Wednesday, October 7, 2009

Scarlatti A&D - Concerti & Sinfonie - Biondi, Europa Galante









Scarlatti A&D - Concerti & Sinfonie - Biondi, Europa Galante
Baroque | Eac, flac, cue | log, cover | 1 CD, 332 MB
May 7, 2002 | Virgin | RapidShare

(Diapason d'or of 2002)

This recording presents music by two Scarlattis: Alessandro (1660-1725), composer of innumerable vocal and chamber works, and his son Domenico (1685-1757), famous mostly for his several hundred keyboard sonatas. Alessandro is represented by six Concerti Grossi, a Sonata, and a Sinfonia; Domenico by three Sinfonias. All feature solo instruments: harp, recorder, and most prominently, violins and continuo cello. Alessandro fostered his son's talent, but the two eventually, perhaps inevitably, became rivals, and Domenico left his native Rome for Portugal and then Spain. Most of Alessandro's music recorded here is somber, solemn, and mournful, full of dissonances and sighing suspensions; four of the six concerti are in minor, but the two in major are bright and sprightly. One of the highlights is the slow, pastoral Finale of No. 6. They vary greatly in form, character, and texture; there is much masterful counterpoint, pungent rhythmic inventiveness, and a chromaticism that seems ahead of its time.

Europa Galante, an excellent Italian period-instrument group, is distinguished by its successful blending of meticulous technical and ensemble execution with musical spontaneity. Notable among the soloists are cellist Maurizio Naddeo and recorder player Petr Zeifart. Violinist Fabio Biondi, the group's director, is outstanding for his virtuosity, beautiful tone, and daring, inventive ornamentation. He deserves our gratitude for rescuing these unfamiliar works from undeserved neglect. --Edith Eisler


# lori, Dorino e Amore, serenata for 3 voices, chorus & instruments Sinfonia: 1. Largo
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Clori, Dorino e Amore, serenata for 3 voices, chorus & instruments Sinfonia: 2. Presto
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Clori, Dorino e Amore, serenata for 3 voices, chorus & instruments Sinfonia: 3. Minuet
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Clori, Dorino e Amore, serenata for 3 voices, chorus & instruments Sinfonia: 4. Grave
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Sinfonia No.7 for strings and continuo in C major
Composed by Domenico Scarlatti
with Margret Koll, Europa Galante
Conducted by Fabio Biondi

# Concerti grossi (6) ("VI Concertos in Seven Parts") Concerto grosso No. 1 in F minor
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Concerti grossi (6) ("VI Concertos in Seven Parts") Concerto grosso No. 2 in C minor
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Concerti grossi (6) ("VI Concertos in Seven Parts") Concerto grosso No. 3 in F major
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Concerti grossi (6) ("VI Concertos in Seven Parts") Concerto Grosso No. 4 in G minor
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Concerti grossi (6) ("VI Concertos in Seven Parts") Concerto Grosso No. 5 in D minor
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Concerti grossi (6) ("VI Concertos in Seven Parts") Concerto Grosso No. 6 in E major
Composed by Alessandro Scarlatti
with Europa Galante
Conducted by Fabio Biondi

# Sinfonia No.3 for strings and continuo in G major
Composed by Domenico Scarlatti
with Raffaello Negri, Maurizio Naddeo, Europa Galante
Conducted by Fabio Biondi

# Sinfonia No.5 for 2 violins and continuo in A minor
Composed by Domenico Scarlatti
with Maurizio Naddeo, Europa Galante
Conducted by Fabio Biondi

# Sonata for flute, 2 violins, cello & continuo No. 2 in A minor
Composed by Alessandro Scarlatti
with Petr Zejfart, Maurizio Naddeo, Europa Galante
Conducted by Fabio Biondi

Tuesday, October 6, 2009

The Rare Fruits Council - Leclair-Locatelli - L'ange et le diable






The Rare Fruits Council - Leclair-Locatelli - L'ange et le diable
Strings | Eac, flac, cue | log, cover | 1 CD, 346 MB
January 8, 2002 | Astree | RapidShare



