The Easter Oratorio by JS Bach one of the most vibrant compositions of his son Carl Philipp Emanuel is compared here: the first part of his spiritual Thanks anthem of Friendship (1785), which was forgotten for more than two centuries. Frieder Bernius again underlines its leading position with this recording.
During his own lifetime, Sammartini was considered to be one of the most talented composers of his generation. John Hawkins wrote in 1776: “His singularities can only be ascribed to that boldness and self-possession which are ever the concomitants of genius.” He ranked Sammartini’s concertos and overtures at the same level as those of Arcangelo Corelli and Francesco Geminiani – and even held them in higher esteem than Georg Frideric Handel’s. Yet, through an inexplicable twist of history, Sammartini has remained an unknown quantity for the general public. Les Muffatti have made a careful selection from among the plethora of Sammartini’s masterworks in order to fully reflect their quality. They hope that this world-première recording of works in Sammartini’s widely varying styles can do justice to this genius, and share the ensemble’s enthusiasm for this unjustly underrated composer.
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.
LÉON BERBEN PLAYS THE HISTORICAL ORGAN AT OOSTHUIZEN (C. 1521) LÉON BERBEN SPIELT AUF DER HISTORISCHEN ORGEL IN OOSTHUIZEN (C. 1521) LÉON BERBEN JOUE L'ORGUE HISTORIQUE D'OOSTHUIZEN (C. 1521)
This CD features a true master of the bassoon, Frans Berkhout. Peter Dirksen is also an expert in his field and has issued “one of the very finest harpsichord recordings yet.” (Early Music Review). The works are performed on period instruments.
Marin Marais, the most outstanding composer for the viola da gamba, was a master in the writing of so-called Pièces de Caractère, in which he called upon the most diverse subjects for inspiration: La Désolée (the desolate), La Guitare, Feste Champêtre (country fair), Le Tableau de l’Opération de la Taille (a description of a gallstone operation!) and so on. The choice of 'Images' in Marais’ five books of Pièces de violes is endless. A program full of worship, grandeur and sadness.
The term "Division Musick" is a typical English fascinating and virtuoso art of diminution which is presented on this CD. The word "division" comes from English and means "divided." The English Arts Division is thus an originally improvised Diminutionspraxis in which a piece of music is broken down into smaller and smaller note values. Short repeated bass melodies - as the basis for these diminutions especially "Grounds" were used in England. This division practice was performed by singers, keyboard players, brass and strings, but the viola da gamba was the favorite instrument. The "divide-Musick" program gives an insight into this world of old English virtuosity
These are magnificent performances from bassoonist Frans Robert Berkhout. He was lead bassoonist with the Royal Concertgebouw Orchestra and the Amsterdam Bach Soloists. As a baroque bassoon and dulcian player he joined many authentic ensembles such as the Leonhardt Consort, La Petite Bande and the Orchestra of the Eighteenth Century. La Suave Melodia was formed in 1998 and have since been highly acclaimed in both the concert hall and the recording studio.
Джузеппе Торелли (Тоrеlli) (22.04.1658, Верона - 8.02.1709, Болонья) - итальянский скрипач и композитор. Учился игре на скрипке в Болонье. В 1686-1695 годах служил альтистом в церковной капелле в Болонье. С 1695 года играл при немецких дворах, в 1701 году возвратился в Болонью. Торелли является одним из основоположников кончерто гроссо, состоящего из трех частей - быстрой, медленной и быстрой. Концерты Торелли (изданы в 1709 году) написаны для двух солирующих скрипок в сопровождении 2 скрипок, альта и баса. Эта форма послужила основой для знаменитых кончерти гросси Генделя, Корелли и других композиторов. (В 1903 году А. Шеринг доказал, что форму кончерто гроссо до Торелли ввел еще А. Страделла, но первыми опубликованными концертами были произведения Джузеппе Торелли; Корелли издал свои концерты в 1712 году).
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)
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