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Image Telemann Collection
Commemorating the 250th anniversary of the death of Georg Philipp Telemann, this release encapsulates a snapshot of the composer's varied and wide-ranging works. Deservedly celebrated as one of the greatest Baroque composers, Telemann mastered a variety of genres, from solo concertos to large-scale oratorios. Born in Magdeburg, Germany, in 1681 (four years before J.S. Bach), Telemann's musical talents were recognised early on, when he studied singing and composition with the cantor Benedikt Christiani ...

kr 197 (kr 329)
Image Cello Solo Suites
kr 53 (kr 89)
Image Trio Sonatas Op. 1

kr 53 (kr 89)
Image 12 Sinfonie di Concerto Grosso
After being kept in relative obscurity the music of Alessandro Scarlatti is making a glorious come back, and is recognised as at least as innovative, brilliant and profound as the music of his son, the famous Domenico Scarlatti.These "12 sinfonie di concerto grosso" are concertante works, either for a variety of solo instruments (concerto grosso) or for solo recorder and strings. These are delightful baroque concertos, brimming with energy, Italian charm and gusto.Played by Early Music group Capella Tiberina on historical instruments, Corina Marti is the recorder soloist, who already excelled in her recording of the Mancini recorder concertos on Brilliant Classics (BC 94324).

kr 53 (kr 89)
Image 20CD-BOX: Complete Concertos & Sonatas Op. 1-12
Federico Guglielmo, solo violin & concert master
L'Arte dell'Arco

For the first time Vivaldi's complete Op. 1-12 in one set!

Already during his lifetime Vivaldi was a popular and successful composer, and, possessing a keen commercial talent, he published his own works. The works published during his lifetime are contained in his Opus 1-12, featuring such popular cycles as the Four Seasons, L'Estro Armonico, La Stravaganza, the flute concertos, and several sets of trio sonatas. These are by far to most popular works by the Venetian priest, and today they sound as fresh and sensational as when they were composed.

Newly recorded and based on the new Critical Edition by Alessandro Borin, Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini, Venice.

Performed by the Italian Early Music group L'Arte dell'Arco, led by violinist (and soloist) Federico Guglielmo. French magazine Diapason wrote about them: "they understand the secret language of and generous instrumental textures envelop the expressive lines of the solo violin...". All the previous separate issues have met with great critical acclaim, resulting in many 5 star reviews in the international press.

Included as a bonus CD, the new recording of the Cello Sonatas. Although without opus number they were certainly published during Vivaldi's lifetime.

kr 359 (kr 599)
Image Complete Music For Harpsichord & Organ (16 CD)
Johann Jakob Froberger (1616-1667) was one of the most famous and influential composers of the early Baroque. Born in Stuttgart he travelled in Europe extensively, thus absorbing all national styles, and influencing other composers with his own musical inventions. Although Froberger wrote a large number of vocal works he is mainly known for his keyboard works, for both organ and harpsichord. He is the “inventor” of the Baroque Suite, a number of varied dances, with the basis of Allemande, Courante, Sarabande and Gigue. His keyboard style is free, fanciful and highly expressive, sometimes describing extra-musical features or events, thus creating the first “program music” in history. With this magnificent Opus Italian keyboardist Simone Stella adds another gem to his series of recordings of Pre-Bachian keyboard composers, his recordings of works by Bohm, Buxtehude, Reincken and Walther have met with great critical acclaim in the international press.

kr 257 (kr 429)
Image Frescobaldi: Complete Edition
The CD's in this edition are all newly recorded, by the foremost scholar/musicians of Italy, using period instruments

Frescobaldi was the most influential composer for keyboard in Italy prior to Domenico Scarlatti. Bach copied out Frescobaldi's Fiori Musicali, and he was also a strong influence on Fux and Buxtehude. His reputation has been slow to gain its rightful status over the past century or so.

This edition provides a superb opportunity to discover this neglected master of the Baroque. The project is masterminded by the harpsichordist and organist Roberto Loreggian, and previous individual volumes of the series have been well received. This is the first ever complete edition of Frescobaldi's music to be issued: a landmark on record, sure to be widely noticed by the musical press.

kr 299 (kr 499)
Image Handel in Italy: Cantatas, Arias & Serenata (14 CD
This 14-CD set showcases works from Handel's short but astonishingly productive time in Italy in his twenties, just before he settled in London. His travels around the country provided him with the opportunity to meet a number of influential contemporaries, and the results of this compositional flourishing are wide-ranging, from opera via instrumental music to secular cantatas. This release focuses particularly on the latter, affording the listener a fascinating glimpse into the first appearance of many melodic ideas which would later resurface in Handel's mature dramatic works.

Indeed, listeners might well feel as though they are listening to scenes from operas – cantatas were a means, at the time, of circumventing the ban on opera in Rome. The familiar theme of the joys and sorrows of love pervades much of the music, but the pieces are richly varied, particularly in their scoring: we hear flutes, recorders, oboes, bassoons, trumpets and the full contingent of strings, including viola da gamba, in numerous different combinations. Often, the orchestral forces for a particular piece are modest, but the emotional depth that Handel draws out is always striking.

A high-calibre, international roster of soloists and ensembles performs the works, with many of the compositions for soprano sung by Stefanie True, whose "vocal agility, accurate intonation and stylish ornamentation are spot-on in this repertoire" (Music Web International). Meanwhile, early music specialists Contrasto Armonico bring "soft and warm sonorities" to the set (Gramophone).

This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance. The set’s focus is on the secular Cantatas, all of them mini-operas in scale and substance, dealing with human emotions of love, jealousy, hope and despair. The influence of Handel’s stay in Italy can be found in many of his great operas and oratorios he later wrote in London. Apart from the Cantatas the set includes a selection of Italian Duets, and the Serenata Aci, Galatea & Polifemo. Excellent performances in Historically Informed Performance Practice, by Contrasto Armonico, Musica Perduta and specialist vocal soloists.

Recorded between 1988 and 2014.
Contains liner notes written by Philip Borg-Wheeler.

kr 251 (kr 419)
Image Complete Concertos (9 CD)
Thomas Zehetmair, violin
Andrius Puskunigis, oboe
Pieter-Jan Belder, keyboard
Christine Schornsheim, harpsichord

Musica Amphion, Neues Bachisches Collegium Musicum, Netherlands Bach Ensemble, Amsterdam Bach Soloists

This 9 CD set contains the complete solo concertos by Johann Sebastian Bach: the Brandenburg Concertos, violin concertos, keyboard concertos for one, two, three and four harpsichords and the triple concerto.

As an attractive “bonus” two CD’s are included which contains concerto reconstructions, for oboe, oboe d’amore, oboe and violin and 3 violins. In some cases Bach wrote an arrangement for another solo instrument of an existing concerto of his (or by other composers, such as Vivaldi and Marcello). The original concertos are often lost, and these are reconstructed by present day musicologists and musicians.

Excellent performances on period instruments, by Musica Amphion/Pieter-Jan Belder, Thomas Zehetmair, Christine Schornsheim and oboist Andrius Puskunigis.

kr 179 (kr 299)
Image 7CD-BOX: Obras de Musica
Harmonices Mundi

Blind from childhood, Antonio de Cabezòn (b.1510) was was appointed organist in the chapel of Queen Isabella at the age of 16, and in 1538, became músico de la cámara to her husband Charles V. After Isabella's death he was appointed the musical tutor of Prince Philip and his sisters. Cabezòn accompanied Philip on trips to Milan, Naples, Germany and the Netherlands between 1548 and 1551. These tours would doubtless have given him exposure to a wide range of music performed by leading musicians of the period. His music reveals both cosmopolitanism and traits that have been identified as belonging distinctly to Spanish musical style or to a personal style.

This complete recorded survey of his Obras de música para tecla arpa y vihuela represents one of the most remarkable, and celebrated collections of instrumental music of the sixteenth-century. The collection divides by genre into instrumental elaborations of liturgical texts; intabulations and transcriptions of popular motets by composers such as Mouton and Josquin; and the famous and original tientos, prized for their combination of the composer's intensity of expression with a good deal of variety and ingenuity.

The performances on a variety of instruments and ensembles are masterminded by the Italian keyboard player and musicologist Claudio Astronio, whose musical enthusiasms range from early music to jazz and pop.

The only available complete recording, recorded in 1995-2010.

kr 143 (kr 239)
Image 6CD-BOX: Complete Concerti Grossi
Ensemble Violini Capricciosi / Igor Ruhadze, solo violin & leader

Virtuosity, showy improvisation and stratospherically high violin playing are the characteristics of Baroque composer Pietro Antonio Locatelli's theatrical concerti grossi for soloists and ripieno. While concerti grossi from this time could usually be divided into two types, 'da camera' and 'da chiesa' - with the former containing more dance movements - Locatelli went down his own distinct path, creating a new model more like that of Torelli. His ripieno section was larger than the traditional accompanying group, and his slow movements contained drawn-out notes over which the first violinist or harpsichordist was free to improvise. Indeed, one harpsichord passage in Op.7 is so extraordinarily virtuosic that Locatelli labelled it 'ad libitum', presumably to avoid frightening the amateur musician.

The Concerto Grosso is a popular Baroque form, in which two instrumental groups complete against each other: a small group of soloists and the tutti of the orchestral group. It is the forerunner of the solo concerto form, which features only one solo instrument.

This set present the complete Concerti Grossi by Pietro Antonio Locatelli, modelled on the popular concerti grossi of his teacher Corelli. The writing, as might be expected from Locatelli the devil violinist, is highly virtuosic and brilliant, inventive in harmony and counterpoint, written to impress and entertain.

kr 113 (kr 189)
Image 4CD-BOX: Complete Keyboard Music
Manuel Tomadin, organ, fortepiano, harpsichord

This 4CD set contains the complete keyboard music by Domenico Alberti, a First Recording!

Domenico Alberti lived a short but very productive life, from 1710 to 1740. He was famous as a composer, cembalo player and singer (the world famous castrato Farinelli heard him sing, and recognised in him a fearful rival).