Forget the confusing and contradictory liner notes and the somewhat shaky pretense for including the works of these two 18th-century violin-virtuoso/composers on the same program, and just enjoy the irresistibly entertaining music and impressive performances. The disc's title--"the angel and the devil"--refers to the presumed comments of a court jester who supposedly heard Leclair and Locatelli perform together at the court of Kassel in 1728: "The one [Leclair] plays like an angel, and that one [Locatelli] like a devil." But it's questionable that this meeting ever happened--the published account of the jester's quote didn't appear until decades after the fact--and although these two musicians were almost exact contemporaries (both died in the same year, 1764), lived most of their professional lives in northern Europe, and wrote important works for the violin while also being famed for their phenomenal playing, there was no celebrated rivalry or other personal or artistic interaction during their lifetime.
No question, any violinist who presumes to tackle any of these sonatas--by either devil or angel--had better be in top form, a virtually fearless technician and consummate showman (or woman). Manfredo Kraemer certainly is in top form and manages to dispatch these pieces with rare technical polish, and he's accompanied by top-notch partners whose sense of style complements his own interpretive brilliance. This is music-making of the highest order, from the ideally balanced ensemble interplay to the refined, at times "unearthly" (the central section of Locatelli's C major sonata) solo performances. Although these pieces demand virtuoso skills equal to any other of the more highly respected works of Bach or Paganini, they have not obtained the favor that they deserve from today's more accomplished violinists (Mela Tenenbaum's performances of sonatas by Locatelli and Leclair for Essay are a notable exception). Kraemer makes the case for each sonata as a worthy repertoire staple--but also leaves you in awe of the soloist's art and of these composers' imagination and skill in writing for this at once diabolical and heavenly instrument. The sound, from Belgium's Church of Jauchelette, is exemplary. [4/13/2002]--David Vernier

Manfredo Kraemer

The Rare Fruits Council
Created in 1997, The Rare Fruits Council has awakened the enthusiasm of the public and obtained superlative praise in critical comments all over the world: "Their music flows like a waterfall", "bursts out like firework", "boundless and bold talent of its members", "carried away by real and wild frenzy", "infinite expressiveness" are some of the qualifying adjectives and phrases that have described the performances of the group. They have played -in diverse formations- in all European countries, Asia, South and North America, and other labels, and are among the most sought after performers in the present-day European baroque scene.
The groups outstanding recording of H.I.F. Bibers cycle of suites Harmonia Artificioso-Ariosa, which was awarded a Diapason d'Or of the French critical press and the Grand Prix de l'Academie du Disque, was acclaimed unanimously by the international press as the reference-recording of this work. The name of the ensemble, an allusion to the florid, naturalistic titles of many music editions of the baroque period, also suggests an aesthetic purpose: To discover the familiar under an exotic garment, as in the riddle, or as in art, to turn into something different an already known and attractive object. To interpret the never before as if it had always been, and the always as if never ever before.

CD Content
Leclair - Overture in a Major No 3 Opus 13
Locatelli - Sonata in C Major No 4 Opus 8
Leclair - Sonata for Two Violins Without Continuo No 6 Opus 12 in B Flat
Locatelli - Sonata for Two Violins and Continuo in a Major No 7 Opus 8
Leclair - Sonata in E Minor No 1 Opus 2

Monday, October 5, 2009

Froberger - Pieces De Clavessin - David Cates, Harpsichord






Froberger - Pieces De Clavessin - David Cates, Harpsichord
Soloist | Eac, flac, cue | log, cover | 1 CD, 400 MB
July 21, 1998 | Wildboar | RapidShare


On his first CD recording, David Cates displays remarkable mastery of Froberger's elusive, enigmatic style. Cates's rhythm and emotional energy flow together in great surges of color, thought and feeling. Froberger's genius lay in fusing the impulsiveness and brilliance of the Italian creative spirit with the dark melancholia of the Germans, and Cates is more than capable of conveying this paradox. This is a moving and mature performance that leaves the listener wondering how it is that Mr Cates has not been heard on disc before.

