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ID: EMCCD7765
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Chamber Ensemble
The recording is entirely devoted to French Baroque composer Jean-Féry Rebel and comprises some of his most admirable ballet music, along with the enigmatic suite Les Elemens.
The orchestra was awarded two Opus Prizes in January 2007 (voted by the Conseil québécois de la musique) for this program, which was featured in Arion’s 2006 activities. One Prize was for the ‘Concert of the Year in Montreal’ and the other for the ‘Concert of the Year, Music of the Middle Ages, the Renaissance and the Baroque eras’.
J-F. Rebel:
La Terpsicore
Les Caracteres de la Danse
Caprice
Les Plaisirs champetres
La Fantaisie
Les Élémens |
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ID: ART302
CDs: 1
Type: CD
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Subkolektion: Accordion
Vyacheslav Nedosekin - bayan (accordion)(1-18) Denis Kozminykh - saxophone (15-18) |
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ID: BAR2015-01
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Voices and Chamber Ensemble
ENSEMBLE LABIRINTO ARMONICO
in collaborazione con gli studenti di canto del Conservatorio di Musica “Luisa D'Annunzio” di Pescara
Pierluigi Mencattini - violino barocco,
Giovanni Rota - violino barocco,
Galileo Di Ilio - violoncello,
Michele Carreca - tiorba e chitarra barocca,
Stefania Di Giuseppe - clavicembalo e organo,
Walter D'Arcangelo - organo,
Giancarlo De Frenza - violone
Michele Mascitti : Sonata III in la magg. op. III per violino e b.c.
Michele Mascitti : Sonata IX in re magg. op. IV a due violini e b.c.
Giuseppe Corsi : Messa à 8.o voci “La luna piena”
Giuseppe Corsi : Cantata “Guerra o penzier all’armi”
I Coro:
SOPRANI: Beatrice Fallocco, Jessica Liberatore, Maria Chiara Papale
CONTRALTI: Debora Ciarma, Valeria Felicioni, Daniela Nineva
TENORI: Benedetto Agostino, Stefano Di Claudio
BASSI: Andrea Ghiglia, Norontako Bagus Kentus, Nicola Spacciante
II Coro:
SOPRANI: Mariangela Polidoro, Laura Ranieri
CONTRALTI: Mariachiara Di Cosimo, Aleksandra Timofejev
TENORI: Danilo Dell’Oso, Daniele Di Nunzio, Lorenzo Martelli
BASSI: Lucio Di Giovanni, Martin Esek |
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ID: BAR2013-06
CDs: 1
Type: CD
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Subkolektion: Organ
Musiche di Mascitti, Fenaroli, Leclair, Cotumacci
Ensemble Labirinto Armonico
Pierluigi Mencattini violino barocco
Giovanni Rota violino barocco
Giovanni La Marca viola da gamba
Walter D’Arcangelo organo positivo |
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ID: VVCD-00192
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Choir and Orchestra
To the memory of Natalia Kravtsova (1959-2003)
Natalia Kravtsova, soprano; Lidia Zabilyasta, sopranо;
Valentina Svetilnik, alt; Migal Turyanin, tenor; Yaroslav Khodoriv, bass
Perpetuum Mobile Orchestra
Ukrainian Radio Choir |
| 20.00 eur Temporarily out of stock |
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ID: BAR2012-04
CDs: 1
Type: CD
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Kolektion: BaroqueEnsemble Labirinto Armonico
Mottetti
Claire Decaux - Soprano
Laurène Huet - Mezzo Soprano
Matthieu Peyregne - Contralto
Alessandro Giangrande - Tenore
Riccardo Ristori - Basso
Pierluigi Mencattini - Violino barocco
Giovanni Rota - Violino barocco
Giovanni La Marca - Viola da Gamba
Maurizio Ria - Violone
Walter D’Arcangelo - Organo
Dimitri Goldobine - Tiorba
Michele Carreca - Tiorba, Arciliuto
Cantate
Christophe Carre’ - Soprano
Pierluigi Mencattini - Violino barocco
Giovanni La Marca - Viola da Gamba
Giovanna Tricarico - Cembalo
Dimitri Goldobine - Cembalo
Michele Carreca - Tiorba, Arciliuto
LIVE VIDEO
Click qui per l'anteprima |
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ID: DCD34086
CDs: 1
Type: CD
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Kolektion: RenaissanceThe Marian Consort:
Gwendolen Martin & Emma Walshe - Sopranos
Rory McCleery Countertenor / Director
Nicholas Scott - Tenor
Steffan Jones, Baritone / Christopher Borrett -Bass
For their debut recording, the six-strong Marian Consort explores music from late sixteenth and early seventeenth-century Spain. This fascinating programme celebrates the rich compositional fruits of the Siglo de Oro’s intensely competitive musical culture. These luminary works - all dedicated to the Virgin Mary - demand performances of great intelligence and vocal commitment. The youthful Marians respond absolutely, bringing hushed intimacy and bristling excitement to some of the most gorgeously searing lines in the history of European polyphony.