Alberti's claim to fame is his 'discovery' of the so-called Alberti-bass: the accompanying left hand chord broken in a certain way (like c-g-e-g etc). This figure forms the basis of the Viennese classical style, and was used by all composers of keyboard sonatas and sonatinas.

Alberti's Sonatas and Toccatas are in two movements, the first an allegro in free form, followed by a mellow andante in arioso style.

In order to achieve maximum variety, Manuel Tomadin performs these works on three instruments: an historic organ (1773 Francesco Dacci organ), a harpsichord and a fortepiano.

Manuel Tomadin has already recorded successfully for Brilliant Classics, notably the Leipziger Chorale by Bach (BC94456).

kr 83 (kr 139)
Image Pièces de Viole, Book 5 (4CD-box)
It is surprising that so little is known about Marin Marais today, as he could be considered one of the most important French composers of the Baroque period. Born in 1656, the son of a shoemaker, Marais spent his entire life in Paris. His musical career began when he joined the choir of the Sainte-Chapelle, but when his voice broken he decided to learn the viol, studying with the renowned bass viol player Sainte-Colombe, who had a profound influence on the young Marais. Marais went on to enter the royal orchestra and the orchestra of the Académie Royale de musique, where he performed and studied composing under Jean-Baptiste Lully. He was hailed as the greatest bass viol player of his time, and is said to have played the viol 'like an angel'.

Marais's vast output for the viol (over 800 pieces!) is astonishingly varied, original and affecting - no other composer has written so many works of such high quality for the instrument. The fifth and final book of Pièces de viole showcases Marais's art at its most mature and sophisticated, and includes a wider range of musical forms and techniques than the previous four books. Although the fifth book contains many of the conventional dance forms that listeners would expect to hear in a Baroque suite, there are many remarkable descriptive pieces that justify the claim that Marais was the first composer of programme music. A particularly striking example is the 'Tableau de l'Opération de la Taille' from the final Suite: an extraordinarily detailed musical depiction of an operation to remove a gall stone that the composer underwent!

These captivating suites are brought to life in vivid performances by acclaimed chamber musicians and early music specialists Rainer Zipperling, Ghislaine Wauters and Pieter-Jan Belder.

kr 83 (kr 139)
Image Madrigals, Book VIII (3 CD)
Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. This time they turn their attention to Book VIII, the intriguingly entitled Madrigali guerrieri et amorosi ('Madrigals of Love and War'), published four years after Monteverdi's death. These two contrasting themes divide the book into two halves; first war, then love. There's more crossover than might be expected: the first half of warlike madrigals ends with the tragic Il combattimento di Tancredi e Clorinda, based on Torquato Tasso's poem which sees Tancredi fighting a disguised Clorinda, fatally injuring her before realising that it is a fair maiden rather than a male foe. Despite nearing the end of his life, Monteverdi still demonstrates his knack for innovation, experimenting freely with the genre of the madrigal in the new context of the basso continuo. Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason. Claudio Monteverdi published his 8th book of madrigals in 1638, in a time when the opera as art form became steadily more popular. In order to add a theatrical character to his madrigals he named them “madrigali guerrieri e amorosi”, madrigals of war and love. They are indeed overtly dramatic in expression, in fact they may be called mini operas in its opposing characters, intense drama and programmatic writing. Highlights are the famous “Combattimento di Tancredi e Clorinda” (on text by Tasso) and the breathtakingly beautiful Lamento della Ninfa, one of the most moving laments ever written. The vocal ensemble Le Nuove Musiche consists of the elite of Dutch Early Music vocalists, led by eminent conductor and scholar Krijn Koetsveld. Their first Monteverdi recording, the Books 5 & 6 (BC93799) received excellent reviews in the international press, among which a “5 star” in the French Diapason. Liner notes by the conductor, complete song texts in the original language included in the booklet.

kr 59 (kr 99)
Image Sonatas Opp. 44 & 91, Suites Op.35
Recordings of de Boismortier are apt to give unfailing pleasure: his music is as grateful on the ear as it is sympathetic to play, always effortlessly stylish, rarely aspiring towards profundity, centred around the recorder and flute of which he was an accomplished performer, capturing to perfection the elegant aesthetic of the French Baroque style. This set shares those qualities, with the additional appeal of comprehensiveness. No survey of the French Baroque would be complete without Boismortier, but few performers have committed to disc more than a Sonata or Suite here and there, cherry-picking from the composer’s prolific output of over one hundred published opus numbers, most of which contain six separate works. Agreeable melodies apparently poured out of Boismortier; the Op.35 Suites and Op.44 Sonatas were written in 1731 and 1733 respectively, during a golden period of composition for him, and a highly profitable one, since he had acquired a royal warrant to engrave and publish all his own work. The Op.91 Sonatas date from the beginning of the 1740s, shortly before he became music director at the Théâtre de la foire in Paris. Here Boismortier achieved a perfect, an almost seamless blend of the French and Italian styles. Jed Wentz is a scholar and flutist who has made many critically acclaimed recordings for Brilliant Classics, most of them with his own ensemble, Musica ad Rhenum, which consists of a flexible line-up of no less stylish and experienced early- music performers. On this recording he is joined by gambist Cassandra Luckhardt, cellist Job ter Haar and harpsichordist Michael Borgstede. As usual Wentz contributes his own wide-ranging essay to the booklet, including research which makes clear that a dogmatic, score-bound performance will not do for Boismortier any more than it would for Brahms. Joseph Bodin de Boismortier (1789-1755) was a highly successful French composer of instrumental and vocal music, the first independent composer without patron, publisher of his own works (which made him extremely wealthy). Jed Wentz, a superb musician as well as an excellent scholar, did extensive research into the performance practice of the French Baroque music, and based on written contemporary sources that “not even four bars have the exact duration, one is slowing down and the other is speeding up.. The musician who knows his art has grasped the character of an air after four bars, and abandons himself to it: it is the pure pleasure of the harmony that suspends him; here he wants the chords to be struck, there he wants them to be veiled..”(Diderot, 1748). Not only Jed Wentz practices what he preaches, he does so with total authority and naturalness, while always projecting his own pleasure and fun in playing these delightful sonatas. Seconding Jed Wentz are cellist Job ter Haar and eminent harpsichord player Michael Borgstede. Jed Wentz wrote his own illuminating liner notes in the booklet.

kr 59 (kr 99)
Image L'estro Armonico
Antonio Vivaldi was one of the most successful composers of the Baroque era, best known for his iconic set concertos for violin, The Four Seasons. LEstro Armonico Op.3 is among the most important printed editions of Vivaldis concertos; the works immediately met with great acclaim after their publication in 1711, giving way to over 30 reprints in the subsequent 32 years.Indeed, this was the first collection of concerti to be published with a title, showing that the composer himself was aware of the nature of this extraordinary event. The work was originally dedicated to Prince Ferdinando de Medici, son and heir of Cosimo III, Grand Duke of Tuscany. This special release is the world premiere recording based on the edition by Michael Talbot, of the Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini, Venice and has been produced in collaboration with Ricordi and Universal Music Publishing.LArte dellArco is an internationally renowned ensemble that has achieved great acclaim through performances and recordings. Each member is handpicked from the elite of the Italian classical music scene and has performed with many period orchestras across Europe. The group regularly takes part in early music festivals and has, in recent years, toured extensively outside of Europe in the Far East and South America. Artistic Director and Concert Master Federico Guglielmo has been hailed by the Boston Globe as the new star of the ancient music landscape and was the winner of the Antonio Vivaldi International Recording Prize, also receiving a Diapason dOr for his recording of Vivaldi concertos.

kr 53 (kr 89)
Image Madrigali Libri I & II
Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. Here, they look back to the very beginning of Monteverdi's works, when the young composer was still under the influence of his teacher Marc'Antonio Ingegneri. At this time, the madrigal was already a popular art form, one that Monteverdi was beginning to add his name to, before – as we know – he would go on to radically extend it with the introduction of the seconda prattica. These two books show that Monteverdi was an assured and dexterous composer in the established genre. He could follow the conventions of madrigal-writing – concentrating on the recitation of the text, adding in affects by altering the melody, rhythm and harmony – with skill and originality. Although he had to compete with other books already on the market, he was confident and ambitious – he dedicated his books to prominent patrons, and finally gained a royal appointment in Mantua shortly after the second book of madrigals was published. Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason. The first two books of Madrigals by Monteverdi date from the period in which he lived and worked in his native town Cremona. They are sublime examples of the Prima Prattica, in which Recitation of the text came first, and affects were made audible by melody, rhythm, and by playing with repetitions, strengths and harmony. In the Second Book we encounter lovely word painting and evocation of images and moods. This is the third instalment of the complete recording of Monteverdi’s Madrigals by Le Nuove Musiche. This vocal ensemble consists of the elite of Dutch Early Music vocalists, led by eminent conductor and scholar Krijn Koetsveld. Their previous Monteverdi recordings received excellent reviews in the international press, among which a “5 star” in the French Diapason and a “10/10” in Dutch classical magazine Luister. The booklet contains liner notes written by the conductor and the complete vocal texts and their English translation.

kr 53 (kr 89)
Image La Cetra: 12 Violin Concertos, Op. 9
Federico Guglielmo, violin and concert master
L'Arte dell'Arco

A new instalment of Guglielmo’s recording cycle of the complete Opus number 1-12 by Vivaldi: the 12 violin concertos Op. 9, known as “La Cetra”, dedicated to Charles VI, the holy Roman Emperor of the Hapsburg empire.

As in the other concerto cycles “L’Estro Armonico”, “La Stravaganza” and the 4 Seasons, these concertos abound in virtuoso writing for the soloist and brilliant melodic invention, in vocal italianate style, foreboding the classical style of the first Viennese School.

The Vivaldi cycle by L’Arte dell’Arco and violinist/conductor Federico Guglielmo is considered one of the most exciting since years: “Infectious joy, improvisatory flair and an instinct for Vivaldi’s language” (BBC 3), “technically impressive and musically engaging” (Musicweb), “Begeisterend..Elan und schäumende Spielfreude” (

kr 53 (kr 89)
Image Trio Sonatas, Op. 1
Federico Guglielmo, violin and concert master
L'Arte dell'Arco

Tomaso Albinoni (1671-1751) spent most of his life in his native Venice, he was a famous opera composer, and was one of the few composers who were of independent means, not in the service of Court or Church. Nowadays Albinoni is foremost known for his instrumental works, trio sonatas and concertos, showing his great melodic gift, his inventiveness and high spirits.