Two harpsichords are used; both Italians. One, after a seventeenth century original by Giusti, has the classic Italian sound: clear yet dark and deep, low tension at its best, with lots of color and sonic interest. The other by Curtis Berak, follows principles and measurements gleaned from a variety of the earliest examples of the harpsichord. Characteristically of Berak's work, the sound is darker still and more complex, filled with rumors and innuendo- conversations from the next room, not quite discernable, lurk just beneath the surface of the sound.


Short bio

David Cates (Harpsichord)

Born: 1958 -New York, NY, USA

The American harpsichordist, David Cates, studied piano, counterpoint, music and tuning theory in Chicago with Easley Blackwood, and piano in New York with Jacob Lateiner. Though largely self-taught on the harpsichord he has studied privately with Edward Parmentier and Roger Goodman.

David Cates

David Cates is rapidly becoming recognized as one of today's most unique and important artists performing on the harpsichord. His playing has been described by critics as unique, sensual, brilliant, moving, revealing, honest, and always emotionally connected to the music he performs. His solo recordings on the Wildboar label of Froberger and J.S. Bach have met with widespread critical acclaim. The 2002 Classical Music Listener's Companion calls him one of the 20 most important harpsichordists available on recordings today; "an unusual interpreter" and an "outstanding talent". He is perhaps the only harpsichordist to have also played the entire Schubert lieder opus, as well as Charles Ives' Concord Sonata.

David Cates performs both internationally and within the USA, primarily as a soloist. Based in Berkeley, California, he is also the co-leader of the baroque ensemble Chiaroscuro, along with the well-known baroque violinist and erstwhile duo partner Elizabeth Blumenstock.

CD Content
# Partita (No.30), for keyboard in A minor, for keyboard, FbWV 630 Plainte pour passer la Mélancholie
Composed by Johann Jacob Froberger
with David Cates

# Toccata (No.9), for keyboard in C major, FbWV 109
Composed by Johann Jacob Froberger
with David Cates

# Lamentation-faite sur la mort très douloureuse de sa Majesté Impériale, Ferdinand III, for keyboard in F major, FbWV 633
Composed by Johann Jacob Froberger
with David Cates

# Toccata (No.10), for keyboard in F major, FbWV 110
Composed by Johann Jacob Froberger
with David Cates

# Partita (No.12) "Lamento sopra la dolorosa", for keyboard in C major, FbWV 612/612a
Composed by Johann Jacob Froberger
with David Cates

# Tombeau fait à Paris sur la mort de Monsieur Blancrocher, for keyboard in C minor, FbWV 632
Composed by Johann Jacob Froberger
with David Cates

# Toccata (No.12), for keyboard in A minor, FbWV 112
Composed by Johann Jacob Froberger
with David Cates

# Lamentation-faite sur la mort très douloureuse de sa Majesté Impériale, Ferdinand III, for keyboard in F major, FbWV 633
Composed by Johann Jacob Froberger
with David Cates

# Partita (No.18), for keyboard in G minor, FbWV 618
Composed by Johann Jacob Froberger
with David Cates

# Toccata (No.3), for keyboard in G major, FbWV 103
Composed by Johann Jacob Froberger
with David Cates

# Partita (No.20), for keyboard in D major, FbWV 620
Composed by Johann Jacob Froberger
with David Cates

# Partita (No.29), for keyboard in E flat major, FbWV 629 nova
Composed by Johann Jacob Froberger
with David Cates

Sunday, October 4, 2009

The Sixteen - Vivaldi-Gloria, Caldara-Stabat Mater,Bach Magnificat








The Sixteen - Vivaldi-Gloria, Caldara-Stabat Mater,Bach Magnificat
Vocal | Eac, flac, cue | log, cover | 1 CD, 282 MB
August 24, 1993 | Collins Classics | RapidShare



The Sixteen is an internationally acclaimed choir – of six women and ten men – and period instrument orchestra; founded by Harry Christophers in 1979.

