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Roberta Mameli, Marco Vitale, Contrasto Armonico - George Frideric Handel: Cantate 01 (2013)

Posted By: ArlegZ
Roberta Mameli, Marco Vitale, Contrasto Armonico - George Frideric Handel: Cantate 01 (2013)

Roberta Mameli, Marco Vitale, Contrasto Armonico - George Frideric Handel: Cantate 01 (2013)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 61:19 | Scans included
Classical | Label: Ayros | # AY-HC01 | Recorded: 2012

Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy. They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed.

Pascal Rophé, Orchestre National des Pays de la Loire - Maurice Ravel: Cantates pour le Prix de Rome (2022)

Posted By: ArlegZ
Pascal Rophé, Orchestre National des Pays de la Loire - Maurice Ravel: Cantates pour le Prix de Rome (2022)

Pascal Rophé, Orchestre National des Pays de la Loire - Maurice Ravel: Cantates pour le Prix de Rome (2022)
EAC | FLAC | Image (Cue & Log) ~ 447 Mb | Total time: 102:11 | Scans included
Classical | Label: BIS Records | # BIS-SACD-2582 | Recorded: 2020, 2021

Between 1803 and 1968, the Grand Prix de Rome marked the zenith of composition studies at the Paris Conservatoire. In Maurice Ravels time the competition included an elimination round (a fugue and a choral piece) followed by a cantata in the form of an operatic scena. The entries were judged by a jury which generally favoured expertise and conformity more than originality and Ravels growing reputation as a member of the avant-garde was therefore hardly to his advantage, and may explain why he never won the coveted Premier Grand Prix, and the three-year stay at Romes Villa Medici that went with it.

Silvia Frigato, Elena Biscuola, L'Arte dell'Arco - Tomaso Albinoni: 12 Cantatas Op. 4 (2019)

Posted By: ArlegZ
Silvia Frigato, Elena Biscuola, L'Arte dell'Arco - Tomaso Albinoni: 12 Cantatas Op. 4 (2019)

Silvia Frigato, Elena Biscuola, L'Arte dell'Arco - Tomaso Albinoni: 12 Cantatas Op. 4 (2019)
EAC | FLAC | Tracks (Cue & Log) ~ 507 Mb | Total time: 51:44+48:04 | Scans included
Classical | Label: Brilliant Classics | # 95600 | Recorded: 2016

If we think of Albinoni beyond the ubiquitous and apocryphal Adagio (not so much arranged as concocted by a 20thcentury musicologist, Giazotto), we may remember collections of lively oboe and violin concertos, maybe also some trio sonatas and works featuring solo flute and trumpet. But Albinoni, the composer of cantatas and operas?
This quartet of Italian musicians puts the record straight with a new recording of secular cantatas. In fact Albinoni married a soprano, Margherita Raimondi, and apparently had a fine singing voice himself.

Max Emmanuel Cencic, Aline Zylberajch, Maya Amrein, Yasunori Imamura - Domenico Scarlatti: Cantatas (2006)

Posted By: ArlegZ
Max Emmanuel Cencic, Aline Zylberajch, Maya Amrein, Yasunori Imamura - Domenico Scarlatti: Cantatas (2006)

Max Emmanuel Cencic, Aline Zylberajch, Maya Amrein, Yasunori Imamura - Domenico Scarlatti: Cantatas (2006)
EAC | FLAC | Image (Cue & Log) ~ 296 Mb | Total time: 66:24 | Scans included
Classical | Label: Capriccio | # 67 173 | Recorded: 2004, 2005

Domenico Scarlatti is almost exclusively associated with his 600 sonatas for keyboard. But, as with most composers of his time, he also contributed to other genres including music for instrumental ensemble and vocal music. In the early stages of his career, when he was still in Italy, he composed several operas. As there was a close connection between the opera and the chamber cantata it come as no surprise that his output includes several specimens of the latter genre, which was extremely popular throughout Europe.