These Trio Sonatas Op. 1 are played by the Italian elite group L'Arte dell'Arco, led by violinist Federico Guglielmo, with an established reputation in this repertoire, having won several international prizes and rave reviews for their numerous CD's, notably their Vivaldi cycle for Brilliant Classics.

kr 53 (kr 89)
Image Concerti Grossi Op 6
Musica Amphion
Pieter-Jan Belder, conductor

Arcangelo Corelli (1653--1713) was nothing less than a musical pioneer, a champion of the violin's potential as a solo instrument and an immense influence on the composers who followed him, J.S. Bach and Handel included. As a virtuoso violinist, he wielded an unprecedented level of skill; as a composer, he was enormously popular throughout Europe.

Although the Italian composer's legacy has been somewhat overshadowed in modern times, the 12 Concerti Grossi that comprise this recording are thoroughly worthy of rediscovery, and earned Corelli the description of 'father of the concerto grosso'. Indeed, he was one of the first composers to use the term, and established many of the genre's recognisable features. The mixture of concerti da chiesa (church concertos, which alternate slow and fast tempi) and concerti da camera (chamber concertos, similar to the dance suite) demonstrates the imagination, innovation and versatility that his fellow composers so admired.

Although the vast popularity that Corelli enjoyed in his lifetime may have declined over the centuries, the influence of his 12 Concerti Grossi is undeniable, and can be felt in later concertos by composers like Geminiani and Vivaldi, not to mention Handel's majestic Concerti Grossi Op.6. Drawn from Brilliant Classics' criticallyacclaimed edition of Corelli's complete works, there is much for listeners to discover and enjoy in these recordings, which feature outstanding readings by a leading period-instrument ensemble, Musica Amphion, led from the harpsichord by Pieter-Jan Belder.

kr 53 (kr 89)
Image Complete Chamber Music for Flute
Another collection of Bach's chamber music from the ensemble led by Jed Wentz and Michael Borgstede, the
Frankfurter Allgemeine Sonntagszeitung's Middle East correspondent. As on its earlier release on Brilliant Classics, the ensemble has researched the scores, performance techniques and the types of instrument used at the time of composition. That is not to say that the approach they take is a dry academic one. On the contrary, having assimilated all the information available to them, they then take an open-minded view of the score -- freely admitting that if they were to play these works tomorrow, they'd more than likely give them a totally different interpretation. This new recording includes the flute sonatas and solos, and the Ricercar from the Musical Offering BWV1079. As no one actually knows what Bach's intentions were when it came to performance and interpretation, the listener can be assured of fresh and invigorating readings of this fascinating and timeless music.

Further information
- Period instrument interpretations
- Booklet notes by Jed Wentz, flautist. Wentz studied with Barthold Kuijken, and has studied 18thcentury
stage production and acting techniques, as well as Irish set dancing

kr 53 (kr 89)
Image El Cant De La Sibilla, Sacred Music From Medieval
Who were the pilgrims who climbed the treacherously steep mountain to the monastery of Montserrat in northern Spain? And what kind of music would have accompanied their journey? This release imagines Christmas Eve in medieval Catalonia, built around the 'song of the Sibyl'. The tradition of the singing Sibyl was not unique to Montserrat, but it was covertly practiced there long after it had been outlawed by the Council of Trent in 1575. The Sibyl was a pre-Christian woman who prophesied the coming of Christ; during the Middle Ages, a boy would dress up as the Sibyl and, blindfolded, sing the famous verses, normally in the third nocturn of the Christmas Day matins service. This recording uses the Catalan version of the Sibyl's song found in the archives of Barcelona Cathedral. Another Catalan book from the same period, the Llibre Vermell de Montserrat, also informs much of this programme. It would have provided pilgrims with suitably religious music to sing on their approach to the cathedral, rather than secular songs and dances. The additional use of Gregorian chant sets the Cant de la Sibil·la in its original context of the early morning matins, before these were standardised into the Office of Readings. Finally, the addition of a traditional secular Catalan song – which tells the story of the doomed Count Arnau – marks the period in the night when the pious pilgrims, eagerly awaiting the opening of the monastery, would give the floor over to storytellers. This CD is the result of a unique project involving professional and amateur artists. The project was premiered as the first concert of a new annual festival in Florence run by Federico Bardazzi and Alessandra Montali, 'InCanto Armonico'. Established group Ensemble San Felice, who, under Bardazzi's direction, have previously made several successful CDs, were paired with the children's choir of the Cathedral of Sarzana, Pueri Cantores, who make up the 'voci bianche'. Featuring young soprano soloist Chiara Galioto, and performed on period instruments, this recording provides the listener with an enchanting aural portrayal of medieval Catalonia. This fascinating programme attempts to depict an imaginary coming together of pilgrims from various countries on their way to celebrate Christmas Mass at the Catalan monastery of Montserrat, one of the strongest bastions of Christianity in the middle ages. During the Matins on Christmas day a boy dressed up as the Sybil blindfoldedly sang the famous verses from pagan times predicting the coming of Christ and the end of the world (this practice was later forbidden by the Council of Trent). This liturgical drama includes music from the famous Llibre Vermell de Montserrat, Gregorian Chant and the 14th century Barcelona Lectionary. Federico Bardazzi and his vocal and instrumental group use copies of original instruments (based on detailed research). For the vocal parts they use a form of improvisation and ornamentation based on Christian, Arab and Jewish tradition, as was in the culture of the Iberian Peninsula in the middle ages. Recorded in Sarzana, Italy, in April 2016. Contains excellent and scholarly liner notes written by the artists. Sung texts available at our website

kr 53 (kr 89)
Image Capriccii for solo violin
Igor Ruhadze, violin solo

For the first time on CD: the complete 24 Capricci for violin solo by Locatelli!

his issue might be considered as an "afterbirth" of the complete Locatelli Edition on Brilliant Classics. The Capricci are written down cadenzas as featured in the violin concertos Op. 3 (L'Arte del Violino). They are highly virtuosic, demanding the greatest technical skills from the performer (not for nothing Locatelli was called a "devil" performing these works!). The Capricci are so substantial that they can stand on their own. Eighty years later that other "violin devil", Nicolo Paganini would write Capricci as well, thus establishing a new musical form.

Russian violinist Igor Ruhadze received a solid training in Moscow, before specialising in Historically Informed Performance Practice, and is fully equipped to tackle these dazzling works, "breathtakingly performed" as the Gramophone writes.

kr 53 (kr 89)
Image Flute Sonatas
kr 53 (kr 89)
Image Les Nations
Jed Wentz, conductor
Musica ad Rhenum

Couperin may have been a contemporary of J.S. Bach, but his life stands in marked contrast to that of the great German. A court composer who worked at the fashion capital of the 18th century, Versailles, he was known as a trendsetter -- the author of a stylish and refined style where virtuosity and good taste worked in happy coexistence.

This is nowhere better exemplified than in his Les Nations, four trio pieces consisting of a sonata followed by a suite. While three of the Italianate sonatas were composed long before their publication date (1726), Couperin rejects his cultivation of Les Goûts-réünis -- a fusion of the two most important styles of that period, French and Italian -- for the dances. Here, instead, he opts for an overtly French idiom, one where expression and form are one and the same.

Performing Les Nations are the acclaimed early music group Musica ad Rhenum, an ensemble which aims to move, amuse and delight audiences through blending an informed historical perspective with a lively artistic spirit. Using contemporary instrumentation as well as metronome indications and marked freedom of tempo -- typical traits of the French style at that time -- Jed Wentz directs some highly charged performances.

Historically informed recording made in 2004.

kr 53 (kr 89)
Image Works For Harpsichord
Father (Antoine 1679-1745) and son Jean-Baptiste (1699-1782) Forqueray had the sort of relationship that would not be out of place in a present day TV soap. They loathed each other. The father's jealousy of his son's great musical talent (Antoine was a famous virtuoso viol player) led him to have Jean-Baptiste jailed in trumped up charges of womanising and theft. And he was banished from the kingdom for 10years on pain of death. A petition from influential friends and his pupils got him released and pardoned in 1726.

In 1747 Jean-Baptiste by then the outstanding viol player of his generation published a collection 'Pieces de viole composees par M. Forqueray le pere' although the content attributable to his father is probably negligable. At the same time he published a set of transcriptions for keyboard of the same works -- a shrewd business decision. The transcriptions are extraordinary with highly virtuosic writing, including the crossing of hands in La Clement in the 4th Suite. One reason for the lavishness of the transcription could be that Jean-Baptiste had recently married the very attractive Marie-Rose Dubois who also happened to be one of the most brilliant harpsichordists the time. One can only wonder what part she played in the transcriptions.

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Image Italian Arias
Alessandro Stradella composed in nearly every genre - sacred and secular, and is credited with composing the first instrumental concerto grosso, and many of his operas have accompanied recitatives. Two of them also contain the earliest mad scenes. It is perhaps in his vocal works that we can hear how innovative this composer was -- Stradella posessed a rare feel and insight on the texts he set. Combined with his total mastery of counterpoint which produced extraordinary interplay between vocal and instrumental parts, he stands out among his contemporaries as a literary and musical dramatist of the highest order.

The themes of the arias all concern love in its various guises -- adoration, tenderness, mad passion, longing, praising beauty and physical attributes, its harshness and fickle nature, the darker side of love that leads to jealousy, rage and spite, and finally to love's dissolution.... with perhaps a return to its embrace one day.

Although the music is over 300 years old, and the names of the poets unknown, Stradella's music speaks to us in a thoroughly modern way. This is music of emotional depth that sounds as fresh today as it did in the late 17th century.

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Image Bach: French Suites
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Image Il cimento dell'armonia e dell'inventione
Federico Guglielmo (solo violin & concert master) & Pier Luigi Fabretti (solo oboe)
L'Arte dell'Arco

The last issue, a crowning achievement, of Vivaldi's complete Opus 1-12 is the Opus 8, the 12 violin concertos of which the numbers 1-8 are "Le Quattro Stagioni".