A special reputation for performing early English polyphony, masterpieces of the Renaissance, bringing fresh insights into Baroque and early Classical music and a diversity of twentieth-century music, is drawn from the passions of conductor and founder, Harry Christophers.

At home in the UK, The Sixteen are "The Voices of Classic FM", TV Media Partner with Sky Arts, and Associate Artists of Southbank Centre, London. The group promotes an annual series at the Queen Elizabeth Hall as well as The Choral Pilgrimage, a tour of our finest cathedrals bringing music back to the buildings for which it was written. The Sixteen featured in the highly successful BBC Four television series, Sacred Music, presented by actor Simon Russell Beale.

The Sixteen tours throughout Europe, Japan, Australia and the Americas and has given regular performances at major concert halls and festivals worldwide, including the Barbican Centre - London, Bridgewater Hall - Manchester, Concertgebouw - Amsterdam, Sydney Opera House, Tokyo Opera City and Vienna Musikverein and also at the BBC Proms, the festivals of Granada, Lucerne, Istanbul, Prague and Salzburg.

In addition, The Sixteen’s period orchestra has taken part in highly acclaimed semi-staged performances of Purcell’s Fairy Queen in Tel Aviv and London, a fully-staged production of Purcell’s King Arthur in Lisbon’s Belem Centre, followed by new productions of Monteverdi’s Il Ritorno d’Ulisse in Patria at Lisbon Opera House and The Coronation of Poppea at English National Opera. Over ninety recordings reflect The Sixteen’s quality in a range of work spanning the music of five hundred years, winning many awards including Grand Prix du Disque, numerous Schallplattenkritik, the coveted Gramophone Award for Early Music, the prestigious Classical Brit Award in 2005 for Renaissance and IKON which was nominated for a Grammy Award and two Classical Brits. These latter two discs were recorded as part of the group's contract with Universal Classics and Jazz.

Since 2001 The Sixteen has been building its own record label, CORO, which will release its seventy-forth release in 2009. Recent recordings include Brahms’s German Requiem, ‘Treasures of Tudor England’ (music by Parsons, Tye and White) which accompanied the 2008 Choral Pilgrimage, Fauré’s Requiem with the Academy of St Martin in the Fields and Handel’s celebrated oratorio, Messiah, with an all-star soloist line-up: Carolyn Sampson, Catherine Wyn-Rogers, Mark Padmore and Christopher Purves, which was awarded the prestigious MIDEM Classical Award 2009.

The Sixteen also has an increasingly busy education programme and recent projects include a series of Schools' Matinees for hundreds of primary school children in Bury St Edmunds, Liverpool and Southwell under the national Sing Up initiative. The Sixteen also has close ties with The Guildhall School of Music and Drama and Trinity College of Music, offering unique opportunities for young people about to embark on careers as professional musicians.