Nicholas McGegan, Arcadian Academy, David Daniels - Alessandro Scarlatti: Cantatas, Volume II (2002)

Posted By: ArlegZ
Nicholas McGegan, Arcadian Academy, David Daniels - Alessandro Scarlatti: Cantatas, Volume II (2002)

Nicholas McGegan, Arcadian Academy, David Daniels - Alessandro Scarlatti: Cantatas, Volume II (2002)
EAC | FLAC | Image (Cue & Log) ~ 387 Mb | Total time: 73:51 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 74321 935812 | Recorded: 1998

By the eighteenth century, Palermo-born Alessandro Scarlatti was the most widely performed Italian composer of vocal music having written more than sixty operas and well over a hundred cantatas. The cantata, more concentrated than opera, was considered at that time as the higher artistic form. Scarlatti was extremely prolific and many of his works including cantatas still remain unrecorded.

Daniele Boccaccio, Ensemble Seicento Italiano, Lavinia Bertotti - Domenico Scarlatti: Cantate da Camera (2008)

Posted By: ArlegZ
Daniele Boccaccio, Ensemble Seicento Italiano,  Lavinia Bertotti - Domenico Scarlatti: Cantate da Camera (2008)

Daniele Boccaccio, Ensemble Seicento Italiano, Lavinia Bertotti - Domenico Scarlatti: Cantate da Camera (2008)
EAC | FLAC | Image (Cue & Log) ~ 641 Mb | Total time: 68:56+62:40 | Scans included
Classical | Label: Brilliant Classics | # 93361 | Recorded: 2000

During his lifetime, from his Neapolitan years to his Spanish sojourn, Domenico Scarlatti cultivated the “cantata” genre, composing at least about sixty works – those of uncertain attribution and his Serenades excluded. Other cantatas are likely to emerge once the uncatalogued funds are systematically scanned. Since in those years the cantata was a genre on the wane, this high number is revealing of Scarlatti’s uninterrupted link with the baroque tradition, an age in which the cantata had reached its climax as an extremely refined genre, the place for daring experimentation, and exquisite writing, the appropriate gym for high craftsmanship, as expected by the elitist audience for which it was intended. The manuscripts date from 1699 to 1724.

Hermann Max, Das Kleine Konzert - Wilhelm Friedrich Ernst Bach: Columbus; Cantatas & Symphonies (2000)

Posted By: ArlegZ
Hermann Max, Das Kleine Konzert - Wilhelm Friedrich Ernst Bach: Columbus; Cantatas & Symphonies (2000)

Hermann Max, Das Kleine Konzert - Wilhelm Friedrich Ernst Bach: Columbus; Cantatas & Symphonies (2000)
EAC | FLAC | Tracks (Cue & Log) ~ 292 Mb | Total time: 64:56 | Scans included
Classical | Label: CPO | # 999 672-2 | Recorded: 1997, 1998

J.S. Bach’s talent seems to flow in his grandson’s blood at least as strongly as in any of his sons. Wilhelm Friedrich Ernst Bach’s two symphonies (as well as the vocal works featured here) inhabit the sound-world of mid- to late Mozart, albeit without the brilliance (in every sense of the word). This Bach’s wind writing is tasteful, and makes good use of the (then) newly-arrived clarinet. The Andante of the C major symphony is quite beautiful, with a dolefully sweet oboe solo throughout the movement. The period strings of Das Kleine Konzert are lively, clean, and in tune, although the violin soloist is not quite up to the rapid passage-work at the end of the G major symphony.

Jacek Laszczkowski, Jerzy Żak - Antonio Cesti: Aspettate! adesso canto - Secular Chamber Cantatas (2004)

Posted By: ArlegZ
Jacek Laszczkowski, Jerzy Żak - Antonio Cesti: Aspettate! adesso canto - Secular Chamber Cantatas (2004)

Jacek Laszczkowski, Jerzy Żak - Antonio Cesti: Aspettate! adesso canto - Secular Chamber Cantatas (2004)
EAC | FLAC | Image (Cue & Log) ~ 285 Mb | Total time: 66:24 | Scans included
Classical | Label: Acte Préalable | # AP0039 | Recorded: 1999

Niniejsza płyta zwraca na siebie uwagę z kilku powodów. Pierwszym jest dobór repertuaru. Kantaty Antonio Cestiego zostały zarejestrowane po raz pierwszy w historii fonografii, co budzi uznanie. Wydawać by się mogło, że najlepiej muzykę dawną wykonują soliści i zespoły zagraniczne. Tymczasem, także u nas w kraju mamy wybitnych specjalistów od tego rodzaju muzyki, a dowodem na ich znakomitą znajomość tematu jest właśnie niniejsza płyta – i to jest drugi powód do zainteresowania się tym nagraniem. Jest jeszcze trzeci, ciekawostka: obie partie wokalne, sopranową i tenorową wykonuje jeden artysta, Jacek Laszczkowski, który w niniejszym nagraniu wystąpił także w duecie z samym sobą. Godna podkreślenia jest łatwość, z jaką przerzuca się on ze swojego podstawowego, tenorowego głosu na śpiew falsetowy, sopranowy.

