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New Chamber Opera Ensemble, Gary Cooper - Rameau: Complete Cantatas (1998)

Posted By: tirexiss
New Chamber Opera Ensemble, Gary Cooper - Rameau: Complete Cantatas (1998)

New Chamber Opera Ensemble, Gary Cooper - Rameau: Complete Cantatas (1998)
EAC | FLAC (image+.cue, log) | Covers Included | 02:12:19 | 656 MB
Genre: Classical, Vocal | Label: ASV Digital | Catalog: 234

The New Chamber Opera Ensemble made an impact upon me a year ago with its first recording for ASV of Charpentier’s Le mariage forcé and Les fous divertissements. Now it follows that release with a two-disc set of Rameau’s complete cantatas – seven of them, with two versions of Aquilon et Orithie – and it is another fine effort that puts them at the very forefront of the youngest generation of practitioners of period-style performance.

Stephanie Houtzeel, The Bouts Ensemble - George Frideric Handel: Italienische Liebeskantaten und Kammermusik (2001)

Posted By: ArlegZ
Stephanie Houtzeel, The Bouts Ensemble - George Frideric Handel: Italienische Liebeskantaten und Kammermusik (2001)

Stephanie Houtzeel, The Bouts Ensemble - George Frideric Handel: Italienische Liebeskantaten und Kammermusik (2001)
EAC | FLAC | Image (Cue & Log) ~ 348 Mb | Total time: 75:19 | Scans included
Classical | Label: Raumklang | RK 2101 | Recorded: 2001

The Bouts Ensemble is a chamber music ensemble devoted to the repertoire of the "high" baroque and pre-classical periods - ca. 1725-1775. Through performance of works by both famous and unjustly neglected composers, the group aims to contribute to a greater appreciation and understanding of music from this endlessly fascinating period. The members of this young group use their extensive experience in historical performance practice on period instruments to bring to this repertoire the virtuosity, vitality and intelligence that it demands.

Roberta Invernizzi, Retablo Barocco - George Frideric Handel: Lucrezia: Cantate e Sonate da Camera (2006)

Posted By: ArlegZ
Roberta Invernizzi, Retablo Barocco - George Frideric Handel: Lucrezia: Cantate e Sonate da Camera (2006)

Roberta Invernizzi, Retablo Barocco - George Frideric Handel: Lucrezia: Cantate e Sonate da Camera (2006)
EAC | FLAC | Image (Cue & Log) ~ 303 Mb | Total time: 58:37 | Scans included
Classical | Label: Stradivarius | STR 35701 | Recorded: 1996

There has been a resurgence of interest in Handel's Italian-language cantatas as recordings have begun to reflect the vast totality of his output rather than a selection of big hits ideologically bound up with British nationhood. The works on this disc date from early in Handel's career, while he was working in Italy; this Italian recording accurately uses the German spelling of the composer's name, Händel, which he would still have been employing at the time. They are youthful works in the best sense of the word: they break formal boundaries, give full voice to passions, and feel gloriously free to push performers to the edge.

Sara Mingardo, Sandrine Piau, Rinaldo Alessandrini, Concerto Italiano - Un Viaggio a Roma (2018)

Posted By: ArlegZ
Sara Mingardo, Sandrine Piau, Rinaldo Alessandrini, Concerto Italiano - Un Viaggio a Roma (2018)

Sara Mingardo, Sandrine Piau, Rinaldo Alessandrini, Concerto Italiano - Un Viaggio a Roma: Handel, Stradella, Muffat, Scarlatti, Corelli (2018)
EAC | FLAC | Image (Cue & Log) ~ 355 Mb | Total time: 70:13 | Scans included
Classical | Label: Naïve | # OP30565 | Recorded: 2015, 2017

Handel, Scarlatti, Corelli, Stradella, Muffat … From 1650 to the beginning of the eighteenth century, Rome exercised an immense power in attracting composers from all over Europe and experienced an intense moment of musical activity, because of - or in spite of - the papal administration. It was a prosperous period with a melting pot of influences. The programme devised here by the Roman conductor, Rinaldo Alessandrini, offers a complete and personal vision of the time, passionate and secular, lyrical (made sublime by Sandrine Piau) and orchestral, romantic in every way. Rinaldo Alessandrini is one of the leading figures in the international early music scene.

The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 3 - Weimar Cantatas II (2008)

Posted By: ArlegZ
The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 3 - Weimar Cantatas II (2008)

The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 3 - Weimar Cantatas II (2008)
EAC | FLAC | Image (Cue & Log) ~ 387 Mb | Total time: 87:59 | Scans included
Classical | Label: Chandos | CHAN0752 | Recorded: 2007

This 2-CD set with The Purcell Quartet and a distinguished group of soloists is the third in a series devoted to Bach’s early cantatas and the second focussing on the Weimar period. On an earlier release, International Record Review wrote, ‘The Purcell Quartet and guests are most welcome: even the most distinguished of period performers with larger ensembles can’t achieve the intimacy that the forces here have at their disposal’.