Vivaldi's "Four Seasons" belong to the canon of classical music, the most iconic, popular and well known works, the melody of "Spring" being a classical "ear bug" if ever there was one.

The performance of Federico Guglielmo and his L'Arte dell'Arco strip the Four Seasons of centuries of misuse, romantic veneer and tasteless embellishments, going back to the roots of the music, and discovering the essential power and originality, "Guglielmo understand the secret language of Vivaldi" (Diapason). The ensemble play original instruments and use one player per part.

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Image Madrigali Libri III & IV
Krijn Koetsveld, harpsichord & artistic leader
Le Nuove Musiche

Le Nuove Musiche, led by acclaimed director Krijn Koetsveld, continue with their exceptional series of Claudio Monteverdi’s complete madrigals. Following on from Books V & VI (93799), and Book VII (94980BR), released in December 2015, they turn their attention to Books III & IV. At this stage of Monteverdi’s career, he was at a turning point, something that comes across quite clearly in his compositions. In the more traditional works, he gives a clear nod to his teacher Marc’Antonio Ingegneri, as he demonstrates his ability to write in the declamatory Renaissance style. Where Monteverdi sets himself apart, however, is when he demonstrates his ability to match the tender lyrics to sound. O come è gran martire, ‘O what suffering it is’, is a perfect illustration of this, as the mournfully drawn-out ‘O’ immediately captures the listener’s attention, forcing us to appreciate the lover’s lament. He repeats this device in Vattene pur crudel, when Armida’s distressed cry of loneliness soars above the other lines: her rage at having been abandoned by her lover consumes the piece. Monteverdi straddles the Renaissance and the Baroque, and this comes to the fore especially in these two exciting books of madrigals.

Le Nuove Musiche’s approach to Monteverdi is an innovative one: to bring the past into the present, keeping alive the questions of the Renaissance that still permeate our musical landscape today, while seeking to maintain the highest standards of performance authenticity. Their release of Books V & VI garnered excellent reviews, including five stars in the French magazine Diapason.

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Image 12 Recorder Concertos
Capella Tiberina

Here's a second release from Brilliant Classics of the Neapolitan musician Francesco Mancini (1672--1737), a leading light in his city's culture of composition and education as director of the Conservatorio di S Maria di Loreto, maestro of the Royal Chapel and composer of 29 operas and more than 200 cantatas. His modern reputation largely rests on his recorder sonatas (available on 94058); the new release extends our knowledge of that cheerful aesthetic to his recorder concertos, in similarly sprightly, periodinstrument performances by young musicians with a background in this repertoire.

Corina Marti studied at the Schola Cantorum Basiliensis, famed nursery of talent in the performance of early music, and the concertos are led from the keyboard by another Swiss-based musician, Alexandra Nigito, who has already proved her expertise in this music with recordings of cantatas by Pasquini (on 94225).

The recorder concertos are more demanding to play than to listen to. One unusual stylistic trademark is the preponderance of fugue in the fast movements, but that does not imply a dryly academic style -- like Mancini's sonatas, the concertos are full of memorable and deftly surprising melodies.

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Image Sonatas for Harpsicord and Violin
Johann Christian was one of the most successful of the famous sons of Johann Sebastian Bach. After arriving in London and becoming music master to Queen Charlotte, he forged a friendship with the young Mozart and composed a great deal of chamber music before focusing his career on Italian opera (in stark contrast to his siblings). The music recorded here his Op.16 sonatas for harpsichord and violin is often characterised by flowing, singing lines, derived in large part from his experience in the opera house and form a significant part of the large volume of chamber music he composed during his promising career.Though containing just two movements, each sonata still displays an enormous amount of variety, with the first movement normally cast as a fast movement that is followed by a slower one in a more reflective or restrained style. Both regularly feature themes from popular songs, with frequent use of repetition. The balance between the instruments is of also of interest: the violin is on an equal footing with the harpsichord throughout, promoting a musical dialogue that is as much about technicality as it is about melodic development.J.C. Bachs Sonatas are performed by the UinskyteRuggeri Duo: founded in 2012, they focus on performing music from the Baroque era through to the 19th century. This is Marco Ruggeris second disc for Brilliant Classics, following an album of organ music by the 19thcentury composer Padre Davide Da Bergamo in November last year. Lithuanian violinist Lina Uinskyte makes her debut in this recording.

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Image Pericoli: Cello Sonatas
Pasquale Pericoli is now so obscured by time that neither his place and date of birth or death can be ascertained, though in the preface to these six sonatas he declares himself ‘a Neapolitan from Lecce’. Neapolitan should be loosely understood here, as the writ of its kingdom in the 18th century ran all the way east and south to the town of Lecce in the heel of Italy. These sonatas are indeed Pericoli’s only extant works, and they are a most stylish, melodically appealing example of Neapolitan chamber music otherwise represented with greater renown by composers such as Leonardo Leo and Alessandro Scarlatti. His fame as both a performer and composer spread sufficiently far across Europe for him to work for an Italian theatre-opera company in Stockholm between 1752 and 1757. Although the style of these sonatas belongs recognisably to the Neapolitan school, Pericoli was far better than an epigone or slavish imitator, and his writing betrays first-hand knowledge of the cello and its technical possibilities, including much high writing and string-crossing in the quicker movements. The sonatas were published together as a set in 1769, and perhaps conceived as a single entity given that they were written in different keys, in an ascending scale of B flat major, C major, E flat major, F minor, G minor and A major. Taken together, the sonatas embody a moment of significant development in the history of music in the movement from Baroque to Classical aesthetics. In this sense the Fourth Sonata is emblematic, with a sonata-form Allegro, an Aria in the guise of a Siciliana, distinctly reminiscent of Pergolesi and Leo, and a severely contrapuntal quick finale. The sonatas are played here by a pair of Italian musicians thoroughly versed in the historically informed performing traditions of the time. First recording of Pericoli’s 6 Cello Sonatas. Little is known about the life of Pasquale Pericoli, who lived and worked in the second half of the 18th century. He is known to have produced operas in Stockholm for some years, he himself claimed to be of Neapolitan origin. His Neapolitan roots certainly are betrayed in his 6 Cello Sonatas, in which the formal structure of the Sonata (albeit in embryonic form, not yet fully developed as in the Classical Period) is imbued with melodic charm and cantabile, the cello seeming to sing instead of play. Cellist Federico Bracalente specialised in the performance of Baroque music, playing in illustrious ensembles like the Orchestra da Camera di Mantova, and collaborates with artists such as Sara Mingardo, Alfredo Bernardini and Romina Basso. Excellent liner notes written by a scholar, in both Italian and English.

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Image Harpsichord Concertos
Here is another engaging release from Brilliant Classics' current series of C.P.E. Bach recordings - recordings that celebrate the genius of a composer who was, on account of his harmonic language, preoccupation with improvisation and cultivation of the empfindsamer Stil, undoubtedly the most strikingly individual talent among Johann Sebastian Bach's sons.

Central to Carl Philipp Emanuel's output was the clavier, with the composer writing more than 50 concertos for this instrument - an astounding number considering how new a genre the keyboard concerto still was at the time, and a small number of which are detailed on this disc. While J.S. Bach is usually credited with elevating the harpsichord from its traditional role to a solo concerto instrument, his harpsichord concertos are almost certainly arrangements of earlier compositions for oboe, violin etc., and Carl Philipp Emanuel's collection therefore stands as the first important one of its kind. The works indeed number among the finest of their time, their quality reinforced by the fact that a good few were subject to regular revisions by the composer. Emanuel's own outstanding ability as a keyboard player is also reflected in the concertos, most of which were conceived with players of advanced technique in mind - the sparkling cascades of the soloist's arpeggios in the final movement of the E major Concerto Wq14 come especially to mind.

Performing Wq3, Wq6 and Wq14 and bringing to the fore the infectious vitality of these works is Brilliant Classics regular Pieter-Jan Belder. He is ably supported by his period-performance ensemble Musica Amphion, who under the direction of their soloist draw full attention to the remarkable sophistication and certain amount of unpredictability that characterise C.P.E. Bach's keyboard concertos as a whole.

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Image Recorder Sonatas (The)
Erik Bosgraaf, recorder
Francesco Corti, harpsichord

In preparation of the Telemann year 2017 (250th anniversary) Erik Bosgraaf and Francesco Corti present a new recording of the complete recorder sonatas!

Telemann himself was a professional recorder player. These sonatas contain some of his most personal music, his usual brilliance, wit and virtuosity alternate with passages of deep emotion and melancholy.

Erik Bosgraaf is one of the most remarkable recorder players of today.

Equally at home in early as well as contemporary music he extends the limits of his instrument, achieving an extreme range of expression and unheard-of effects.

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Image Sonatas For Flute And Lute
Silvius Leopold Weiss (1687 1750) was one of the last important lutenist of the Baroque. With over 600 compositions, he left behind a remarkable legacy. His brother Johann Sigismund Weiss (1690-1737) appeared as a composer barely in appearance, however, was a respected musician at the court of the Elector Carl III. Philipp of the Palatinate. This CD combines four sonatas for flute and lute together: three are from Silvius Leopold Weiss, a younger brother of his Johann Sigismund. From the works of only the lute tablature in the London manuscript are preserved. The transverse flute parts are unfortunately lost. Stefano Sabene and Mario D Agosto have extensively for the album, the virtuoso flute repertoire of the era (particularly that of Johann Joachim Quantz) examined for melody, tessitura and ornament in interaction with the lute and combined the findings in their reconstructions with French and Italian style elements . The recordings were made from March to June 2013 Italian TVA Studio; The booklet contains information on the works and the music historical background of the reconstructions and artist biographies.

