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Baroque, page 28

   Les titres retrouv้: 433
 

Two Upon a Ground - Virtuosic duets and divisions for two viols

Two Upon a Ground - Virtuosic duets and divisions for two viols
ID: SIGCD007
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: String instruments

Two Upon a Ground explores the peculiarly English approach to writing instrumental variations known as 'divisions'. The style is principally known for the way it enables a player to demonstrate both a virtuosic command of the instrument and an imaginative understanding of the musical possibilities inherent in a short musical phrase.

The repertoire heard here is begins with the undisputed ,aster of the genre, Christopher Simpson, and continues with further virtuosic duets and divisions by Jenkins, Lawes, Tomkins and Purcell.
15.00 eur Buy

Modus Phantasticus: Viol Music from 18th Century Germany

Modus Phantasticus: Viol Music from 18th Century Germany
ID: SIGCD041
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Chamber Ensemble

15.00 eur Buy

Antonio Vivaldi: Pellegrina's Delight - Sonatas & Chamber Music for Oboe

Antonio Vivaldi: Pellegrina's Delight - Sonatas & Chamber Music for Oboe
ID: SIGCD037
CDs: 1
Type: CD
Subcollection: Harpsichord

Pellegrina’s Delight celebrates Vivaldi’s contribution to oboe repertoire in the early eighteenth century. Vivaldi wrote at least 16 concerti for solo oboe, but in this recording we offer an overview of Vivaldi’s prominent use of the solo oboe in his chamber music. The disc also provides a fascinating illustration of Vivaldi’s stylistic development between c.1705 and c.1720.

The Quartet Sonata in C major (RV 779) was written during the first decade of Vivaldi’s activity as a composer, when he was serving as a violin teacher at the Ospedale della Piet in Venice. Selected girls were admitted - after audition - to the musical establishment. Vivaldi made a note in this manuscript of the names of the four female musicians who were chosen to perform the sonata. They are Pellegrina (oboe), Prudenza (violin), Lucietta (organ) and Candida (chalumeau).

Other works featured on this disc are the Sonata for oboe and continuo in C minor, RV 53, the Sonata in G minor, RV 28 the Trio-sonata in E minor, Op. 1 no. 2, RV 67, the Concerto for flute, violin and bassoon in G minor, RV 106 (presented with the oboe taking the part of first treble instrument, the Sonata in B-flat major, RV 34 and the Sonata a 4 in C major, RV 801.
15.00 eur Buy

J. S. Bach: Music for Oboe and Harsichord -Oboe Sonatas & Preludes and Fugues from The Well Tempered Clavier

J. S. Bach: Music for Oboe and Harsichord -Oboe Sonatas & Preludes and Fugues from The Well Tempered Clavier
ID: SIGCD034
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Harpsichord

J. S. Bach's g minor sonata BWV 1030b is perhaps better known in its later version for flute and harpsichord where it was re-cast in b minor (BWV 1030). For the earlier g minor version only the harpsichord part remains and it is a matter of conjecture which instrument Bach really intended. Of all his flute works Bach's b minor sonata is the most ambitious, and played on the oboe the epic nature of the piece is even more evident.

Whilst being blessed with many wonderful obligato parts in the cantatas, the g minor sonata is the only large scale solo work for oboe players left by Bach.

If BWV 1030 can exist in both oboe and flute versions, why can't other pieces by Bach be similarly versatile? The remainder of the disc includes the often arranged trio sonata for organ, BWV 529 in C major, the flute sonatas BWV 1020, 1031 and 1033 and the harpsichord Prelude and Fugue in c minor BWV 871 from the Well-Tempered Clavier, Book II.

The authorship of the flute sonata BWV 1033 is called into question because of the style and quality of the basso continuo part. A theory, proposed by musicologist Robert Marshall, is that Bach wrote the flute part as an unaccompanied piece, and that either a son or a student of J. S. Bach added the accompaniment at a later stage. We therefore present the work here as an unaccompanied sonata, echoing the genre that Bach developed with his unaccompanied violin and 'cello sonatas.

Gail Hennessy and Nicholas Parle first played together in London in 1986. They discovered a strong musical rapport and their decision to record these Bach sonatas using oboe and harpsichord stems from their performances over the years of the "big" g minor sonata (BWV 1030b), a challenging work that, like much great music, reveals more and more with each playing.
15.00 eur Buy

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.
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