The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 2 - Weimar Cantatas I (2007)

Posted By: ArlegZ
The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 2 - Weimar Cantatas I (2007)

The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 2 - Weimar Cantatas I (2007)
EAC | FLAC | Image (Cue & Log) ~ 312 Mb | Total time: 77:21 | Scans included
Classical | Label: Chandos | CHAN0742 | Recorded: 2005

When recording Bach's 199 sacred cantatas, various strategies have been employed to impose meaningful order on them. There's the "everything from BWV 1 to BWV 199" approach, the "everything in the church year" approach, and the less frequently employed "everything in chronological order" approach, adopted here by the Purcell Quartet. In this the second volume in the series, the four works come from Bach's Weimar period, specifically from 1714 and 1715: Weinen, Klagen, Sorgen, Zagen, BWV 12 (Weeping, sighing, sorrowing, crying); Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 (For as the rain and snow fall down from heaven); Nun Komm, der Heiden Heiland, BWV 61 (Now come, the heathen's Savior); and Komm, du süsse Todesstunde, BWV 161 (Come, sweet hour of my death).

The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 1 (2005)

Posted By: ArlegZ
The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 1 (2005)

The Purcell Quartet - Johann Sebastian Bach: Early Cantatas, Vol. 1 (2005)
EAC | FLAC | Image (Cue & Log) ~ 351 Mb | Total time: 76:48 | Scans included
Classical | Label: Chandos | CHAN0715 | Recorded: 2002, 2004

Lean and austere, yet deeply felt and profoundly spiritual, the first volume in Chandos' series of recordings of Bach's early Cantatas is a complete success. With one player and one singer per part, these are chamber music-scaled performances: it is quite lean and very austere. But that's fine: the musicians are all superb and the music benefits from their individual attention. Indeed, it gains immensely in intensity when a single musician is responsible for each part. Better yet, the music gains enormously in lyricism when those musicians are of the caliber performing here. The Purcell Quartet is arguably the best Baroque chamber ensemble in England and it is augmented here with equally fine additional players.

Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 19 [3CDs] (2005)

Posted By: ArlegZ
Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 19 [3CDs] (2005)

Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 19 [3CDs] (2005)
EAC | FLAC | Tracks (Cue & Log) ~ 820 Mb | Total time: 03:01:10 | Scans included
Classical | Label: Challenge Classics | # CC 72219 | Recorded: 1999-2003

The cantatas of volume 19 can be relegated to three groups: Four works (BWV 72, 88, 129 and 193) belong to the third Leipzig series, lasting from 1725 to 1727; five (BWV 145, 159, 171, 174 and 188) belong to the group known as the Picander cycle of 1728-29, which was not completed or has not survived complete; two works (BWV 51 and 117) belong to the period after 1730, in which Bach composed new church cantatas only sporadically.

Adriana Fernandez, Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: L'Olimpia, L'Arianna (2012)

Posted By: ArlegZ
Adriana Fernandez, Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: L'Olimpia, L'Arianna (2012)

Adriana Fernandez, Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: L'Olimpia, L'Arianna, Su le sponde del Tebro (2012)
EAC | FLAC | Image (Cue & Log) ~ 386 Mb | Total time: 48:41 | Scans included
Classical | Label: CPO | 777 748-2 | Recorded: 2009

Marcello Di Lisa presents three cantate con stromenti that explore the anguish of abandoned lovers; his erudite booklet-note discusses the literary tradition behind the stories of the shepherd Aminta (a stock Arcadian character with roots in Hellenistic poetry), Ariadne abandoned by Theseus on Naxos, and the forsaken Olimpia (heroine of cantos 9-11 of Ariosto’s Orlando furioso), and also provides a penetrating commentary on the musical content of Scarlatti’s cantatas.

Stefano Aresi, Stile Galante - Nicola Porpora: L’amato nome. Cantatas opus 1 (2018)

Posted By: ArlegZ
Stefano Aresi, Stile Galante - Nicola Porpora: L’amato nome. Cantatas opus 1 (2018)

Stefano Aresi, Stile Galante - Nicola Porpora: L’amato nome. Cantatas opus 1 (2018)
EAC | FLAC | Image (Cue & Log) ~ 732 Mb | Total time: 73:50+74:58 | Scans included
Classical | Label: Glossa | # GCD 923513.2 | Recorded: 2016, 2017

Nicola Porpora’s Op 1 set of Italian chamber cantatas receive a new and striking reading directed by Stefano Aresi, a leading interpreter of the Late Baroque composer. Neapolitan-born Porpora brought his nuove musiche with him in the early 1730s when he had set out for London (with his pupil Farinelli) to take advantage of the perceived wavering of Handel’s operatic fame there. Porpora, espying an opportunity there just as Handel himself had done before, quickly ingratiated himself with the nobility in Britain and his 12 cantatas, though probably written in Naples, were published under the patronage of Frederick Louis, Prince of Wales of Great Britain.

Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)

Posted By: ArlegZ
Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)

Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)
EAC | FLAC | Image (Cue & Log) ~ 403 Mb | Total time: 66:32 | Scans included
Classical | Label: Hungaroton ‎| # HCD32101 | Recorded: 2001, 2002

Deux oeuvres mineures de Scarlatti composent cet enregistrement, deux sérénades galantes mettant en scène l’une le triomphe de l’honnêteté sur Cupidon, l’autre Vénus et son fils l’Amour vantant ses victoires. Ersatz d’opéras, interdits par le pape À Rome lorsque Scarlatti est au service d’Ottoboni, mais sans vrai schéma dramatique, exportées sans grand succès à Naples comme Venere e Amore, ces compositions pour le plein air ou le théâtre privé sont charmantes mais d’un intérêt secondaire. Reste la curiosité au disque d’un volet du travail de Scarlatti peu connu.

Kirill Kondrashin, Moscow Philharmonic Orchestra - Dmitri Shostakovich: Symphony No.13; Sergei Prokofiev: October (2014)

Posted By: ArlegZ
Kirill Kondrashin, Moscow Philharmonic Orchestra - Dmitri Shostakovich: Symphony No.13; Sergei Prokofiev: October (2014)

Kirill Kondrashin, Moscow Philharmonic Orchestra - Dmitri Shostakovich: Symphony No.13 ‘Babi Yar’ Op.113; Sergei Prokofiev: October, Cantata Op.74 (excerpts) (2014)
EAC | FLAC | Image (Cue & Log) ~ 410 Mb | Total time: 79:20 | Scans included
Classical | Label: Praga Digitals ‎| # DSD 350 089 | Recorded: 1962, 1966

A historic version of the patriotic October cantata by Prokofiev plus only the second public performance of Shostakovich's 13th Symphony on December 20, 1962, using the original text by Yevtushenko, which pays tribute to murdered Jews in the Ukrainian ravine of Babi Yar.

Olivier Fortin, Ensemble Masques - Noël Baroque: Charpentier, A.Scarlatti, Schiassi, Delalande (2005)

Posted By: ArlegZ
Olivier Fortin, Ensemble Masques - Noël Baroque: Charpentier, A.Scarlatti, Schiassi, Delalande (2005)

Olivier Fortin, Ensemble Masques - Noël Baroque: Charpentier, A.Scarlatti, Schiassi, Delalande (2005)
EAC | FLAC | Image (Cue & Log) ~ 374 Mb | Total time: 67:14 | Scans included
Classical | Label: Analekta | # AN 2 9908 | Recorded: 2005

Yet another fine early music ensemble pops up for the holiday season, courtesy of Analekta. Masques has assembled a charming program of Christmas music from the Baroque period, which of course basically sounds like any other kind of Baroque music, but it's pleasing and spunky nevertheless. The highlights are the two sets of instrumental Noëls by Charpentier and Delalande, which present a festive garland of Christmas tunes in colorful instrumental garb, recorders well to the fore. They are delightful. Schiassi's Concerto for Strings ends with one of those wonderful pastoral numbers, thus establishing its seasonal credentials in the Corellian tradition.

Trevor Pinnock, The English Concert - George Frideric Handel: Ode for St Cecilia's Day (1986)

Posted By: ArlegZ
Trevor Pinnock, The English Concert - George Frideric Handel: Ode for St Cecilia's Day (1986)

Trevor Pinnock, The English Concert - George Frideric Handel: Ode for St Cecilia's Day (1986)
EAC | FLAC | Image (Cue & Log) ~ 218 Mb | Total time: 50:28 | Scans included
Classical | Label: Archiv Produktion | 419 220-2 | Recorded: 1985

Verses in praise of music for St Cecilia's Day were fashionable in the seventeenth century but in poetic inspiration none equalled Dryden's two poems in which he attempts to imitate the effects of music in language. He wrote this one, his Song for St Cecilia's Day, in 1687; it was set to music during the poet's lifetime but not, of course, by Handel whose setting dates from 1739… The highlight of Handel's score for me is, without question, his hauntingly beautiful setting of Dryden's second stanza, ''What Passion cannot Musick raise and quell!''. Here, especially, Handel matches a text which Dr Johnson regarded as exhibiting the highest flights of fancy with a tenderly expressive cello obbligato.

Tone Wik, Barokkanerne - Antonio Vivaldi: Bellezza Crudel (2009)

Posted By: ArlegZ
Tone Wik, Barokkanerne - Antonio Vivaldi: Bellezza Crudel (2009)

Tone Wik, Barokkanerne - Antonio Vivaldi: Bellezza Crudel (2009)
EAC | FLAC | Image (Cue & Log) ~ 348 Mb | Total time: 64:05 | Scans included
Classical | Label: Lindberg Lyd AS | 2L56SACD | Recorded: 2008

The title of this CD Bellezza Crudel means ‘beautiful cruelty’ and the music reflects the Venetian tradition of masquerade and intrigue. This is undoubtedly Vivaldi’s world, one of heartfelt, musical intensity ably realised by Tone Wik on this delightful collection of four Cantatas, interspersed with two Concertos.