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Image Vea Yo Los Ojos Bellos, Music From The Time Of Cer
2016 has seen much commemoration around the 400th anniversary of the death of William Shakespeare. However, Shakespeare was not the only European writer to pass away in 1616 – in fact, his death on April 23rd of that year was preceded by just one day by that of his contemporary, the Spaniard Miguel de Cervantes. A novelist rather than a playwright, Cervantes is best known for the extraordinary work Don Quixote. This book, alongside many of his other works –including the Novelas ejemplares and La Galatea – form the backbone of Spanish literature. This release brings together a selection of songs for tenor by composers contemporary with Cervantes. The artists have chosen short extracts from works by Cervantes (printed alongside the sung texts in the CD booklet) to thematically link the songs together, drawing the listener into the musical world in which Cervantes lived and worked. Luz y Norte ('Light and Guide') are a young Spanish ensemble, comprising a tenor, viola da gamba, harp and percussion, although the instrumentation varies according to the repertoire. All the members of the group are experienced both as soloists and as members of other prestigious early music groups. They have performed at numerous festivals, united by their shared desire to spread knowledge of the vocal and instrumental repertoire of Renaissance and Baroque Spain. This fascinating programme is a homage to the literary genius from Madrid, Miguel Cervantes, on the occasion of the 400th anniversary of his death. Presented are vocal works by some of the greatest composers of the Spanish Baroque, Marín, Del Vado, Parades, Durón, next to instrumental pieces by way of transition, all linked by extracts from a number of Cervantes’ works, each of which evokes, in a variety of manner, the theme and character of the piece that can be heard immediately after it. This is the CD debut of an exciting new group Luz y Norte, specialising in the research and performance of vocal and instrumental works from the Renaissance and Early Baroque, with a special focus on Spain. The group consists of a tenor, historical harp, viola da gamba and percussion. The complete texts in original language are included in the booklet. Recorded in Alconadilla, Segovia, Spain, in September 2015. Contains liner notes written by the artists. Contains the sung texts in Spanish alongside extracts from works by Miguel de Cervantes.

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Image El aire se serena - 16th century Spanish music
Seldom Sene

This beautifully conceived CD presents music from the Courts and Cathedrals of 16th century Spain. The composers include Cabezon, Geurrero, Penalosa, Vasquez, Morales, Victoria, Milano, Lobo, Torre and Caroso. One of the main practices in 16-th century Spain was the transcription or arrangements of vocal music from the Franco-Flemish School. Masses, motets and madrigals by Gomberg, Josquin and others were transcribed for instrumental ensembles. · Seldom Sene is a recorder ensemble from the Netherlands. The ensemble's aim is to translate the typical phrasing, blending, flexibility and expression of a vocal ensemble into an instrumental performance, and recreate the sense of Serenity and Brilliance as is described in the CD's title. Seldom Sene already recorded a successful CD for Brilliant Classics, Taracea BC94871, Gramophone wrote: "commitment, technical versatility, unanimity of ensemble and near-immaculate tuning on display". Dutch newspaper Early Music Review wrote: "Seldom Sene perceptively exploited a range of contrasting textures, and was the only ensemble of the day whose memorisation of the dots enabled unbridled spontaneity."

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Image Complete Recorder Sonatas from Il Pastor Fido
Stefano Bagliono, recorder
Andrea Coen, (harpsichord, organ

Collegium Pro Musica

The Baroque recorder sonatas on this CD bear the title 'Il pastor fido', a hugely popular play by Giovanni Guarini, which inspired many composers with its sensuous, pastoral and 'romantic' atmosphere.

The sonatas were attributed to Antonio Vivaldi (because of the commercial power of his fame) until in 1990 proof was found that they had been written by the French composer Nicolas Chédeville, who borrowed material from Vivaldi and other composers, and developed it in the same idiom.

These are excellent performances by the ensemble Pro Musica, elite players from the Italian Early Music scene.

Extensive liner notes on the history of this exquisite and charming music are contained in the booklet, in English and Italian.

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Image Erotica Antiqua: Neapolitan Villanellas
Soprano Letizia Calandra is passionate about the promotion of traditional Neapolitan music. She has already recorded two albums of ‘Classico Napoletano’ repertoire, featuring 19th-century canzone napoletane, but this time she turns her attention to a lesser-known and much older tradition: villanellas. These were 16th-century songs, set in the Neapolitan dialect by composers aping the lyric traditions of the street or countryside. Featuring bawdy characters and crude themes involving cuckolded husbands, scheming maids or jealous suitors, these light pieces originated from the strong tradition of the ‘rustic fool’ in Naples. Performing on period instruments (including the unusual lirone) that would have been used in 16th-century Naples, Calandra is joined by the early music ensemble Arte Musica, and together they create an authentic portrayal of the fascinating jumble of characters who made up this unique Renaissance city. Letizia Calandra is a firmly established interpreter of Neapolitan music. She comes from a background of Baroque and Renaissance repertoire, having performed in such operas as Ercole amante and Dido and Aeneas. Previous recordings include ‘Scarlatti and the Neapolitan Song’ for Brilliant Classics (BC94488), with Francesco Cera on the harpsichord, a record described as ‘convincing in every respect’ by Music Web International. Cera is a leading specialist of early music in Italy and frequently records for Brilliant Classics. His album of Bach’s Orgelbüchlein (BC94639) was praised for its ‘magnificence’ by Arkiv Music. The Villanella is closely related to the city of Naples, as Thomas Wythorne already wrote in 1572: “groups of musicians vied with another sing rustic songs..they wandered the streets, improvising verses and songs in honour of the beautiful women they saw at their windows, and created a sweet harmony that delighted all who heard it”. The Villanellas are far removed from the courtly poetry of the time, which sings of yearnings for the unattainable female beloved, speaking of sighs and tears. The Villanella however speak of water as the metaphor of love: dishes break, jugs crack and overflow with eroticism. This new recording features a generous selection of Villanellas by lesser-known composers as Giovanni Dell’Arpa and Filippo Azaiolo, but also by renaissance master Orlando di Lasso, who apparently had a soft spot for this genre.

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Image Mandolin Sonatas
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Image Sonatas, Canzonas and Sinfonias
Laura Pontecorvo (traverso di assisi)
Helianthus Ensemble

Italian composer Giovanni Battista Buonamente, a member of the Franciscan order, gained renown throughout Europe as a violinist, singer and choirmaster. He began his career as the Gonzaga court in Mantua, later becoming a chamber musician at the Viennese court of Ferdinand II and his final post was as chapel master at the Sacro Convento in Assisi, where he remained until his death in 1643 and his compositions many characteristics of the early Italian Baroque. This disc, inspired by a collection of instruments that were left to the Sacro Convento by Abbot Rivi in 1704, includes a selection of pieces from volumes IV, VI and VII of Buonamente's instrumental music.

The first three volumes of this collection were lost, and the surviving volumes of the original collection were destroyed by fire at the Wroclaw library in Poland, where they had been housed. The pieces on this disc were chosen with the intent of using the instruments that Abbot Rivi had bequeathed to the Sacro Convento, along with the violin, theorbo, cello, organ and harpsichord, which records show were also present at the convent.

Laura Pontecorvo, a baroque flute specialist, has played first flute with the Concerto Italiano and regularly collaborates with ensembles such as Accademia Bizantina, Divino Sospiro, Europa Galante and Accordone, L'Arte dell'arco. She has performed as a soloist all over the world and has recorded for several record labels including Opus 111 and Stradivarius. She is joined on the recording by the Helianthus Ensemble.

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Image Complete Flute Sonatas
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Image The Recorder Sonatas
Handel's sonatas for recorder were composed in the years 1724--6. What is remarkable is that he found the time to concentrate on such work at a time when his operas were in great demand in London: this is the period of Scipione and Agrippina. The young composer was the toast of the town, and had become a naturalised Englishman having followed his old employer the Elector of Hanover, Georg to London. Georg became King George I, and Georg Frideric Handel became George Frederick Handel. It will come as no surprise that the sonatas contain a lot of 'operatic' material, from Handel's own operas, and those of his contemporaries such as Georg Muffat. Many of the most popular arias from Handel's operas had been published in transcriptions for recorder and keyboard -- the ancestors of the operatic paraphrases by Liszt and Henselt in the 19th century. Although they can be considered as domestic music, the keyboard parts are quite virtuosic (Handel was an excellent harpsichordist), and the composer's markings are detailed lending credence to the view that these works were also used as exercises. Handel enthusiasts will find much that is familiar in these works, sprightly fast movements and operatic larghettos, the latter no doubt influenced by the operatic workload Handel faced at the time.

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Image 12 Fantasias for Solo Violin
The 12 Fantasias for violin solo by Georg Philipp Telemann are masterpieces in their genre, and should be as famous as the Sonatas and Partitas by his contemporary Johann Sebastian Bach. Not only are these works a testimony of Telemann's great melodic gift, but the violin writing is idiomatic and demanding, using advanced violin techniques (Telemann was a self-taught violinist himself). The sonatas contain several movements, and are a synthesis between the melodious Italian School style of Corelli, and the polyphonic German style (several sonatas end with a fugue). Few violinists have better credentials for performing this music than Italian maestro Federico Guglielmo, leader of the early music ensemble "L'Arte dell'Arco" and celebrated violinist himself, with an impressive discography to his name. For Brilliant Classics he recorded the complete Op. 1-10 by Vivaldi, to great international acclaim.

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Image Six Sonatas, Op. 17
The genius of Johann Sebastian Bach often overshadows the achievements of his four prodigiously talented sons, all of whom played a crucial role in further advancing music's development during the 18th century. Johann Christian, the youngest, was indeed among the most pivotal composers of his day, his move to Italy in 1755 precipitating a noticeable change in style that, known as the galant, looked forward to the soon-to-emerge Classical period.

J.C. Bach was the first to champion the fortepiano in concert, and by the time he came to write his Six Sonatas Op.17 - the subject of this engaging release - the instrument was well on its way to dominance. Following on from the Six Sonatas Op.5 (94634), the works reveal the composer's multifaceted skills, displaying the widest possible range of compositional manners and characters - from the symphonic and declamatory opening Allegro of Sonata No.1 in G to the epic scope of No.6 in C minor (which conforms to the pathos and sadness associated with its key). One of J.C. Bach's many admirers was Wolfgang Amadeus Mozart, and it is highly likely that these works were among those played to the young prodigy when he visited London in the 1760s, where the German composer was then living. They comprise a set truly befitting of a composer who would later became music master to the English royal family, revealing how, in the realm of keyboard virtuosity, J.C. Bach was every bit his father's son.

