George Frideric Handel

Riccardo Minasi, born in Rome in 1978, has performed both as soloist as well as concert-master with many important orchestras. Riccardo Minasi is a conductor and a musicologist as well as a leading violinist in the early music field. His critical edition of Vincenzo Bellini’s opera “Norma” has been used for the recording of the work with Cecilia Bartoli and Giovanni Antonini.

Musica Antiqua Roma, founded in 2007 by violinist Riccardo Minasi, unites the solo, chamber music and orchestral experiences of some of the most active young musicians on the international scene today. Besides Riccardo Minasi the ensemble is formed by Marco Ceccato (cello), Giulia Nuti (harpsichord) and Luca Piancha (archlute).

This collection represents a selection of Handel's most popular violin sonatas. The eight sonatas recorded here span more than four decades and bear witness to Handel’s broad stylistic range. They all contain wonderful music and have been loved by players and listeners since they were written. Six are well known. Two are unfamiliar, and the second of these, in G major, is quite unlike all the others: two brilliant fast movements separated by a brief, highly dramatic slow recitative. The rest are cast in the customary four-movement form, but they still have extraordinary diversity; no two of them sound alike.

Since the musicians have a strong relation to Italy (“Musica Antiqua Roma”) and since Handel’s sonatas are very much influenced by Italien composers of the Baroque period, the artwork is based on works of the famous Italian photographer Mario Giacomelli.

The coupling of the sonatas on this recording is unique, and the 28-page booklet has elaborate liner notes in English, French, German and Italian.

As a bonus extra, the ‘hidden track’ “Credete al mio dolore” (from the opera “Alcina”, arranged for violin by Riccardo Minasi) has been included.

For its harmonia mundi début, the London-based La Nuova Musica, led by David Bates, presents a true rarity: the original 1712 version of Handel's opera 'Il pastor fido' (The Faithful Shepherd) featuring Lucy Crowe, Anna Dennis, Katherine Manley, Madeleine Shaw and Clint van der Linde.

'Il pastor fido' was first performed at the Queen’s Theatre on 22 November 1712, but achieved only seven performances throughout the season. One unimpressed eyewitness complained in his diary ‘The Scene represented only ye Country of Arcadia. ye Habits were old – ye Opera Short.’

Handel’s distinctive original version of his Arcadian opera was not heard again until its first modern revival at Abingdon in 1971; more than 40 years on, this performance by La Nuova Musica is its first recording.

La Nuova Musica is a vocal and instrumental ensemble dedicated to the music of the European Renaissance and Baroque. In less than five years since its foundation by counter-tenor David Bates, it has shot to prominence in the UK and abroad, establishing itself amongst critics and audiences as both a fixture and a breath of fresh air. Across a steadily developing repertoire, La Nuova Musica performances are characterised by vividness and ardour. The Times wrote of its 2009 performance of Handel’s 'Acis and Galatea' at the London Handel Festival: “[Bates] breathed life, meaning and shape into every phrase. His speeds were properly brisk and his little band responded with playing of robust vigour.”

At the 2009 Aldeburgh Easter Festival, the group’s interpretation of Schütz’s 'Musikalische Exequien' proved, in the words of the Eastern Daily Press, “to be one of the sensations of the weekend…effortlessly sung.” Audiences were thrilled by La Nuova Musica’s recent account of Monteverdi’s Seventh Book of Madrigals at the Spitalfields Winter Festival: “extrovert, free-spirited and alive to every sob, sigh and smile” The Times. In 2012, LNM embarks on an exciting new relationship with Kings Place, curating the winter concert season around its own performance of Monteverdi’s 'Orfeo'. A recital with renowned countertenor Robin Blaze and a performance of Bach’s 'Christmas Oratorio' follow in 2013. In March, 2012 they will give concert performances of Handel’s 'Il pastor fido', featuring Lucy Crowe, Katherine Manley and Clint van der Linde, including on 13th April, the London Handel Festival.

This recording marks the group’s harmonia mundi début. Future projects will include Vivaldi Dixit Dominus RV807, Vivaldi In furore Iustissimae RV626 and Handel Dixit Dominus HWV232.

Giovanni Antonio Piani (1678–1760) was one of the most important violinists of the Baroque and his reputation, today, rests upon the surviving 12 sonatas of his Op.1 set published in 1712 (all his other works are lost). In an unusually long and detailed preface to the sonatas, Piani provided highly detailed instructions on bowing, fingering, dynamics, ornamentation and tempi. In effect, this is the most detailed instruction manual for students of the Baroque violin and the performance practice of the day. Piani worked in Paris and Vienna, and is one of the key figures in the French violin school from Lully to Viotti.

Emilio Percan, a member of l’arte del mondo (ONYX4068), has programmed four Piani sonatas with two contemporary London-based masters – Geminiani and Handel, whose late and great Sonata in D is a masterwork of the late Baroque. Piani’s music is beautifully crafted and melodic and his works on this CD are receiving their world premiere recordings whilst Percan’s advocacy of these superb and little-known sonatas should be of interest to those who love Baroque music.

Featuring five of The Sixteen’s most celebrated recordings, The Italian Collection is a sumptuous anthology of music. From Allegri’s hauntingly beautiful Miserere to the virtuosity, vibrant colour and dynamic energy of Handel’s Dixit Dominus, this collection spans three centuries of glorious Italian choral music.

Little-know treasures such as Anerio’s glorious 12-part setting of the Stabat Mater sit side by side with Palestrina’s Assumpta Est Maria and Lotti’s Crucifixus. 14 different composers are represented here and they worked for some of the most splendid musical establishments Italy had to offer including St Mark’s in Venice and the Sistine Chapel in Rome.

A beautifully packaged set, which compliments perfectly The Sixteen's newest series of Palestrina CDs on CORO.

None of us can deny that they have fallen prey to the lure of a junk shop or of the chaotic mysteries of an attic, and sometimes purchasers of an old wardrobe or chest of drawers find there a bundle of treasure left behind … well, the spirit of ‘What have we here?’ permeates the adventures captured on this album. Salon music had its heyday on record in the era of 78s, since the length of a side suited it so well, and for that reason some titles— such as Rubinstein’s Melody in F and Paderewski’s Minuet in G—may be familiar, but there are ‘finds’ to be had in any such compilation. This is music on which most aspiring pianists have cut their teeth, giving them as it does both the satisfaction of mastering a complete piece without straining their technique (well, mostly) as well as the backbone of a repertoire that makes for a welcome family evening around the piano; alas for us all that we cannot offer renderings of such sympathetic finesse and lyrical elegance as are here set down by Philip Martin ‘at home’ and off-duty from his award-winning complete Gottschalk recordings on Hyperion.

Regis presents a tribute to the incomparable soprano Joan Sutherland. Her artistry is showcased in three CDs of varied repertoire. The first displays her Handelian credentials, the second features the arias of Verdi and Bellini which established her reputation and the third presents the principal tracks from her incredibly successful solo albums, The Art of the Prima Donna Vols. 1&2.

3 CDs for the price of 2