Track listing:
01 - Gloria (A.Vivaldi): Gloria in Excelsis Deo (Chorus) (02:28)
02 - Gloria (A.Vivaldi): Et in terra pax hominibus (Chorus) (04:53)
03 - Gloria (A.Vivaldi): Laudamus te (Sopranos I & II) (02:12)
04 - Gloria (A.Vivaldi): Gratias agimus tibi (Chorus) (00:27)
05 - Gloria (A.Vivaldi): Propter magnam gloriam (Chorus) (00:54)
06 - Gloria (A.Vivaldi): Domine Deus (Soprano) (03:31)
07 - Gloria (A.Vivaldi): Domine Fili Unigenite (Chorus) (02:11)
08 - Gloria (A.Vivaldi): Domine Deus, Agnus Dei (Alto & Chorus) (04:09)
09 - Gloria (A.Vivaldi): Qui tollis peccata mundi (Chorus) (01:04)
10 - Gloria (A.Vivaldi): Qui sedes ad dexteram (Alto) (02:06)
11 - Gloria (A.Vivaldi): Quoniam tu solus Sanctus (Chorus) (00:45)
12 - Gloria (A.Vivaldi): Cum Sancto Spiritu (Chorus) (02:53)
13 - Stabat Mater (A.Caldara): Stabat Mater dolorosa (Chorus & Soli) (02:35)
14 - Stabat Mater (A.Caldara): Quis est homo, qui non fleret? (Soli) (03:18)
15 - Stabat Mater (A.Caldara): Sancta Mater (Chorus & Tenor) (02:18)
16 - Stabat Mater (A.Caldara): Fac me tecum pie flere (Chorus & Soli) (01:47)
17 - Stabat Mater (A.Caldara): Virgo Virginum praeclara (Chorus) (01:28)
18 - Stabat Mater (A.Caldara): Fac ut portem (Alto) (01:17)
19 - Stabat Mater (A.Caldara): Flammis ne urar succensus (00:59)
20 - Stabat Mater (A.Caldara): Christe, cum sit hinc exire (Chorus) (01:53)
21 - Stabat Mater (A.Caldara): Fac ut animae donetur (Chorus) (01:41)
22 - Magnificat (J.S. Bach): Magnificat anima mea (Chorus) (02:52)
23 - Magnificat (J.S. Bach): Et exultavit (Soprano II) (02:24)
24 - Magnificat (J.S. Bach): Quia respexit (Soprano I) (02:12)
25 - Magnificat (J.S. Bach): Omnes generationes (Chorus) (01:13)
26 - Magnificat (J.S. Bach): Quia fecit mihi magna (Bass) (02:12)
27 - Magnificat (J.S. Bach): Et misericordia (Alto, Tenor) (03:37)
28 - Magnificat (J.S. Bach): Fecit potentiam (Chorus) (01:51)
29 - Magnificat (J.S. Bach): Deposuit potentes (Tenor) (02:00)
30 - Magnificat (J.S. Bach): Esurientes (Alto) (02:56)
31 - Magnificat (J.S. Bach): Suscepit Israel (Chorus) (02:09)
32 - Magnificat (J.S. Bach): Sicut locutus est (Chorus) (01:32)
33 - Magnificat (J.S. Bach): Gloria (Chorus) (02:21)


read more

Saturday, October 3, 2009

Altre Follie 1500-1750 - Jordi Savall, Hesperion XXI






Altre Follie 1500-1750 - Jordi Savall, Hesperion XXI
Baroque | Eac, flac, cue | log, cover | 1 CD, 407 MB
November 15, 2005 | Alia Vox | RapidShare

In the fictional account of Marin Marais' life, his mentor commands him to "improvise on The Spanish Follies". The implication is that by the mid-17th Century any string musician, aspiring or established, should be able to launch into one of the many versions of this ancient Iberian tune. Jordi Savall, who has already produced a collection of "The Follies" ["La Folia"] including a version by Marais, has assembled a new set of interpretations. As usual with Savall, those "interpretations" from composers represented on the previous CD and this one are subtle, but they are there. There's no question this disc is unique.

As with the earlier CD, the order of presentation is roughly chronological, with the first being something of a surprise. It's a Peruvian version of the dance extracted from a 17th Century collection. The use of Amerindian instruments in a genre generally overwhelmed by European interpretations perks the listener's attention. Savall also skips over France [enough Marin Marais?] to tap Britain's John Playford's 1684 version for this set. That side trip accomplished, Hesperion XXI returns to the Mediterranean to present familiar figures such as Mudarra, Correlli and Vivaldi. It is the latter's "Sonata" on La Follia which rightly concludes the set. Vivaldi's version must have been something along the lines of the original dance, but with fuller orchestration. The term "folia" is Tuscan for "mindless" or "crazy". Vivaldi's approach starts with a rather sedate, morose opening, but builds to an almost crashing crescendo at the conclusion. It is the favourite of many, and rightly so. Vivaldi's finale certainly reflects the original phrase.