Given J.C. Bach's influence on Mozart, it should come as little surprise that the sonatas of Op.17 are almost stylistically interchangeable with those of the Salzburg genius - anyone who delights in the latter's keyboard sonatas is sure to be won over by these charming works. At hand to perform is one of today's leading fortepianists, Dutch keyboardist Bart van Oort, whose consummate performances give voice to a composer who played an instrumental role in bringing the fortepiano to public attention.

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Image Vita De La Mia Vita
A celebration of Italian Renaissance lute music, this release showcases a variety of composers, from the well known (such as Palestrina and Da Milano) to some now faded into obscurity, and introduces the listener to all forms of lute music that were in vogue during that period: ricercares, dances, madrigals and villanellas. The innovation to be found in this music is extraordinary: instrumental music from this period was designed to imitate the human voice, evident in many of the pieces included here, with intricate polyphony echoing the vocal madrigals, and eversophisticated ways of writing in turn led to new forms (the ricercar and canzona), creating a new type of instrumental language. The line between vocal and instrumental music thus became far more blurred in this period: it was even common for vocal works, such as madrigals, to be played rather than sung. The lute consort, the focus of this release, was one of the highest courtly expressions of ensemble music, best revealing the potential of the instrument and offering a voiced reconstruction of one of the most exclusive ambiences of ancient palaces.The Quartetto di Liuti da Milano have delved into a variety of sources to extract these musical gems. Extensive research is the foundation of their interpretations, and they are also proud to perform on instruments modelled carefully after their Renaissance equivalents. Concentrating exclusively on Italian Renaissance and early Baroque music, the quartet was established in 2012, and the musicians have already been praised in Amadeus magazine for their liveliness and quality of expression.

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Image Sonatas For Viola Da Gamba
Patxi Montero, viola da gamba
Daniele Boccaccio, organ

Patxi Montero and Daniele Boccaccio have already recorded for Brilliant Classics the three sonatas composed by J.S. Bach around 1720, when the viola da gamba was already an archaic instrument, superseded by string bass variants such as the cello and double-bass, for their greater volume, projection and reliable tuning. However, the gamba’s multiple strings and barrelled sound-box gave it a unique, speaking quality that continued to fascinate composers; long after its high noon as part of a viol consort in 17th-century chamber music, Bach wrote not only these sonatas for the instrument but obbligato parts in various cantatas and at the expressive crux-points of his St John and St Matthew Passions.

The earlier recording by Montero and Boccaccio is available within the latest version of the Complete Bach Edition; for this new recording, however, the accompanying instrument is not the usual harpsichord but a chamber organ, in the church of S. Antonio Abate, Padova, Italy. Such an experiment in pairing the softly-spoken timbre of the gamba with a sustained keyboard instrument has been undertaken before in this music, in a recording with accordion, but not with an organ.

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Image Duets
All concert duets Stradella in fantastic admissions with Emma Kirkby and Susanne Rydén The Italian singer, violinist and composer Alessandro Stradella (1639 1682) led an exciting life with numerous extramarital affairs and had to repeatedly leave cities fled for his amorous escapades, until he in Genoa because of a love affair was still murdered a lady of high society. As a composer Stradella was far from easy to calculate. He left behind an unusually bold and visionary oeuvre of instrumental and vocal music. This CD brings together all Concert Duets Stradella (and one trio) together. The total of 14 pieces for various vocal ensembles are only a small part of his work. Nevertheless, they are in particularly to clarify Stradella extremely flexible and natural use of language in connection with vocal lines. The Italian bass Sergio Foresti and the critically acclaimed original instruments ensemble Harmonices Mundi under Claudio Astronio vouch together with two real stars of the early music scene, Emma Kirkby and Susanne Rydén, for knowledgeable authenticity and outstanding quality of the production. As a finishing touch that obtained in the original condition violone by Simone Cimapane dating from 1685 can be heard. The photographs were taken in November 2013 in the chapel of the Benedictine monastery of Muri-Gries in Bolzano; The booklet contains notes on composers, works and editions used.

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Image New Old Albion
Il Caleidoscopio:
Lathika Vithanage, violin)
Noelia Reverte Reche, viola da gamba
Flora Papadopoulos, arpa doppia
Michele Pasotti, theorbo & lute

Il Caleidoscopio is a bright young early music ensemble based in Milan, and this is their debut album, featuring not the usual fare of trio sonatas and concerti grossi from their native country but a musical journey around 17th-century England, centred on the London of Byrd and Playford, which was indeed one of the musical capitals of the world at the time.

Their international outlook reflects their membership: the Australian Lathika Vithanage (violin), Noelia Reverte Reche from Spain (viola da gamba) and Flora Papadopoulos from Greece (harp), joined here by the lutenist Michele Pasotti. They have already given concerts at the major early music festivals in Rome, Milan, Ravenna and farther afield.

The album is themed around the chamber music of William Lawes, who moved this genre forward in England in the first half of the 17th century. He was equally the leading composer of dance, and of music for drama (including the masque), in the period 1630/45. Doubtless his career would have been even more distinguished had he not died in battle at the Siege of Chester in September 1645: King Charles mourned him deeply, and declared him ‘Father of Musick’. Listening to the serene and lively progress of these dances, so assured in harmony and fertile in melodic invention, who would disagree?

Not that Lawes overshadows the other distinguished names here, whose various pieces complement the harp-consort genre employed by Lawes. Locke’s Consort No.4 is subtitled ‘for several friends’ but Byrd’s magnificent ground The Bells is originally for solo keyboard, while Dowland’s Prelude is for lute and Christopher Simpson’s E minor Divisions are for solo gamba, ‘for the practice of learners’ but rich in the melancholy of the age.

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Image Oboe Sonatas
Burkhard Glaetzner, oboe
Siegfried Pank, cello
Christine Schornsheim, pianoforte

Born in 1759 in Joinville, France, Francois Devienne was a virtuoso bassoonist and flautist who also enjoyed a European reputation as a brilliant composer. A member of the French Guard whose 'opéras comiques' were in high demand during the revolutionary years, the Frenchman was later appointed first flute professor of the newly established Paris Conservatoire, where he became a much sought-after teacher. Today he is best remembered for his prodigious output of wind chamber music.

Grace, formal elegance, melodic originality and harmonic boldness are just some of the hallmarks of Devienne's style, all of which are to be found in the four oboe sonatas that make up this charming release. Drawn from three collections that were probably published around the turn of the 18th century, the works reflect both the musical taste of the composer and the expectations of the audiences that would have frequented 18th-century salons - the settings for chamber music works of this kind. From fecund imagination and lightness of touch to vivacity and virtuosic exploration, Devienne's pieces reveal his innate understanding of the inherent possibilities of the oboe, which dominates the musical proceedings with bravura and emotional intensity.

Performing these works are three of the leading German instrumentalists of their day: oboist and former member of the Neues Bachisches Collegium Musicum, Burkhard Glaetzner; harpsichordist Christine Schornsheim, whose accolades include the Diapason d'Or and Preis der Deutschen Schallplattenkritik; and cellist Siegfried Pank, soloist and former principal cellist of the Leipzig Gewandhaus Orchestra.

kr 53 (kr 89)
Image Balli, Battaglie E Canzoni
This fascinating release is a unique project: the combination of church organ and percussion instruments performing early Italian keyboard music. This exciting and entertaining music has never been heard performed in this way by renowned organist Luca Scandali and percussionist Mauro Occhionero. The early keyboard music manuscripts not only included organ music for liturgical use, but also collections of dances, such as pavana, gagliarda, ricercada, saltarello, balletto, and canzona. The strong rhythmical element in these works is enhanced on this new recording by the use of percussion instruments as were in use in popular music of that period: drums, rattles, sticks, castagnets, claves, sistrum and such exotic instruments as def, djembe, darbuka, and tammorra. This music by Giovanni Picchi, Marco Cavazzoni, Gioseffo Guami, Christofano Malvezzi, and Giovanni Trabaci is recorded on a historical instrument built in 1551 by Onofrio Zeffirini.

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Image Music for Flute
Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’

In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music. Meticulous in his work, alert and inventive,

Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos.

In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and

French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.

This is evident in the Suite in A minor TWV 55:a2, which is actually highly instructive as a source of inspiration for Bach’s Suite in B minor BWV 1067. Likewise the short Concerto in D TWV 51:D2 and the Concerto in G TWV 51:G2 offer telling examples of Telemann’s liberal, intelligent use of a generous palette of harmonic, rhetorical, melodic and rhythmical colours. Everything is there to hand, yet there is nothing in excess. Even when the composer indulges in a touch of caricature, as in the Suite ‘La Bizarre’ in G major RWV 55:G2, nothing is excessive, and nothing is wanting. This is synthesis reconciled with reverie: a touch of melodic harshness, immediately tempered by elegance, even in the concertato dialogues, where much is surprising and everything harmonious.

In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works.

The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well!

Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078).

Extensive liner notes on the music and the instrument included.

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Image Italian Duets
SOPRANO: Gemma Bertagnoll
SOPRANO: Susanne Rydén
Harmonices Mundi
CONDUCTOR: Claudio Astronio

The supreme master of the chamber duet genre was Agostino Steffani, recently celebrated by Cecilia Bartoli, and it is no coincidence that Handel had a manuscript copy of Steffani's famous duets with him at the beginning of his stay in Rome. The Italian composer's work was a model for the young musician from Saxony, an inspiration that left tangible traces in those very duets. There is a distinct network of connections between Handel's duets, his other compositions and those of several of his contemporaries that bears witness to consistent borrowing. The duets are a case in point, revealing a criss-crossing of musical loans from one composition to another. Apart from Steffani, Handel also borrowed musical ideas from colleagues such as Giovanni Maria Clari and Pietro Torri, Dietrich Buxtehude and Antonio Caldara.

The duets continued to charm the world of music even after Handel's death, when, with the exception of the grand oratorios, the rest of his output faded somewhat into the background. Each duet in this collection is preceded by a compatible instrumental piece, which acts as a sort of prelude. Although these latter compositions were originally written for the keyboard, they were also transcribed for various basso continuo instruments, which is how they are performed here. The practice of alternating instrumental and vocal pieces was typical of court and academy performance during the 1700s, and is well suited to Handel's duets.

