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Baroque, page 28

   Les titres retrouvé: 429
 

Telemann,Vivaldi, Handel Nand others - Un'Alma Innamorata: A Soul in Love

Telemann,Vivaldi, Handel Nand others - Un'Alma Innamorata: A Soul in Love
ID: SIGCD033
CDs: 1
Type: CD
Collection:
Baroque

The emergence of the basso continuo (or “figured bass”) was one of the critical moments in this history of music. Figured bass, upon which a keyboard player or lutenist could improvise harmony, meant that a single musician could provide the necessary harmonies which would previously have needed several players. In the early part of the seventeenth century, large numbers of extremely virtuosic solo motets and sonatas started to appear. The combination of solo voice with one instrument and continuo was quite common, and pieces with violin were the most common of all.

This new collection from Cordaria features cantatas for soprano, violin and basso continuo, written by composers including Samuel Capricornus, Dietrich Buxtehude, Antonio Vivaldi , Georg Phillipp Telemann and Georg Frederic Handel.
15.00 eur Buy

The Sultan and the Phoenix

The Sultan and the Phoenix
ID: SIGCD032
CDs: 1
Type: CD
Collection:
Chamber Music

Recording Location: St. Andrew's Church, Toddington, Gloucestershire

Louis (c.1626-1661), François le Grand (1668-1733) and Armand-Louis (1727-1789) were the three most celebrated members of the distinguished Couperin family of musicians who flourished from the late 16th century until the middle of the 19th, holding a position of esteem parallel to that of the Bachs in Germany.

The Sultan and the Phoenix presents both masterpieces and rare gems from the Couperins and their contemporaries, all delivered with a rare insight by the ensemble charivari agréable. The programme presents an overview of the ensemble use of the viol in its various manifestations and stages of evolution in France. The Couperin dynasty offers a convenient chronological framework within which the viol could be heard in various guises: from a consort setting to a ‘pičces de clavecin en concerts’ configuration; from a six-string bass viol to a five-string hybrid ‘quinton’. Underpinning this programme is the historical practice of adaptation, transcription and arrangement with which French baroque music is replete.

Historical tradition is followed by the arrangement of some pieces by the players. Some involved direct transcription, such as the L. Couperin Pavan for a viol consort or the F. Couperin harpsichord piece for theorbo (in the style of de Visée, see above). Other pieces are left untouched, such as L. Couperin’s Fantaisies and Corrette’s Phénix, as well as the large-scale chamber works of Dornel and Couperin.

Charivari Agréable’s reputation as one of the most original ensembles in the period-instrument scene was recently articulated by the BBC Music Magazine, which noted that the ensemble “has carved something of a niche for itself in imaginative and well thought-out programming”, reasoning that its work is the fruit of both scholarly research and charismatic musicianship, a combination which puts it at the forefront of period-instrument ensembles.

This recording is refreshing and rewarding. Charivari Agréable is a rare combination with a distinct sound and sonority, displaying sincere empathy and love for the repertory they choose to record.
15.00 eur Buy

J. S. Bach: The Italian Concerto and the French Overture-Harpsichord Music

J. S. Bach: The Italian Concerto and the French Overture-Harpsichord Music
ID: SIGCD030
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Harpsichord

Signum Records presents the second volume of Lucy Carolan's recordings of Bach's keyboard music consisting of works from Volumes two, three and four of his "Clavierübung". Volume two contains the popular Italian Concerto and French Overture and concentrates on the number "two" - two pieces, two keys, two modes, two nations (Italy and France) and a two-manual harpsichord. The Italian Concerto is unique: a wholly original solo keyboard work written as if "transcribed" from a string original to which Bach adds strikingly new ideas expressly suited for harpsichord. Bach had acquired his knowledge of Italian repertoire early on by transcribing Vivaldi violin concertos for solo harpsichord around 1712-13. The contrasting French Overture contains lighter dances from the court of Louis XIV such as the gavotte, the passepied and bourrée - all are dance forms which had been familiar to Bach from his childhood. The disc also includes duets from volume three and the Chromatic Fantasia and Fugue which, although unpublished during Bach's lifetime, became an inspiration to subsequent generations of composers.
15.00 eur Buy

J. S. Bach: Sonatas for Viola de Gamba & music from The Well Tempered Clavier

J. S. Bach: Sonatas for Viola de Gamba & music from The Well Tempered Clavier
ID: SIGCD024
CDs: 1
Type: CD
Subcollection: Harpsichord

It is not difficult to discern many of the elements that render Bach’s three sonatas for viola da gamba and harpsichord so remarkable by the standards of their age: a mixing of virtually every conceivable genre, form, style, medium and gesture of the late German Baroque; a forging of connections that had not hitherto been made; a penetrating insight into the multi-dimensional potentialities of each motive, theme and polyphonic complex.

Composing for the viol in this way was by, the early eighteenth century, archaic, yet what has made J.S.Bach a summit for many is his apparent ability to transcend historical contingency, somehow to stop the clock of outward progress and to rearrange and recreate the world as he knew it.