Péter Fried, Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Cantatas for bass & obbligato instruments (2006)

Posted By: ArlegZ
Péter Fried, Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Cantatas for bass & obbligato instruments (2006)

Péter Fried, Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Cantatas for bass & obbligato instruments (2006)
EAC | FLAC | Image (Cue & Log) ~ 322 Mb | Total time: 64:28 | Scans included
Classical | Label: Hungaroton | # HCD32456 | Recorded: 2006

Savaria Baroque Orchestra under the artistic direction of Pál Németh have been among the leading interpreters of Baroque music in Europe for 25 years, and bassist Péter Fried can also look back on an impressive international career. The instrumentalists once again offer an excellent, stylistically adept, technically flawless performance, which is also characterized by the successful balance between the individual instruments.

Bergen Barokk - Georg Philipp Telemann: Harmonischer Gottes-Dienst, Vol. 7 (2021)

Posted By: ArlegZ
Bergen Barokk - Georg Philipp Telemann: Harmonischer Gottes-Dienst, Vol. 7 (2021)

Bergen Barokk - Georg Philipp Telemann: Harmonischer Gottes-Dienst, Vol. 7 (2021)
EAC | FLAC | Image (Cue & Log) ~ 299 Mb | Total time: 62:31 | Scans included
Classical | Label: Toccata Classics | # TOCC 0182 | Recorded: 2008

This is the seventh part in the first complete recording of the 72 cantatas in Georg Philipp Telemann’s collection Harmonischer Gottes-Dienst, published in Hamburg in 1726 – the first complete set of cantatas for the liturgical year to appear in print. The cantatas are designated for voice, an obligato instrument (recorder, violin, transverse flute or oboe) and basso continuo, and generally take the form of two da capo arias with an intervening recitative. Although intended for worship, both public and private, Telemann’s cantatas are a masterly blend of tunefulness with skilled counterpoint and vocal and instrumental virtuosity.

Robert King, The King's Consort - Domenico Scarlatti & Hasse: Salve Regina; Alessandro Scarlatti: Cantatas & Motets (1996)

Posted By: ArlegZ
Robert King, The King's Consort - Domenico Scarlatti & Hasse: Salve Regina; Alessandro Scarlatti: Cantatas & Motets (1996)

Robert King, The King's Consort - Domenico Scarlatti & Hasse: Salve Regina; Alessandro Scarlatti: Cantatas & Motets (1996)
EAC | FLAC | Image (Cue & Log) ~ 328 Mb | Total time: 77:02 | Scans included
Classical | Label: Hyperion | CDA66875 | Recorded: 1996

In the eighteenth century the cantata was considered to be the supreme challenge for a composer's artistry. Here are recorded three fine examples from the enormous corpus of such works by Alessandro Scarlatti, two for solo voice with continuo, and one which includes a particularly demanding part for obbligato trumpet, faultlessly played by Crispian Steele-Perkins.

Hermann Max, Das Kleine Konzert, Rheinische Kantorei - Johann Michael Bach: Cantatas (2000)

Posted By: ArlegZ
Hermann Max, Das Kleine Konzert, Rheinische Kantorei - Johann Michael Bach: Cantatas  (2000)

Hermann Max, Das Kleine Konzert, Rheinische Kantorei - Johann Michael Bach: Cantatas (2000)
EAC | FLAC | Tracks (Cue & Log) ~ 316 Mb | Total time: 74:52 | Scans included
Classical | Label: CPO | 999 671-2 | Recorded: 1997, 1998

Letzten Monat konnte ich Ihnen den letzten komponierenden Enkel Johann Sebastian Bachs vorstellen, und diesen Monat können sie die lohnende – und spannende – Bekanntschaft mit einem seiner Zeitgenossen machen, der ebenfalls aus der weitverzweigten Bach-Dynastie stammt: Johann Michael Bach (1745–1820). Er gehört ebenfalls der Enkelgeneration Johann Sebastians an; der hessische Bach-Zweig, aus dem er stammt, hat sich jedoch so frühzeitig von den thüringischen Hauptlinien getrennt, dass heute das genaue Verwandtschaftsverhältnis zu Johann Sebastian nicht mehr geklärt werden kann.