Harmonices Mundi and Claudio Astronio have made fine recordings for Brilliant of several other Baroque composers. Here they are joined by two bright stars of the Baroque opera and vocal scene.

Recordings made in 2009, previously unreleased.

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Image Recorder Concertos
Stravinsky famously quipped that Vivaldi didn't write 400 concertos, rather he wrote one concerto 400
times. Rather unfair, though witty. For many people though, Vivaldi is the composer of The Four Seasons
(the first four of the twelve concertos Op.8), and maybe the famous Gloria. He is a composer who repays closer attention. There are some superb concertos in his large output, and some of them were sufficiently striking enough to attract the attention of J.S. Bach and Johann Quantz. His concertos are remarkable not only for the wealth of invention and the outstanding quality of the music, but also for the amazing range of instruments he wrote for. This CD is devoted to concertos for sopranino and alto recorders. Two of his greatest concertos 'Tempesta di mare' (Storm at Sea) and 'La notte' (Night) feature on the programme.

Further information
- New recording made in January 2009
- Booklet notes with fascinating contemporary accounts of Vivaldi, including extracts from his letters
- Erik Bosgraaf has led a colourful musical career -- from rock musician, to oboist, then virtuoso
recorder-player. In 2007 Frans Bruggen invited him to perform Bach's Actus Tragicus at the
- In 2009 he was awarded the prestigious Borletti-Buitoni Trust award.

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Image Trio Sonatas

Born in Bologna on 18 February 1632, Giovanni Battista Vitali was one of the most outstanding cellists of his generation. Rising to become sottomaestro di cappella at the court of the music-loving Duke Francesco II d'Este in 1674, the Italian's output ranges from cantatas and oratorios to various instrumental works. His Sonatas for Violin Op.2, published in 1667, form the subject of this engaging release.

The sonatas, all in the 'da chiesa' style, proved to be a highly popular collection during Vitali's time, and were reprinted no less than five times in the space of 18 years! Not only did their brevity and lack of extreme technical demands appeal to competent amateurs and small churches unable to afford costly vocal resources, but the works' ability to reconcile the exacting style of the early Baroque 'sonata da chiesa' with new 'classicizing' was particularly attractive to connoisseurs of the time. Cast in three or four movements, the sonatas either begin with slow and majestic one, or (more often) a faster one with a highly imitative texture. A particularly striking piece is the Sonata No.8 in C minor, whose use of homophonic harmony, underpinned by sequences of unresolved sevenths, must have seemed exceptionally modern for its time.

Performing this charming collection of works are Semperconsort, a group of Renaissance and Baroque specialists who use period-style instruments to recreate how the music would have sounded. Their astute readings are headed by Luigi Cozzolino, principal violinist and founder of the group, whose absorbing playing can only increase listeners' appreciation for this often overlooked composer.

Historically-informed performances, recorded in 2009.

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Image Serenata Napoletana
Vedi Napoli e poi muori; See Naples and die. As the famous expression goes, there is nowhere in the world more beautiful than Naples, so once there, there is no need to go any further. This release invites you to experience a Neapolitan evening, or Serenata Napoletana, with a collection of beautifully soothing music for the mandolin and piano. Although at the end of the 19th century Naples was more famous for its songs than its instrumental music, it was actually a highly innovative period for the mandolin. Indeed, the two forms developed closely alongside each other, with some features crossing both vocal and instrumental music; the uniquely Neapolitan melodic lines come across strongly in both the voice and the mandolin, and the accompaniments also contain similarities, with the piano on this disc clearly invoking the flute that would normally accompany a singer. This release brings together 12 different composers to offer a fascinating selection of the music of this time, none of which has ever been recorded before. Almost all the featured composers studied or taught at Naples renowned conservatoire, San Pietro a Majella, where the mandolin was given serious treatment as a classical instrument for the first time. These pieces are a fitting counterpart to the long established tradition of the Neapolitan canzone, and any lover of Romantic music will find themselves instantly transported to one of Italys most seductive and evocative cities.Supported by musicologist Ugo Orlandi,who has long been advocating a revival of Neapolitan mandolin music, these rare works are interpreted by young performers Raffaele La Ragione and Giacomo Ferrari. With Raffaele hailing from Naples originally, the two met while studying in Milan, and soon found a shared passion in these works. They have given several public performances together, of which the press praised for their lyrical and elegant playing.

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Image Tyd En Konst
Johannes Schenck was an important Dutch composer, active around 1700, born in Amsterdam, and travelling Europe as a composer and virtuoso on the Viola da Gamba. He wrote the first Dutch opera, and published in Amsterdam a set of sonatas for the viola da gamba which set the standard for the instruments status as one of the foremost melodic instruments of the Baroque: rich, warm, expressive and speaking.Cubanborn Lixsania Fernandez plays 6 of these masterworks, together with other members of the Early Music group Le Tendre Amour, which received great critical acclaim for their two recordings for Brilliant Classics: All in a Garden Green (BC 94313) and French Cantatas by De Bousset (BC 94288), forming a rich continuo of theorbo, cello and harpsichord.

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Image Baroque Concertos, Psalm & Chamber Music
Modo Antiquo
Federico Maria Sardelli

As the composer, conductor, scholar and provocateur explains in his own notes, this is Baroque music for our time. Federico Maria Sardelli's long experience researching and editing the music of Vivaldi leaves him perhaps ideally placed to recreate such music in his own image, which he does here with chamber, orchestral and vocal music that is less a pastiche, in which identity is obscured, than a defiant recreation of a past age. As his fellow composer Carlo Boccadoro remarks, the result "is rather like filling antique containers with sparkling coloured liquids so that they take on an entirely new aspect; or looking at certain Renaissance portrayals that seem slightly distorted until they are viewed from exactly the right angle... Like optical illusions themselves, his music is both real and immaterial, built from solid counterpoint and born aloft by airy lightness. Sardelli subtly eludes the whole subject of musical idiom so central to all forms of contemporary music, fully aware of his own unique and inimitable individuality." The performers on this unique disc are experienced performers of the Baroque style, playing in 'historically informed' conditions - a further paradox that enriches this timebending recording. Under the baton of Sardelli, Modo Antiquo appears regularly at major international festivals and concert halls. Its discography of more than 40 titles includes many world premiere recordings.

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Image Il Primo Libro di Recercari
Girolamo Frescobaldi (1583-1643) is the most significant figure in Italian keyboard music before Domenico Scarlatti. He was born in the northern city of Ferrara which, under the Este family had become a major centre for the musical avant-garde. Frescobaldi thrived in this heady environment, and this together with the influences he had picked up from his travels to Rome and Flanders gave his music its distinctive style. He became organist at St Peter's in Rome, and when the new St Peter's was completed in 1615 it was equipped with two superb organs which Frescobaldi performed on during official services and state events.
The ten Recercari on this CD were published in 1615. The word 'recercare' means to search, or tease out. Musically it describes a work in which a short abstract theme, or motif is manipulated through imitation, inversion and so on. In this recording each recercare is preceded by a toccata taken from a manuscript copied for the wealthy Fugger family of Augsberg. Whilst not from Frescobaldi's 1615 set of Toccatas, they do show many of his fingerprints.
Frescobaldi's keyboard music provides a link between the music of Palestrina and Victoria and that of J.S Bach.

Other information:
- Recording made in 2009
- Booklet notes by renowned Frescobaldi scholar Noel O'Regan
- Organ of Chiesa di S. Caterina, Treviso

kr 53 (kr 89)
Image Cantatas for Soprano
Maria Laura Martorana, soprano
I Virtuosi Italiani
Alberto Martini, conductor

Behind all great students is a great teacher. This is true of Haydn, Scarlatti and Pergolesi, who, among others, were all taught by the celebrated Nicola Porpora. As a professor of singing and composition, Porpora gave lessons in his native Italy and across Europe. A distinguished composer in his own right, his extensive knowledge of vocal technique allowed him to compose cantatas as well as a host of operas, all of which were considered masterpieces in their own day.

Most of Porpora's cantatas -- veritable masterclasses of vocal composition -- are found in the 1735 collection, published in London and dedicated to Frederic, Prince of Wales. This disc, however, also presents three of an unknown date; while Venticel che tra la frondi and Il Vulcano can be traced back to Porpora's time in Venice (the former in particular contains similarities to his Venetian sacred music), Il Ritiro is likely to be the most modern, carefully reconstructed from a collation of various possible manuscripts. At any rate, these cantatas are a testimony to the composer's reputation as one of the most important and influential musicians of the 18th century.

Coloratura soprano Maria Laura Martorana has received many awards over the years, including the prestigious 'Singer of the Year' prize at the 1996 Festival of Martina in Italy. She has participated in the recording of numerous operas, and sang the role of Cleonilla in the 2008 recording of Vivaldi's Ottone in Villa (BC 94105) for Brilliant Classics. Joining Martorana on this disc is the internationally renowned ensemble, I Virtuosi Italiani.

Recorded in April 2012, Villa San Fermo, Lonigo, Vicenza, Italy.

kr 53 (kr 89)
Image Bass Cantatas
World premiere recording of the three cantatas.