1 Regina caeli - Juan Navarro
2 Maria Magdalene - Francisco Guerrero
3 Kyrie from Missa Maria Magdalene - Alonso Lobo
4 Ave Virgo sanctissima - Francisco Guerrero
5 Gloria from Missa Ave Virgo sanctissima - Juan Esquivel
6 O Virgo benedicta - Rodrigo Ceballos
7 Credo from Missa Ave Virgo sanctissima - Juan Esquivel
8 Ave Regina caelorum - Alonso Lobo
9 Sanctus from Missa Maria Magdalene - Alonso Lobo
10 O sacrum convivium - Sebastián de Vivanco
11 Benedictus from Missa Maria Magdalene - Alonso Lobo
12 Magnificat Primi Toni - Sebastián de Vivanco
13 Pastores loquebantur - Francisco Guerrero
14 Agnus Dei from Missa Sancta et immaculata - Francisco Guerrero |
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ID: CDM0027-14-1
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Ensemble
Patrizia Bovi - Soprano, harp, musical direction
Goffredo Degli Esposti - Pipe and tabor, pipe and buttafoco (string drum), sordellina (bagpipe)
Gabriele Russo - Lira da braccio, rebec
Enea Sorini - Baritone, percussion
Simone Sorini - Tenor, cantore a liuto
Olivier Marcaud - Tenor
Leah Stuttard - Harp (bray pins)
Crawford Young - Lute
Gabriele Miracle - Dulcimer, Percussion
Gianni La Marca - Viol
Mauro Borgioni - Bass
Ulrich Pfeifer - Voice on Lanxe Lanxe
Luigi Germini - Trombon
A new CD with frottole and villotte about folk themes and figures, later destined to become stock characters of the Commedia dell’Arte, of late 15th - Century: Scaramella/Scaramouche (a lampoon soldier), the lanzo or captain, the vecchia maladetta e rincagnata (a “wretched, pug-nosed old hag” who acts either as procuress or as an obstacle to love), Giannolo/Zano and Rosina (the lovers), La Ramacina (the unhappy wife), Il vecchio maladeto (the villainous old man: an unnamed forerunner of Pantalone) and Feragu (an unregenerate Don Giovanni). These figures, who appear in the interludes of the comedies and tragedies performed during festive gatherings at the great courts, first tell their stories and then perform dances such as the ballo del mattarel (“rolling pin dance”) or the mazacrocha (“breadstick dance”) and, above all, moresche (mauresques), performed at all Renaissance banquets and in the interludes of comedies as a pretext for travesty and transformation, giving rise to the symbolic portrayal of an exotic world revolving around play, love, war and the derision of power. A new recording full of colours, rhythm and……lies! |
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ID: BG0412
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Oper
Registrazione della favola pastorale di Torquato Tasso con intermedi musicali tratti da
Le Novellette a sei voci di Simone Balsamino
Ensemble BELLA GERIT
Musicisti:
ENEA SORINI - voce (Tirsi) e direzione musicale
SIMONE SORINI - voce (Aminta)
PAMELA LUCCIARINI - voce (Coro)
DANIELE BERNARDINI - flauto dritto, zampogna
MICHELE CARRECA - liuto
ELISABETTA DEL FERRO - viola da gamba
DAVID MONACCHI - paesaggi sonori naturali ed elettroacustici
Voci Recitanti:
LUCIA FERRARI (Dafne)
PIETRO CONVERSANO (Tirsi)
FRANCESCA DI MODUGNO (Silvia)
FILIPPO QUINTINI (Aminta)
ASIA D'ARCANGELO (Amore)
ENEA SORINI (Satiro)
PAMELA LUCCIARINI (Nerina)
GIORGIO BRAMANTE DONINI (Coro, Elpino) |
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ID: ACDBO063-2
CDs: 1
Type: CD
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Kolektion: BaroqueThere are a number of recordings of the choral partita ‘Ach wie nichtig, ach wie flüchtig’ by Georg Böhm (1666-1733), including one on the great Arp Schnitger city organ in Hamburg (1693), 57 voices, beautifully played by Stef Tuinstra. The version heard here is played on Arp Schnitger’s smallest organ positiv, 8 voices, but it offers enough variation to register the 8 variations in a diverse manner. The suite in A Minor ‘Melpomene’ by Johann Kaspar Ferdinand Fischer (1665-1746) is taken from his Musikalischer Parnassus (1738). Melpomene was the muse of song and tragedy. The stylised dances are a slow Allemande, the fast Passepied, a Rondeau, alternately a refrain and a verse, a Chaconne, variations based on a descending series of 4 tones and finally a fast Gigue. The Fantasia on the hexachord Vt Re Mi Fa Sol La by Johann Jakob Froberger (1616-1667) was already a famous work during his lifetime., Athenasius Kirchner mentions the work in his Masurgia (1646) and it was published in an autograph in 1649. The seven parts of the work bring the hexachord in various rhythms and with various second voices. In the sixth and seventh parts he adds chromatic tones, thus deftly exploiting the meantone temperament in the strong effect of dissonants and consonants. A true masterpiece. Johann Jakob Froberger (1616-1667) wrote the Tombeau on the death of the lute player Blancheroche in Paris and added the following remark: ‘fait à Paris sur la mort de Monsieur Blancheroche: lequel se joue fort lentement à la discretion sans observer aucune mesure.’ The improvisational character of the piece strongly resembles the Preludes non mésuree by Louis Couperin, whom Froberger met in Paris in 1652. A striking feature of this work is its exploitation of the meantone temperament, e.g. Froberger twice prescribes a D flat for where a C sharp is tuned, using the dissonant here as an expressive device. The Preludium is one of the great free forms in keyboard music. Of Hans Kotter (1485-1541) we hear an early example, here called Proömium in re. Kotter was a pupil of Paulus Hofhaymer, the most important ‘Organistenmacher’ of the 16th century, just as Sweelinck was in the 17th century. The original of the Giusti instrument is now in the Tagliavini collection in Bologna/Italy. |
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