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Matthias Weckmann: Conjuratio
Weckmann's musical training took place in Dresden under the direction of Heinrich Schütz, then in Hamburg where he worked with Praetorius. Weckmann travelled to Denmark in 1637 with Schütz, where his Lüneberg manuscript has been lurking, wrongly attributed to Christoph Bernhard. Weckmann became organist in Dresden at the Electoral Court of Saxony from 1638 to 1642, and returned to Denmark until 1647 (during the Thirty Years' War).
During a new (and his last) stay in Dresden from 1649 to 1655, he met Johann Jakob Froberger during a musical competition which had been organised by the Elector. They remained friends and in correspondence with each other. In 1655, after a competition, he was named titular organist at Saint James church (Jakobkirche) in Hamburg, and spent his remaining life there. He founded a renowned orchestral ensemble, the so-called Collegium Musicum in Hamburg in 1660. This was the most productive period of his life: his compositions of this time include this collection of 1663, which sets visionary settings of biblical texts evoking images of desolation and destruction, but also struggle and hope. It was inspired by the terrible plague which killed his first wife and many of his colleagues in Hamburg that year, including Heinrich Scheidemann.
Matthias Weckmann died in Hamburg c1674 and was buried in a family grave in the Jacobkirche, beneath the organ.
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Buxtehude - Cantatas
Herr, ich lasse dich nicht, BuxWV 36
Wo ist doch mein Freund geblieben? BuxWV 111
Nichts soll uns scheiden von der Liebe Gottes, BuxWV77
Ich halte es dafür BuxWV 48
Ich suchte des Nachts BuxWV 50
O Clemens, o mitis, o coelestis Pater Buxwv82
An filius no est Dei, BuxWV 6
Mein Herz ist bereit BuxWV 73
Drei schöne Dinge sind, BuxWV 19
Ich bin eine Blume zu Saron BuxWV 45
Wenn ich, Herr Jesu, habe dich, BuxWV 107
Jesu, mein Freud und Lust, BuxWV 59
Laudate pueri Dominum, BuxWV69
Gen Himmel zu dem Vater mein, BuxVW 32
Singet dem Herrn, BuxVW 98
“This lavishly presented reissue revives stylish, committed 1980s and '90s recordings of sacred works, including the ravishing Laudate pueri: a must for Buxtehude novices and fans! Sound is variable but acceptable.” BBC Music Magazine, April 2008 ****
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Berceuses: evening music for the whole family
Helene Couvert (piano), Juliette Hurel (flute), James Bowman (counter-tenor), Peter Laul (piano), Marc Coppey (cello), Anonymous (fiddle), Sophie Koch (mezzo-soprano), Dietrich Henschel (baritone), Inger Dam-Jensen (soprano), Eric Le Sage (piano), Arthur Schoonderwoerd (piano), Felicity Lott (soprano), Alexis Descharmes (cello), Sebastien Vichard (piano), Francois Salque (cello), Piet Kuijken (piano)
Ricercar Consort, Poeme Harmonique, Geneva Motet Choir, Swiss Romande Orchestra, Quatuor Schumann, Philippe Pierlot, Vincent Dumestre, Guillaume Tourniaire
Train Traveller: Brussels-Köln, Köln-Brussels
Evgeni Bozhanov (piano), Laura Mikkola (piano), Milos Popovic (piano), James Bowman (counter-tenor), Debora Russ (vocals), Christophe Delporte (accordion), Lee Konitz (saxophone), Dave Liebman (saxophone), Richie Beirach (piano)
Anima Eterna Orchestra, Ensemble Mare Nostrum, Millenarium, Musica Viva Chamber Orchestra, Ensemble 415, Ricercar Consort, Agremens, Les, Quatuor Caliente, Astoria, Jos van Immerseel, Andrea de Carlo, Alexander Rudin, Chiara Banchini, Philippe Pierlot, Guy van Waas
François Couperin: Apothéoses
Philippe Pierlot and his superb Ricercar Consort present tributes to both Corelli and Lully with the two Apothéoses by François Couperin, written in the memory of Arcangelo Corelli and Jean-Baptiste Lully respectively. Behind them is an aesthetic programme: they are a plea for the mixture of the Italian and the French style, the so-called goûts réunis. The ensemble consists of Marc Hantaï and Georges Barthel (transverse flutes), François Fernandez and Sophie Gent (violins), Philippe Pierlot (viola da gamba), Eduardo Egüez (theorbo and guitar) and François Guerrier (harpsichord). Both pieces are given lively and expressive interpretations: Couperin's Apothéoses are in the tradition of the tombeau, and therefore the Tombeau de Monsieur de Lully by Jean-Féry Rebel fits well into the programme and is performed in between the two pieces by Couperin.
“The consort's performance is superbly stylised, from the disarming simplicity of Corelli's 'sleep' to the delicate cross-rhythms of a gentle Lullian 'air'. Jean-Fery Rebel's Tombeau de Monsieur de Lully, which divides the Couperin pieces, spectacularly contrasts Italian fire with French lyricism. The programme is excellently recorded in a glorious acoustic.” BBC Music Magazine, April 2012 *****
“It is a neat idea to bring together Couperin's complementary celebrations of the competing national styles of the mid-Baroque...Couperin is seeking essentially musical means to achieve his programmatic purpose, ingeniously and fascinatingly throwing extra emphasis on the very subject at hand.” Gramophone Magazine, June 2012
“The first thing to say about this disc is that it has a truly gorgeous sound. Th Ricercar Consort has taken a minimalist approach to instrumentation...The Consort plays these serious but entertaining works with considerable charm and superlative technique, sounding at once magisterial and superlative.” International Record Review, June 2012
BBC Music Magazine
Chamber Choice - April 2012
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