In a letter of 1718, looking back on 20 years of composing, Telemann wrote that church music was the genre he valued the most, and that the majority of work he had produced came under this genre. Indeed, this statement held true for the rest of his career -- this extremely prolific composer wrote more than 1000 cantatas and several Passions, psalm settings and minor sacred works. However, Telemann's style was in no way monotonous and unvaried -- his work encompasses a wide variety of musical genres, forms of expression and programmatic elements, and the three cantatas on this CD reflect this diversity. The first cantata heard here, Die Gnadentüre steht dir offen, was composed for just one vocalist, two violins, figured bass and a four-part choir, but these small musical forces barely affect the quality of the work. It is still a fine example of Telemann's versatility, in which he combines his own personal style with the influence of the delicate and refined music of Berlin in the 1740s. The next cantata on this CD, Herr, erhöre meine Stimme, consists of two arias which enclose a 100-bar arioso and recitative setting of the Lord's Prayer. Here, Telemann demonstrates his skill as a composer of programmatic music, using the high strings to depict the birds in the sky and the low strings to imitate the sounds of the animals on the ground. This skill is also evident in the final cantata on this disc, Ach Herr, lehr uns bedenken wohl, in which rapid demisemiquavers in the strings represent the rushing of the wind. The work also showcases Telemann's unique feeling for melody and his ability to blend sound and create a sense of balance. The cantatas are complemented by some of Telemann's greatest instrumental music: the Overture in D, the Sinfonia from his opera Miriways, 'Der stürmende Aeolus' from his well-known Wasser Ouverture, and the Largo from the Serenade Deutschland grünt und blüht im Frieden.

kr 53 (kr 89)
Image Complete Cantatas, Vol. 3
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Image Apollo e Dafne
Tom Sol Apollo, Nicola Wemyss Dafne
Michael Borgstede harpsichord
Musica ad Rhenum, Jed Wentz

Apollo e Dafne is an early work of Handel's, completed at the latest by 1710 when he was 25 years old in Hanover, whence Handel departed in 1710 after Agrippina had made such an impact in Venice. He thence decamped to London in the autumn of 1710, perhaps as a propagandist for the Hannoverian succession, and may even have had political duties to attend to in secret, while carrying on a spectacularly successful musical charm-offensive in favour of George and Germany. If this is the case, then we could see the dance suite of music from The Alchymist (HWV43) as advanced publicity, carefully planned to prepare Handel's arrival. Whatever: both works here are the works of a youthful and exuberant outpouring of genius. They both were conceived in theatrical Catholic Italy, only to achieve their final form in the Protestant North. In this transformation process they seem to have lost none of their vigour and warmth; and today they charm us still as they must have charmed when new, like a whiff from distant lemon groves through the London fog and the rain.

Jed Wentz and his consort Musica ad Rhenum are stalwarts of the extensive catalogue of historically informed recordings on Brilliant Classics. They draw on the rich performance and scholarly tradition of early music in The Netherlands, and their recordings of Bach, Handel, Couperin, Rameau and more have, since the group's foundation in 1992, won critical praise.

kr 53 (kr 89)
Image 3CD-BOX: Harpsichord Music
D'Angle Bert's harpsichord music at the court of the Sun King Jean-Henri d Anglebert (1629-1691) lived and worked as a harpsichordist at the court of Louis XIV. As an important representative of the typical French style of the Ancien Régime constructed his virtuosic music artfully counterpoint and rich with elaborate decorations . This 3-CD box set of the Italian early music expert Francesco Cera contains d Angle Bert's complete oeuvre for harpsichord, the core of the four suites of the Pièces de clavecin (1689) and the transcriptions contained therein and Variations on overtures, dances and interludes from Lully's operas exists. These are some pieces handwritten obtained come. Cera, an outspoken expert on the French and Italian repertoire of the 17th and 18th century, earned in the past for his CDs much praise. In this production, he plays on a modern copy of a 1691 built by Vincent Tibaut harpsichord. The pictures were taken in May 2013 in the Palazzo Cagnano Italian Laureana Cilento; The booklet contains introductory notes to the works and a biography of the artist.

kr 59 (kr 99)
Image Complete Keyboard Music
The Ferrara-born Luzzasco Luzzaschi might not exactly be a household name, but his contribution to the development of the madrigal places him within that elite category of composers who helped shape the course of music history. The favourite musician of Duke Alfonso II, the last of the legitimate d'Este (the most intellectual and cultivated dynasty of Renaissance Italy) it was Luzzaschi who, in his role as the finest keyboard player of the period, cultivated the open score approach to performance. This was essentially a sort of motet of madrigal without words that focused on highly refined counterpoint and on the complexity of fugues i.e. four-voice writing, without recourse to embellishment or any added prettiness.

Only the second of the composer's three books of ricercari, as detailed in this recording, has survived - a regrettable fact, given that the 1578 manuscript is unrivalled in its complexity among keyboard music of the second half of the 16th century. The book also comprises the only known free-form composition by Luzzaschi, the melancholic Toccata del quarto tuono; also included on the recording are two counterpoints on the plainchants 'La Spagna' and Ave Maris stella, as well as the simple, unpretentious Canzona - Maestro Messori's keyboard arrangement of an ensemble piece published in the Raveri collection of Canzoni per sonare con ogni sorte di stromenti (1608) by various composers.

Indeed, Messori's interest in and understanding of this period of music history is confirmed by his critical open score edition used for the recording (shortly to be published by Ut Orpheus at the time of writing), as well as his assured performances. Using different Italian harpsichords to convey a sense of 'chamber music', in addition to the organ and spinet, he conjures up the refinement and splendour of the Ferrarese court with ease and grace, presenting a strong case for why this Renaissance composer - and former teacher of Frescobaldi, who further cultivated keyboard open-score notation - deserves to be better known.

kr 53 (kr 89)
Image 5CD-BOX: Sonatas
Pieter-Jan Belder, harpsichord
Michelangelo Carbonara, piano
Luigi Attademo, guitar
Godelieve Schrama, harp
Mie Miki, accordion

Baroque powerhouse Domenico Scarlatti - son of the great Alessandro Scarlatti and born in 1600, the same year as Johann Sebastian Bach and George Friderich Handel - wrote an enormous 555 keyboard sonatas. These were mostly to be performed on the harpsichord, although several sources suggest that he may have also written some for the fortepiano at the Spanish court, where he was employed from 1733. The universal appeal of these sonatas - containing Scarlatti's trademark influence of Iberian folk music and dances - is such that they have been pushed beyond the boundaries of the intended instrument, and thus the recording also boasts performances of selected sonatas on the harp and accordion, bringing these wonderful sonatas into the 21st century.

Each of the performers on the recording are leading interpreters on their instrument. The awards that the performers have won include prizes at the Schubert International Piano Competition (Michelangelo Carbonara), Leipzig Bach Harpsichord Competition (Pieter-Jan Belder), the Concours International d'Exécution Musicale (Luigi Attademo), as well as the RecordAcademy Award (Mie Miki) and the Dutch Music Prize (Godelieve Schrama) This collection boasts a handpicked selection of these for harpsichord, piano, guitar, harp and accordion.

kr 95 (kr 159)
Image Scarlatti: vol. IX
kr 77 (kr 129)
Image 36 Fantasies for Harpsichord
Andrea Coen, harpsichord

While Telemann is, today, considered among the very greatest of Baroque composers, he was one of the last of the period to be reappraised by later generations, and his music had to be 'rediscovered', just as that of J.S. Bach and Vivaldi was. Despite this, he enjoyed a great deal of fame during his lifetime, and his long career resulted in a vast output. He was, in fact, one of the most prolific composers of any age, and travelled widely, assimilating different styles into his own compositions. This allowed him to produce music of such individuality and quality, with a noticeable sense of ease, that it must have astonished his colleagues and patrons, as it does us today.

The 36 Fantasias for harpsichord were published in 1732/3, and are divided into three groups of 12 -- the second set is in the French style, while the outer sets are in the Italian style. Each fantasia closes with a da capo repeat of the first movement, expertly and sensitively embellished by harpsichordist Andrea Coen. These are energetic and energising works, at once intellectual and entertaining 'so that the player enjoys them, and you can take pleasure from that (because) variety revives the spirit' as Telemann commented.

Other information:
- Recording made in 2011

- Includes booklet notes in both English and Italian by Andrea Coen

- Andrea Coen knows the style inside out, as proven by his many recordings, among which the Complete Sonatas by Giustini (94021), which got rave reviews by the international press.

kr 59 (kr 99)
Image Harpsichord Suites
kr 53 (kr 89)
Image Keyboard Sonatas
The most comprehensive collection of Keyboard Works by Padre Antonio Soler! Padre Antonio Soler spent most of his life in the monastery of El Escorial near Madrid in his native Spain. He wrote an astonishing number of 471 sonatas for the keyboard, one-movement works in brilliant instrumental style, charming, sunny and tuneful, they may compete with the famous keyboard sonatas by his contemporary Domenico Scarlatti.Pieter-Jan Belder made fame having recorded the complete Scarlatti Sonatas, and his Soler recordings are on the same high level of musical insight and virtuosity: a sheer delight! As a bonus the recording is included of 6 sonatas for two organs, by renowned organists Maurizio Croci and Pieter van Dijk.

kr 179 (kr 299)
Image The Keyboard School
Comprised of 25 tracks and featuring eight different composers, this release celebrates the best of Giovanni de Macque and his contemporaries in late16thcentury Naples. Each piece hails from the Luigi Rossi manuscript, a collection compiled in 1617 that survives to this day, giving us an extraordinary overview of the keyboard compositions written for the aristocrats who ruled the Kingdom of Naples at the time. Indeed, at a time when wealthy families were striving to retain their power and influence as the lower classes benefitted from a sharp economic upturn, the music of this period was highly complex, still exclusively aimed at the cultivated upper classes: extreme chromaticism as well as extensive use of polyphony and harmonic audacity are common traits of these works.On his arrival in Naples, De Macque made sure to curry favour with the right people, including Fabrizio Gesualdo, whose son Carlo became a famous composer in his own right. Works by both men, along with other renowned composers of their day, are included on this release, and the connection between De Macque and Gesualdo is clear to see. De Macque was far ahead of his time, and became the forerunner of the Neapolitan keyboard school, counting Mayone, Trabaci and Rossi among his pupils, all of whom feature on this disc. This release is a testament to the close artistic circle operating at Gesualdos court at the time: the stylistic unity between these composers and homogenous character of the pieces is by no means incidental.Fabio Antonio Falcone, a passionate performer of Renaissance and early Baroque music, has carefully selected the period instruments for this recording, leading to a highly authentic performance of these historical works. Having studied in The Netherlands with renowned harpsichordist Bob van Asperen, he has already made a name for himself, winning the special prize for Outstanding Performance of a 17thcentury Italian Composition at the National Harpsichord Competition in Pesaro in 2007. He is regularly invited to perform internationally and is often heard in conjunction with his ensemble Pizzicar Galante. This is his first release for Brilliant Classics.

kr 53 (kr 89)
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