The musicians of Hesperion XXI show a shift in emphasis from the group Savall assembled for La Folia in 1998. Percussionist Pedro Estevan has been replaced by David Mayoral and Marc Clos. Philippe Pierlot, who drifts in an out of Savall's ensembles has returned for this CD. The real change however, is the introduction of Manfredo Kraemer from Musica Antiqua Koln. The voice of the violin in this collection is anything but discordant, even if it seems novel. Assigned the leading string in five of the fifteen pieces rendered here - mostly later composers - Kraemer brings an additional vigour to the renditions.

It need not be said that the performances are flawless - this is, after all, Jordi Savall. The recording is equally precise and well up to Alia Vox's high standards. As usual with their productions the sound is clear, crisp and the listener is left with needing nothing more than time to listen to this disc often. If there's any shortcoming in this CD, it's the insistence on the notes writers to incorporate original texts along with the translations. Given that six languages are represented, this seems a wasteful use of space.--Haines


CD Content

Folias criollas (improvisation), for ensemble
Composed by Peruvian Anonymous
with Hesperion XXI
Conducted by Jordi Savall

Folias antiguas
Composed by Anonymous
with Hesperion XXI
Conducted by Jordi Savall

Pavana con su glosa
Composed by Antonio de Cabezon
with Hesperion XXI
Conducted by Jordi Savall

Fantasia que contrahaze la harpa en la manera de Luduvico
Composed by Alonso de Mudarra

La Gamba for bass & soprano
Composed by Vincenzo Ruffo
with Hesperion XXI
Conducted by Jordi Savall

Partite variate sopra "la Folia" aria romanesca
Composed by Alessandro Piccinini
with Rolf Lislevand

Folias (a 3) echa para mi Señora Doña Tarolilla de Carallenos
Composed by Andrea Falconiero
with Rolf Lislevand
Conducted by Jordi Savall

Folia, for keyboard
Composed by Bernardo Storace
with Michael Behringer

Faronell's Division on a Ground
Composed by English Traditional
with Jordi Savall, Manfredo Kraemer

Folias, for guitar in D minor (version from Varii scherzi di sonate, 1648)
Composed by Francesco Corbetta
with Rolf Lislevand

Sonata for violin & continuo in D minor ("La Follia"), Op.5/12
Composed by Arcangelo Corelli
with Hesperion XXI
Conducted by Jordi Savall

Diferencias de Folias, for keyboard
Composed by Juan Cabanilles
with Michael Behringer

Sonata for violin & continuo "La Follia" Op. 9/12
Composed by Henricus Albicastro
with Mercedes Ruiz, Manfredo Kraemer, Michael Behringer

Folias Gallegas for guitar
Composed by Santiago de Murcia
with Rolf Lislevand

Trio Sonata for 2 violins & continuo in D minor ("La follia"), Op. 1/12, RV 63
Composed by Antonio Vivaldi
with Hesperion XXI
Conducted by Jordi Savall


Friday, October 2, 2009

Geminiani - 12 Concerti Grossi - Ensemble 415, Banchini








Geminiani - 12 Concerti Grossi - Ensemble 415, Banchini
Baroque | Eac, flac, cue | log, cover | 2 CD, 644 MB
07/13/2004 | Zig Zag Records | RapidShare



Chiara Banchini founded Ensemble 415 in 1981. The ensemble is noted for its performances of Italian Baroque string music on period instruments. Banchini was among the better Baroque violinists performing at the end of the twentieth century, and the ensemble is at its best performing concerti featuring their director as solost. Their performances of music such as Vivaldi, Corelli, Boccherini, Muffat, and Tartini offer an opportunity to hear less well-known Baroque repertoire by composers who were very well known during the eighteenth century.