On this disc we hear the three sonatas for the Viola da Gamba and three Preludes and Fugues from the Well Tempered Clavier.
15.00 eur Buy

Italian Master Pieces - La Barca Leyden - Platti - Vivaldi - Geminiani,Veracini - Corelli, Vivaldi

Italian Master Pieces - La Barca Leyden -  Platti - Vivaldi - Geminiani,Veracini - Corelli, Vivaldi
ID: ACDHN022-2
CDs: 1
Type: SACD
Subcollection: Organ

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
15.00 eur Buy

Spaerens Vreuchden-Bron: Haarlem - City of Music in the Golden Age - Barocco Locco, Fritz Heller

Spaerens Vreuchden-Bron: Haarlem - City of Music in the Golden Age - Barocco Locco, Fritz Heller
ID: ACDHD031-2
CDs: 1
Type: SACD
Collection:
Baroque
Subcollection: Historical Instruments

The glorious epithet ‘Golden Age’, describing the seventeenth century in the Netherlands, and the Northern Netherlands in particular, says much about the preceding century too. For it was in the second half of that century that the gradual transition took place from the Renaissance to the early Baroque, and in many respects it was there that the roots of the ‘golden’ characteristics lay. The exuberance of the Baroque, however, was of relatively limited influence, since it hardly appealed to the sobriety of the increasingly Calvinist population. This was the background to the political and military stage of the Eighty Years’ War, which was to end with the signing of the Peace of Westphalia in Münster in 1648 and the formal independance of the Republic of the United Provinces. The discovery of new continents made a significant contribution to unprecedented economic growth. The Republic of the United Provinces became the indisputed economic centre of Europe, with trade links and possessions in no less than four continents and a merchant fleet that surpassed the combined fleets of England and France. In the ideological world, humanism, fired by the writings of Desiderius Erasmus, became a force to be reckoned with. In religious matters, the sixteenth century witnessed perhaps the greatest upheavals, with the emergence of Protestantism during the Reformation and the first effects of the Counter Reformation around 1560. If it were not for spectacular developments in the cultural world, to which the seventeenth century owed its honorary title, scholarship, literature, poetry, painting, engraving and music would not have attained such stupendous heights.
15.00 eur Buy

Arie e Canzone - Girolamo Frescobaldi - Ensemble Braccio, Nancy Mayer-Mezzo soprano

Arie e Canzone - Girolamo Frescobaldi - Ensemble Braccio, Nancy Mayer-Mezzo soprano
ID: ACDHD024-2
CDs: 1
Type: SACD
Collection:
Baroque

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
Girolamo Frescobaldi’s chamber music has been somewhat neglected in favor of his more famous keyboard compositions. This recording presents a selection Frescobaldi’s music for small ensembles as it could have been heard in performance at, for example, an early 17th century salon.Perhaps the best known pieces on this disc are the canzonas for bass instrument and continuo, which are among the earliest published repertoire for solo bass instrument. Like the discant and the discant and bass canzonas, they show a composer exploring the new instrumental conventions of the early 17th century.
15.00 eur Buy

Music for the Coronation of James II, 1685

Music for the Coronation of James II, 1685
ID: SIGCD094
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Choir

With a stunning selection of choral music that is truly fit for a King, Andrew Gant leads the Choir of the Chapel Royal & The Musicians Extra-Ordinary to re-create the music that accompanied the coronation of James II and Queen Mary in 1685.

Includes work(s) by various composers. Ensembles: St. James's Palace Chapel Royal Choir, St. James's Palace Chapel Royal Musicians. Conductor: Andrew Gant.
15.00 eur Buy

Riko Fukuda, Fortepiano - F. Mendelssohn Bartholdy

Riko Fukuda,  Fortepiano - F. Mendelssohn Bartholdy
ID: ACDHJ032-2
CDs: 1
Type: SACD
Collection:
Baroque
Subcollection: Piano

Before his travels Mendelssohn had already started to compose the Fantasy in F sharp, which is also called Sonata écossaise (Scottish sonata), but only after the three years’ tour did he finish and publish it. The work is comprised of three parts and continues with the attacca as one big whole. After his three years’ journey Mendelssohn returned to the parental home in Berlin in June 1832. The following month he ordered a piano by Conrad Graf from Vienna. His specific wish was a grand piano with a compass of 6½ octaves. The development of the piano in the late 18th century up to the mid 19th century went very fast and its compass increased every time. The piano Felix mother and aunts knew in the days of their youths had a compass of but 5 octaves, the Broadwood grand at his parents’ had 6.
He was so pleased with the Graf that he ordered two more within a time span of three years; one for the city of Düsseldorf where he had become General Musical Director and one as a wedding present for his brother’s bride.
Although he also received a grand piano as a present from the Erard factory in 1832, his enthusiasm for this make is not registered until 1838. The 1832 instrument did not play easily and after he had sent it back to the factory in 1837 to have it modified, he unexpectedly got offered a new instrument. He described this instrument ‘so full and rich in tone’ and praised the Erard quoting Lord Byron, ‘There be none of Beauty’s daughters with a magic like Erard’s.’
15.00 eur Buy

G. F. Handel - Concerti Grossi, Opus 3 - Il Concerto Barocco

G. F. Handel - Concerti Grossi, Opus 3 - Il Concerto Barocco
ID: ACDHJ039-2
CDs: 1
Type: SACD
Collection:
Baroque
Subcollection: Chamber Ensemble

George Frideric Handel (1685-1759) was a practical composer. He believed in recycling: if he once wrote a rather good piece, he used it again elsewhere. Of the compositions entitled Concerti Grossi, Opus 3 (1734), only the first was originally conceived as a concerto grosso. The other five are compilations of movements written years before, with a few new movements added. Opus 3, therefore, could be described as an environmentally friendly compilation of 60% recycled and 40% new material. The publication contains a wonderful variety of texture and colour, and is full of contrasting emotions. The individual concertos feature different instrumentations - pairs of oboes, recorders, cellos, violins and bassoons all make an appearance, as well as solo violin, oboe, flute and organ.
15.00 eur Buy

 
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