Musica Alta Ripa, Kai Wessel - La Famiglia Scarlatti: Cantatas and Sonatas (1995)

Posted By: ArlegZ
Musica Alta Ripa, Kai Wessel - La Famiglia Scarlatti: Cantatas and Sonatas (1995)

Musica Alta Ripa, Kai Wessel - La Famiglia Scarlatti: Cantatas and Sonatas (1995)
EAC | FLAC | Image (Cue & Log) ~ 372 Mb | Total time: 76:51 | Scans included
Classical | Label: MDG | # MDG 309 0632-2 | Recorded: 1995

Alessandro Scarlatti’s 600-plus cantatas make him one of the more prolific exponents of a form that flourished in Italy in the late 17th and early 18th centuries. Though he’s generally credited with standardising cantata form, his early essays in the genre were often imaginatively varied, as is shown by the delectable Arcadian Academy disc. Rather than the usual two or three da capo arias alternating with recitatives, the four secular cantatas here boast opening sinfonias, closing ariosos, large numbers of movements and a range of aria-types. Bella madre dei fiori, for example, experiments with a mix of poetic strophes and instrumental ritornelli. Even so, this formal ingenuity would be of limited interest were it not for Scarlatti’s gifts for attractive melody and sensitive illustration of his texts.

Marc Minkowski, Les Musiciens du Louvre, Lucy Crowe, Richard Croft - Handel: A Song for Saint Cecilia's Day (2011)

Posted By: ArlegZ
Marc Minkowski, Les Musiciens du Louvre, Lucy Crowe, Richard Croft - Handel: A Song for Saint Cecilia's Day (2011)

Marc Minkowski, Les Musiciens du Louvre, Lucy Crowe, Richard Croft - Handel: A Song for Saint Cecilia's Day (2011)
EAC | FLAC | Image (Cue & Log) ~ 242 Mb | Total time: 53:02 | Scans included
Classical | Label: Naïve | # V5279 | Recorded: 2009

Let's not waste time: get this for soprano Lucy Crowe's voice, for her performance of "What passion cannot Music raise", for her "The soft complaining flute"–and don't forget the glorious "But oh! What art can teach". Okay–just get this for the magnificent Crowe, whose golden, ringing tone and impeccable, uninhibited technique sets Handel's arias ablaze in vibrant, scintillating glory, relegating any recorded competition to second-class status. (Listen to that long-held, stratospheric note in the final chorus, on the words "The trumpet shall be heard on high"–on high, indeed; it seems like Crowe could have sustained it forever!) To sing Handel requires technical ease and comfort, range and unreserved explicatory ability–and in this, and in her complete habitation of the world of Handelian style Lucy Crowe is unsurpassed.

Riccardo Chailly, RSO Berlin und Chor - Carl Orff: Carmina Burana (1984)

Posted By: ArlegZ
Riccardo Chailly, RSO Berlin und Chor - Carl Orff: Carmina Burana (1984)

Riccardo Chailly, RSO Berlin und Chor - Carl Orff: Carmina Burana (1984)
EAC | FLAC | Image (Cue & Log) ~ 247 Mb | Total time: 59:07 | Scans included
Classical | Label: DECCA | # 411 702-2 | Recorded: 1983

Carl Orff’s Carmina Burana is probably the most frequently performed choral work of the 21st century. The name has Latin roots – 'Carmina' means 'songs', while 'Burana' is the Latinised form of Beuren, the name of the Benedictine monastery of Benediktbeuren in Bavaria. So, Carmina Burana translates as Songs Of Beuren, and refers to a collection of early 13th-century songs and poems that was discovered in Beuren in 1803 – although it has since been established that the collection originated from Seckau Abbey, Austria – and is now housed in the Bavarian State Library.