The Ensemble 415

Founded in 1981 in Geneva by Chiara Banchini, and established in Franche Comté, France, since 2001, Ensemble 415 is named after one of the pitches at which baroque music is played. Among the first generation of enthusiastic pioneers were François Fernandez, Enrico Gatti, Emilio Moreno and Fabio Biondi. Twenty years later, Ensemble 415 pursues its career with young violinists gathered in a partnership of soloists. David Plantier, Stéphanie Pfister, Eva Borhi and Leila Schayegh perpetuate the initial enthusiasm of Ensemble 415.

Internationally renowned Ensemble 415 has been invited to the greatest festivals and concert venues. Not only are its concerts and recordings acclaimed by critics and public alike, they also set durable impulses to the development of the perception and the interpretation of musical works from the 17th and 18th century as well as to the broadening of the repertoire proposed to music lovers.


Ensemble 415

The recording of and the rediscovery of such composers as Giuseppe Valentini and Giovanni Bononcini have demonstrated that the ensemble’s purpose lies in the assiduous research of quality, of the discovery and renewal of the repertoire as well as artistic integrity.

The Ensemble 415 is a gathering of soloists with the most talented baroque violinists and violists, supported by a continuo group of Italian inspiration. The Ensemble 415 is known for its harmonic sounding, the precision of the touching combined with a technical approach which is as much a result of the artistic complicity between its members as the unquenchable inspiration from its first violinist and artistic director, Chiara Banchini.

As a chamber orchestra, Ensemble 415 is performing with an orchestra from 13-40 musicians with a repertoire particularly dedicated to the music of Boccherini, Corelli and his school, Valentini and Muffat. As a chamber music group, the Ensemble 415 is dedicated in particular to Corelli’s Sonates Op. V, Vivaldi’s Sonates in Trio, to Quintettes and Sextuors by Boccherini and Mozart, as to J.S. Bach or Haydn. As a chamber music group the Ensemble 415 has recorded a selection of the Quintets from opus 39, 60 and 63, three sextets from opus 23 as well as the Stabat Mater in its first version for soprano and string quintet, with soloist Agnes Mellon.

During its long recording career, Ensemble 415 has published over 20 CDs, most of which have obtained international prizes and awards from specialized publications. Since 2001, Ensemble 415 is associated with the Parisian label Zig-Zag Territoires. The first publication of this collaboration, Giuseppe Valentini’s Concertos, won the unanimous acclaim of the critics and the public and has been awarded a “Diapason d’Or” and “10 de Répertoire” in September 2002.

During the last years, concert tours have led Ensemble 415 to Switzerland, Denmark, Singapore, Australia, England, Scotland, Italy, Slovenia, Belgium, Spain, Holland, Germany, Portugal, Turkey, Austria, Estonia, Russia. And the ensemble has been invited to perform at prestigious international events such as Brisbane Festival (Australia), Flanderen Festival (Brugge and Antwerp), Copenhagen Early Music Festival, Ambronay Festival, Ambraser Schlosskonzerte (Innsbruck), Utrecht-Early Music Festival, Edinburgh International Festival, Festival Musica Antiga in Barcelona, Brühler Schlosskonzerte, Cologne. It has also performed in the following venues: Caen and Poissy theatres, Clermont-Ferrand Opera (France), Lausanne Opera, Victoria Hall of Geneva and Komische Oper of Berlin.

Ensemble 415 is regularly present in France during many early music festivals in Sablé-sur-Sarthe, Dieppe, Festival du Haut-Jura, Uzès, Lyon, Lille, Nantes, Pontoise, Saint-Michel en Thiérache, etc. It is invited to the “Folle journée” in Nantes and the Loire region as well as to the concert season of the Théâtre de Suresnes.
Besides orchestral pieces by Corelli, works by Vivaldi, Valentini, Muffat, Bononcini, Porpora, and Geminiani appear on the programmes. Chamber music programmes include trios by Mozart and Haydn and Mozart’s quintet with French clarinettist Gilles Thomé and sonatas for violin and continuo by Corelli and Bonporti.

