When in 1728 the Prince of Cöthen dies, his former Kapellmeister has not forgotten the flamboyant five years once his past service. He dedicated his funeral cantata built almost entirely to the music of two major works of this period: the Trauer-Ode and the St. Matthew Passion. The partition is lost, but the book and many information now possible to reconstruct the structure. On the occasion of his first recording for harmonia mundi, Raphael Pichon whole Pygmalion and invites us to an exciting game of musical tracks in many ways ...
" It does not take long to be charmed Amandine Beyer and his Unknown, as the delicacy of poetic discourse is the appointment. "(Classica, September 2014)
Tracklist: It has too often been overlooked that, between Bach’s death (1750) and the triumphant revival of his St Matthew Passion by Mendelssohn in 1829, other composers had already investigated the œuvre of this ‘old master’. Mozart was the most fervent among them; thanks to the discoveries of Baron van Swieten, he had the opportunity to explore The Well-Tempered Clavier and make the string arrangements from it featured on this disc.
An instrumental ‘oratorio’ Haydn wrote his Seven Last Words in 1786/87 for Good Friday devotions in Cádiz. The task of composing a purely instrumental ‘oratorio’ consisting of seven contemplative slow movements was by no means an easy one; but the outcome was a work of sublime nobility, which in Haydn’s own transcription for string quartet has enjoyed unfailing popularity ever since.
“You can gallop away with the Turks, bumping into some unexpected harmonies, and on to the haughty Swiss, or the proud Portuguese. But the most amazing movement is "Muscovites", where basses, lute, cellos and violins chime in imitation of the Kremlin bells.” Rob Cowan, The Independent, 22 March 2002
"The tempi are just, the tuning impeccable, the phrasing graceful." Anna Picard, The Independent on Sunday, 24 March 2002
"absolutely stunning." George Pratt, CD Review, BBC Radio 3, 15 June 2002
“their gusto is overwhelming: listening to this CD with a straight face is quite impossible.” Geoff Brown, The Times, 18 June 2002
La finta giardiniera (Мнимая садовница), KV 196, комическая опера (dramma giocoso) в трёх актах Вольфганга Амадея Моцарта. Либретто: Giuseppe Petrosellini (Джузеппе Петрозеллини). В течение длительного времени авторами либретто считались Marco Coltellini (Марко Кольтеллини) и Raniero de Calzalbigi (Раньеро де Кальцабиджи), что ныне ставится под сомнение. Работа над оперой началась в сентябре 1774 года. Премьера состоялась 13 января 1775 года в Мюнхене за две недели до достижения Моцартом возраста 19 лет.
David Bates directs La Nuova Musica in a pair of contrasting settings of Psalm 109. Handel's masterful and ambitious HWV282 was penned in 1707 during a youthful visit to Italy. Vivaldi's vivid and economical RV807 (his third Dixit Dominus) was long mistakenly attributed to Baldassare Galuppi; it probably dates from the early 1730s. Rounding out the programme is Vivaldi's dazzling motet for solo voice, "In furore iustissimae irae", featuring soprano Lucy Crowe.
Maddalena - Maria Cristina Kiehr (soprano) Marta - Rosa Dominguez (soprano) Earthly Love - Bernardo Fink (mezzo) Celestial Love - Andreas Scholl (counter-tenor) Pharisee - Ulrich Messthaler (bass) Christ - Gerd Türk (tenor)
Orchestra of the Schola Cantorum Basiliensis René Jacobs (conductor) Chiara Banchini (concertmaster)
в 2010 г. лейбл переиздал записи кантат Баха в исполнении Philippe Herreweghe с такими музыкантами как: Andreas Scholl, Sibylla Rubens, Mark Padmore, Michael Volle, Collegium Vocale Gent. Данная запись основана на второй (1725 года), из известных четырех, редакции Johannes-passion в которой отсутствует популярное "Herr! Unser Herrscher!". У Herreweghe и его артистов есть очень верный подход к музыке барокко, которая в их исполнении полна чистой виртуозной энергии.
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