Ex. VAT prices will be applied automatically for non-EU delivery addresses. See Terms & Conditions for p&p rates. | |  | O Felice Morire (Firenze, 1600)
Joel Frederiksen (basso profondo) Ensemble Phoenix Munich "I have great pleasure in providing a few introductory words for this most engaging programme, as it recalls much delight I enjoyed when first I began to work with this area of repertoire about thirty years ago . . . This CD explores this particular area of virtuosity in a very engaging survey of highly ornamented yet deeply expressive music. From the suave complaint of Sigismondo D'India, Che farai Meliseo where the singer needs the agility of a nimble mountain goat, to [the virtuoso singer], Giovani Puliaschi's subterranean exploration, Locar sopra gl'abissi that resonates like some dark cavern, by way of the sublime 'crooning' of Caccini's Muove si dolce, the listener is in no doubt that in this repertoire at least, the empty bragging of Brancaccio is left far behind - and the comic bass buffoonery lies elsewhere and in the future.The quiet virtuosity of poetry is sublime, opening out into moments of profound declamation." Anthony Rooley Giulio Caccini and the early Italian Baroque singer-songwriters have fascinated and challenged Joel Frederiksen for the past 20 years. For the most part they are the inspiration and subject of this CD. Men like Caccini, but also Giovanni Kapsberger and Giovanni Puliaschi, were singer-player-composers who wrote in a revolutionary way for the bass voice and accompanied themselves on the lute. Joel has attempted to recreate this performance ideal by accompanying himself on the archlute (which combines attributes of the lute and harp) and immersing himself in repertoire which flowered between approximately 1580 and 1620. After moving to Munich, Joel Frederiksen established Ensemble Phoenix Munich in 2003 for the recording of his first solo CD Orpheus, I am, a CD of Renaissance and early Baroque music, from England, Italy and France.The ensemble is heir to his previous group, L'antica musica New York, 1989-2001. It presents a wide range of programmes from the Renaissance and Baroque, and from Early America c.1800-1900. | 
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Chiaroscuro & London Baroque, Nigel Rogers | | | In stock - usually despatched within 1 working day. |
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Gudrun Anders (soprano), Sigrun Richter (Arciliuto & Chitarrone) & Hille Perl (Viola da gamba & lirone) Sigismondo d'India (c.1582-1629), an Italian nobleman and a contemporary of Monteverdi, wrote exclusively vocal music. A highly respected composer who travelled to all of Italy's important musical centres, he is thought to have come from Naples and been amongst Carlo Gesualdo di Venosa's intimate circle of musicians. Even today D'India's musical languague seems astonishingly fresh and new. This CD contains pieces from all of D'India's printed collections and offers a cross section of his works for solo voice with continuo: arias, canzonettas, madrigals and laments. | 
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| |  | Dolcissimo Sospiro16th-17th century Italian music to the poetry of Ottavio Rinuccini et al..
Tone Wik (soprano), Vegard Lund (theorbo, lute, guitar), Shalev Adel (harpsichord), Bjarte Eike (baroque violin), Sigyn Fossnes (baroque violin), Gunnar Hauge (baroque cello) | 
| 2L - 2L19 (CD) £13.49 (£11.48 ex. VAT) |
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| |  | Musique and Sweet PoetrieSongs and Lute Solos from Europe around 1600
Emma Kirkby (soprano) & Jakob Lindberg (lute) | | | Usually despatched in 2 - 3 working days. |
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| |  | Orfeo Fantasy
Sylvain Bergeron (lute), Charles Daniels (tenor), Olivier Fortin (harpsichord), Margaret Little (viola da gamba), Nigel North (lute), Skip Sempé (harpsichord) Montreal Baroque, Susie Napper It is hardly surprising that musicians of the Baroque period were fascinated by the legend of Orpheus, as much for the tragic love story of the mythic couple, as for the ancient Greek belief in the extraordinary power of music. Among the first operas we have two settings of Euridice, the first by Jacopo Peri and the second by Giulio Caccini, as well as Monteverdi's Orfeo. Composers up to Haydn, including Luigi Rossi, Telemann, and Gluck, adapted the tragic story for the stage, and thus evoked the power – which they themselves possessed – of the art of sound. This recording includes diverse pieces of music chosen to evoke the main episode of the myth; they were composed in Italy, England, and France, during the first two decades of the seventeenth century. There are compositions for lute and for harpsichord that suggest the art of Orpheus himself, using his lyre to charm men, beasts, and gods; there are also instrumental pieces and interventions for the hero of Orfeo by Monteverdi. Finally, Italian monodies, airs de cour, as well as airs by John Dowland and Tobias Hume, express the many vicissitudes that weave together the fabric of existence. | | | Usually despatched in 4 - 6 working days. |
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Ensemble Poïésis, Marion Fourquier (direction & harp) | | Zigzag - ZZT040101 (CD) Normally: £12.99 (£11.06 ex. VAT) Special: £9.74 (£8.29 ex. VAT) |
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| |  | The Emma Kirkby Collection
Emma Kirkby (soprano) with various supporting ensembles | | | Usually despatched in 2 - 3 working days. |
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La Venexiana, Claudio Cavina | | | Usually despatched in 2 - 3 working days. |
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| |  | Lettera Amorosa
Guillemette Laurens (Mezzo soprano); Luca Pianca (Lute); Luca Pianca (Theorbo) | | | Usually despatched in 3 - 4 working days. |
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