Cykl 12 koncertów skrzypcowych Antonia Vivaldiego op. 9 "La Cetra" w wykonaniu angielskiej skrzypaczki Rachel Podger z towarzyszeniem zespołu Holland Baroque Society.
In his testament, Christoph Graupner (1683-1760) decreed that every single one of his compositions should be destroyed after his death. It is quite unimaginable that the composer’s last will should have been carried out! Fortunately, posterity preserved the musical memorial, and so today we find his musical legacy in the library of the ‘Darmstädter Hofkapelle’. To date, very little of Graupner’s extensive vocal oeuvre has been recorded. And thus the Anton-Webern-Chor Freiburg together with the Ensemble Concerto Grosso conducted by Hans Michael Beuerle present imaginative baroque vocal music recorded for the first time. A program of four passion cantatas was selected from the enormous body of Graupner cantatas – altogether 1414 sacred cantatas grouped in 46 annual cantata volumes are extant!
Violin Sonata in C major, Op. 1, No. 2Butterfield, Adrian, baroque violinMcGillivray, Alison, viola da gambaCummings, Laurence, harpsichord 1. I. Adagio 00:02:572. II. Corrente: Allegro 00:04:253. III. Gavotta: Grazioso 00:04:224. IV. Giga: Allegro 00:03:20[Show Details] Violin Sonata in B flat major, Op. 1, No. 3Butterfield, Adrian, baroque violinMcGillivray, Alison, viola da gambaCummings, Laurence, harpsichord 5. I. Adagio 00:02:166. II. Allegro 00:04:167. III. Largo 00:03:438. IV. Tempo Gavotta: Allegro 00:04:00[Show Details] Violin Sonata in A minor, Op. 1, No. 1Butterfield, Adrian, baroque violinMcGillivray, Alison, viola da gambaCummings, Laurence, harpsichord 9. I. Adagio 00:02:1810. II. Allemanda: Allegro 00:05:1611. III. Aria: Grazioso 00:06:3812. IV. Giga: Allegro 00:04:40[Show Details] Violin Sonata in D major, Op. 1, No. 4Butterfield, Adrian, baroque violinMcGillivray, Alison, viola da gambaCummings, Laurence, harpsichord 13. I. Adagio 00:04:4514. II. Allegro 00:03:3315. III. Andante 00:01:5616. IV. Tempo Gavotta 00:03:2217. V. Minuetto 00:02:28
The immediate cause for this CD is the direction Cage gave in his score of the String Quartet in Four Parts: “Play without vibrato and with only minimum weight on the bow”. Through this vibratoless tone and these ethereal sounds, Cage in fact aims for a musical idiom intended for gut strings: through their more subtle and transparent sound combined with a clear attack they certainly contribute to achieving his sound ideal. It inspired Frank Agsteribbe to arrange this work, which was originally written for a modern string quartet, for Baroque string orchestra. It is only to be expected that a Baroque orchestra like B’Rock would take up this project: right from the start it was B’Rock’s aim to present not only Baroque music, but also 20th-century and even new repertory. Besides, the artistic leaders on this CD, soloist Rodolfo Richter and Frank Agsteribbe, a harpsichord player-conductor, have both studied composition and perform early as well as new music. This results in a different, refreshing approach to early music, one that is full of imagination.
1. When You Wish Upon A Star2. It's A Small World3. Alice In Wonderland4. March Of The Cards5. Mary Poppins6. Cinderella7. The Jungle Book8. Who's Afraid Of The Big Bad Wolf?9. Snow White And The Seven Dwarfs10. Mickey Mouse Medley11. Baroque Hoedown (Theme From Disney's Main Street Electrical12. Disney Fantasy Medley:Zip-A-Dee-Doo-Dah,The Wonderful Thing
Kantaty Jana Sebastiana Bacha przeznaczone do wykonania podczas okresu świąt Bożego Narodzenia. Płyty zostały nagrane podczas "Pielgrzymki bachowskiej" w 2000 roku kiedy muzyczny świat obchodził 250 rocznicę śmierci kompozytora. Wykonawcy to zespoły Monteverdi Choir i English Baroque Soloists pod dyrekcją Johna Eliota Gardinera.
Tracklista: CD 1 1. Nocturne No. 1 2. Nocturne No. 2. Wien, the City of Schubert 3. Persepolis 4. Petra 5. Luxor 6. Sana'a 7. The Studio. Rondeau 8. Cubist Musical Still Life. Pavane 9. Aviary. Gigue 10. Rhinoceros Looking at the Moon 11. Tang Dynasty Tango 12. Blue and White China 13. Orchids, Bamboo, Chrysanthemums 14. Nepenthe 15. I Thought That My Voyage 16. Early in the Day 17. This Is My Delight 18. The Day Is No More 19. My Song (A Cappella) CD 2 1. Valse Chimerique 2. Forgotten Memories 3. For Butterfly 4. Blue Butterfly Day 5. For Joyce 6. The Garden 7. Baroque Landscape 8. Winterklange 9. Komposition in Gelb Und Rosa 10. Symphonie Rot-Schwarz 11. Tomb of Mumtaz. Agra 12. Holy Cities 13. Hillstation With Steam Train. Darjeeling 14. Ravenna 15. Pompeii 16. Byzantium 17. Prelude 18. Sarabande 19. Gigue
Koncerty na smyczki Antonio Vivaldiego w wykonaniu Anner Bylsma - wiolonczela oraz zespołu Tafelmusik Baroque Orchestra pod dyrekcją Jeanne Lamon.
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.’
Rzadko wykonywane symfonie nr 40 i 41 Mozarta w świetnym wykonaniu Tafelmusik Baroque Orchestra z Bruno Weilem.