Among the distinguished soloists who collaborate with Ensemble 415 are: Christophe Coin, Roel Dieltiens, Christiane Jaccottet, René Jacobs, Maria Cristina Kiehr, Agnès Mellon, Guy de Mey, Luciano Sgrizzi, Conrad Steinmann, Geoffrey Lancaster, Andreas Scholl, Giuliano Carmignola, Carlos Mena, Marie Claude Chappuis, Katarina Arfken, Vesselina Kasarova, Veronica Cangemi, Lars Ulrich Mortensen, Juliette Galstian, Bart Kuijken, Gilles Thomé, Adriana Fernandez, Furio Zanasi and Gaetano Nasillo.

http://www.ensemble415.org/en/home_ensemble_415.php

CD Content

Concerto Grosso No. 1 in D Major
Concerto Grosso No. 2 in B flat Major
Concerto Grosso No. 3 in C Major
Concerto Grosso No. 4 in F Major
Concerto Grosso No. 5 in G minor
Concerto Grosso No. 6 in A Major
Concerto Grosso No. 7 in D minor
Concerto Grosso No. 8 in E minor
Concerto Grosso No. 9 in A Major
Concerto Grosso No. 10 in F Major
Concerto Grosso No. 11 in E Major
Concerto Grosso No. 12 in D minor, 'Follia'

More info about Ensemble 415: http://ottomusick.com/Forum/index.php?topic=11.0

Thursday, October 1, 2009

Froberger - Harpsichord works - Gustav Leonhardt





Froberger - Harpsichord works - Gustav Leonhardt
Harpsichord | Eac, flac, cue | log, cover | 1 CD, 323 MB
April 16, 1995 | Harmonia Mundi | RapidShare



The great Leonhardt playing some of the best music ever written for harpsichord. Very authentic. Beautifully recorded.

Johann Jakob Froberger (baptized May 19, 1616 – May 7, 1667) was a German Baroque composer, keyboard virtuoso, and organist. He was among the most famous composers of the era and influenced practically every major composer in Europe by developing the genre of keyboard suite and contributing greatly to the exchange of musical traditions through his many travels. He is also remembered for his highly idiomatic and personal descriptive harpsichord pieces, which are among the earliest known examples of program music.

Froberger

Only two of Froberger's many compositions were published during his lifetime, but his music was very widely spread in manuscript copies and he was one of the very few 17th century composers who were never entirely forgotten. His works were studied in the 18th century (although perhaps not very extensively, and certainly without influence on the emerging Classical style) by Handel, Bach and, extraordinarily, even Mozart and Beethoven.

Tracks:
01 - Gustav Leonhardt - Allemande, Lamentation Sur Ce Que J'ay Été Volé (03:02)
02 - Gustav Leonhardt - Toccata N°9 (01:57)
03 - Gustav Leonhardt - Canzon N°2 (05:36)
04 - Gustav Leonhardt - Suite N°30 : Plainte Faite À Londres Pour Passer La Mélancolie (03:13)
05 - Gustav Leonhardt - Suite N°30 : Gigue (01:15)
06 - Gustav Leonhardt - Suite N°30 : Courant (01:14)
07 - Gustav Leonhardt - Suite N°30 : Saraband (01:46)
08 - Gustav Leonhardt - Capriccio N°10 (06:21)
09 - Gustav Leonhardt - Ricercar N°5 (03:29)
10 - Gustav Leonhardt - Suite N°2 : Allemanda (02:59)
11 - Gustav Leonhardt - Suite N°2 : Courant (01:24)
12 - Gustav Leonhardt - Suite N°2 : Sarabanda (01:32)
13 - Gustav Leonhardt - Suite N°2 : Gigue (01:22)
14 - Gustav Leonhardt - Toccata N°10 (03:17)
15 - Gustav Leonhardt - Fantasia N°4 Sopra Sollare (04:08)
16 - Gustav Leonhardt - Toccata N°14 (03:09)
17 - Gustav Leonhardt - Lamentation - Faite Sur La Mort... (05:49)
18 - Gustav Leonhardt - Tombeau Faict À Paris Sur La Mort... (05:18)









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