 606), two virtuoso concertos for multiple soloists (RV 566 and RV 563) and a beautiful solo motet O qui coeli terraeque serenitas RV 631, praising serenity in heaven and on earth. Vivaldi entertained a close relationship with Dresden, the Florence of the Elbe, both as a performing artist and as a composer; indeed, his pieces were frequently performed at court. One of his illustrious colleagues in Dresden, Jan Dismas Zelenka, was obviously inspired by Vivaldi’s sacred music when he composed the heart-rending lament Misera Madre in which Mary’s suffering at the foot of the cross is set for high-voice choir. It becomes quite obvious from the striking dissonances in this piece that the transition from war to peace is not always an easy one… And just as our plea for peace is here put forward with music from the past, we fervently hope that peace will reign in our present time and the future: Et in terra pax! © Matthias Maute, Montreal, 2011
Tracklista:1 - Les Baricades Misterieuses. Vivement2 - Le Tic-Toc-Choc ou Les Maillotins. Legerement et marque3 - La Couperin. D'une vivacite moderee4 - Les Calotines5 - Les Ombres Errantes. Languissamment6 - Les Tricoteuses. Tres legerement7 - Le Carillon de Cithere. Agreablement, sans lenteur8 - Musete de Taverni (a 5 mains). Legerement9 - Les Rozeaux. Tendrement, sans lentuer10 - L'Atalante. Tres legerement11 - Passacaille12 - La Muse Plantine. Rondeau. Languisssamment13 - Les Tours de passe-passe14 - Bruit de guerre (extrait de La Triomphante). Vivement15 - Le Dodo ou L'Amour au berceau. Sur le Mouvement des Berceuses16 - La Visionnaire. Gramement et marque17 - La Logiviere. Majestueusement, sans lenteur18 - Les Jumeles. Affectuesement19 - Les Cherubins ou l'aimable Lasure. Legerement20 - JAQUES DUPHLY: La Pothouiun - 4th livre de Pieces pour clavecin
Na płycie nagrane są utwory barokowego kompozytora angielskiego Henry Purcella na sopran z towarzyszeniem klawesynu i lutni. Wykonawcy to Rowan Pierce - sopran, Richard Egarr - klawesyn i William Carter - lutnia. Płyta jest debiutem fonograficznym młodej brytyjskiej śpiewaczki, która zdobyła już wiele prestiżowych nagród na konkursach wokalnych.
Jedna z pierwszych oper w historii. Utwór włoskiego kompozytora Stefano Landiego stanowił punkt zwrotny w historii muzyki i był wraz z innymi kompozycjami tego okresu początkiem baroku. Wykonawcy to zespół Tragicomedia pod dyrekcją Stephena Stubbsa.
Sonaty skrzypcowe Franza Bendy w wykonaniu Hansa-Joachima Berga - skrzypce i Naoko Akutagawa - klawesyn.
The Brook Street Band burst on to the scene in 2003 with their Avie debut, the world-premiere recording of Handel’s ‘Oxford’ Water Music, a genuine chamber arrangement of the composer’s ever-popular suite which earned the period-instrument ensemble an Editor’s Choice from Gramophone. Since then the all-girl group, named for the London street where Handel lived and composed for most of his working life in England, has released three further Handel surveys which prove their own adept skills at arranging. They now apply the age-old practice to their first recording of the music of J S Bach, adapting his Organ Sonatas to their own instrumentation of two violins, harpsichord and cello. The result is yet another unique approach from the Brook Street Band, whose sheer pleasure in sharing this music shines though in their radiant renditions