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Isabelle Faust - Solo: Matteis, Pisendel, Guillemain, Vilsmayr, Biber (2023)

Posted By: ArlegZ
Isabelle Faust - Solo: Matteis, Pisendel, Guillemain, Vilsmayr, Biber (2023)

Isabelle Faust - Solo: Matteis, Pisendel, Guillemain, Vilsmayr, Biber (2023)
XLD | FLAC | Image (Cue & Log) ~ 271 Mb | Total time: 54:29 | Scans included
Classical | Label: Harmonia Mundi | # HMM 902678 | Recorded: 2023

From Biber’s famous ‘Guardian Angel’ Passacaglia to Guillemain’s ‘Amusements’ and sonatas and fantasias by Matteis (father and son), Pisendel and Vilsmayr, Isabelle Faust offers us a panorama of European music for unaccompanied violin from the second half of the Baroque era. Dreamy or virtuosic, these pieces bear witness to the diversity of inspirations from Italy, France, England and the German-speaking countries - and to their marvellous intermingling echoes.

Georg Kallweit, Bjorn Colell - Passaggio: A Baroque Alpine Crossing (2017)

Posted By: Designol
Georg Kallweit, Bjorn Colell - Passaggio: A Baroque Alpine Crossing (2017)

Georg Kallweit, Björn Colell - Passaggio: Eine Barocke Alpenüberquerung (2017)
works by Schmelzer, Piccinini, Marini, Bartolotti, Vilsmayr, Pandolfi Mealli, Muffat

EAC | FLAC | Image (Cue&Log) ~ 326 Mb | Mp3 (CBR320) ~ 157 Mb | Artwork included
Genre: Classical | Label: Alpha Classics | # ALPHA 540 | Time: 01:06:43

For several years now, the guitarist and lutenist Björn Colell and the Baroque violinist Georg Kallweit, Konzertmeister of the Akademie für Alte Musik Berlin, have formed a noted duo called Ombra e Luce: ‘With only two musicians and two instruments, we aspire to a perfect rapport and a permanent dialogue. We have access to a rich repertory of original pieces from the sixteenth to eighteenth centuries for violin and lute/theorbo: this was a widespread combination, essentially before 1700. We work a great deal on tone colours and nuances, spontaneity and improvisatory playing – a flexible and sensual interpretation of the works we perform, giving full value to chiaroscuro: ombra e luce! We are convinced that, played in this way, our “early music” can speak directly to the hearts even of listeners who are hearing it for the first time. This new recording, “Passagio”, is the result of our recent musical journeys. Setting out from Italy to go farther north, we have virtually and musically crossed the Alps with our instruments. The works on this recording shed a different light on the music of the courts of Modena, Bologna and Venice.’