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The Art of the Chinese Lute

The Art of the Chinese Lute


Xiaoyun Miao (pipa), Pingxin Xu (drum), Pingxin Xu (yangqin)

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ARC Music - EUCD2754

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Masters of the Shakuhachi

Masters of the Shakuhachi


Hidekazu Katoh (shakuhachi), Richard Stagg (shakuhachi), Hidekazu Katoh (nishaku-issun), Hidekazu Katoh (nishaku-yonsun)

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ARC Music - EUCD2755

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Modern Bellydance from Lebanon

Modern Bellydance from Lebanon


Emad Sayyah (percussion)

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ARC Music - EUCD2756

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Music from Thailand: Field Recordings by Deben Bhattacharya, 1973

Music from Thailand: Field Recordings by Deben Bhattacharya, 1973


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ARC Music - EUCD2757

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Compère: Missa Galeazescha

Compère: Missa Galeazescha

Music for the Duke of Milan


Agricola, A:

Ave domina sancta Maria

L'homme banni, a 3

Ave, pulcherrima Regina a 3

Tota pulchra es

Compère:

Missa Galeazescha

Ave Maria, gratia plena

Lübeck, H:

Sonata No. 100

Etzliche Punctenn aus einer Sonade

Sonata No. 6

Martini, Johannes:

Toujours bien

La Martinella

Weerbeke:

Virgo Maria

Ave, stella matutina a 4

Christi mater, ave

Mater digna Dei


Odhecato, Paolo Da Col

During the reign of Duke Galeazzo Maria Sforza (1444-76), Milan experienced an extraordinary musical era. In the 1470s, the Duke set out to form a ‘famous and worthy choir’, recruiting a ‘goodly number of singers from beyond the Alps and from various countries’. He soon assembled a musical ensemble that boasted some of the most celebrated musicians in the Franco-Flemish polyphony of the day, from Italy and beyond.

The Duke brought into being a new kind of polyphonic mass, a cycle of motets called missales to replace the traditional ordinarium, with texts attributing special importance to the worship of Our Lady of Grace and Mercy, much beloved by the Sforza family.

A masterpiece of the genre is the so-called Missa Galeazescha for five voices, composed by Loyset Compère and performed here by an ensemble inspired by the impressive size of Galeazzo Maria Sforza’s cappella. This recording brings together four vocal instrumental groups.

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Arcana - A436

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Lux In Tenebris

Lux In Tenebris

Liturgy and Devotion in 18th-Century Naples


Feo:

La sinderesi

Manna:

Lamentazione terza del Giovedi Santo

Gloria Patri

Manna, Gaetano:

Lamentazione seconda del Giovedi Santo


Silvia Frigato (soprano)

Talenti Vulcanici, Emanuele Cardi

One of the most talented singers of the new generation brings to light four gems for soprano and orchestra belonging to the great eighteenth -century tradition of Neapolitan sacred music.

The three composers are representative of as many generations of an industrious dynasty: Francesco Feo (1691-1761) was the uncle of Gennaro Manna (1715-79), who in turn was the uncle of Gaetano (1751-1804). Comparison between their scores allows us to observe the extraordinary development from the austerity of the late Baroque to the elegance of the galant style.

The Lamentations by the two Mannas were part of the liturgy of Holy Thursday (Officium tenebrarum), whereas Feo’s La sinderesi, a sorrowful meditation on sin and contrition, belongs to the form of the spiritual cantata and points to a private devotional environment. The short and bright Gloria by Gennaro Manna crowns the programme, symbolising the final achievement of a dimension of redemption and eternal salvation. All the pieces are characterised by the typically Neapolitan taste for purity of voice, with restrained virtuosity and radiant expressivity.

This is the third instalment of the new series devoted to Neapolitan music, in collaboration with the Neapolitan Centro di Musica Antica - Fondazione Pietà de’ Turchini.

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Arcana - A437

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Dresden

Dresden


Califano:

Sonata a 4 in C major

Fasch, J F:

Quartet in G Minor

Quartet with recorder in B flat Major

Heinichen:

Sonata for 2 oboes, bassoon and continuo in B flat major, S257

Lotti:

Sonata a 4 'Echo'

Quantz:

Flute Sonata in G minor QV 2: 41b

Telemann:

Sonata for 2 Oboes in C minor, TWV 42:c4

Vivaldi:

Sonata a 4 in C major RV 801


An ensemble selected from the excellent Capelle of Friedrich August I in Dresden, the Cammer-Musique and its leader, the phenomenal oboist Johann Christian Richter, inspired some of the leading German composers and Italian guests at the court around 1720 to write sonatas in which oboes and bassoon are challenged with extremely expressive and virtuosic parts. This was the time and place in which the largest amount of impressive music with oboe and bassoon as soloists in history was written. German composers such as Heinichen, Zelenka (to be heard by Zefiro on ARCANA A394), Fasch and Quantz wrote these pieces in the Italian style, with the typical alternation between singing adagios and brilliant allegros. Telemann composed a sonata with ornamentation and affects inspired by the French style. Lotti, who resided in Dresden between 1717 and 1719, also noticed the outstanding skills of the court’s wind players and wrote his only solo pieces for these instruments there. Vivaldi met Richter during the latter’s visit to Venice in 1716, when he accompanied the Elector to the city, and he too dedicated some remarkable oboe and bassoon solos to the German musician.

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Arcana - A438

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Musique sacrée en Nouvelle-France

Musique sacrée en Nouvelle-France


Réjean Poirier (organ)

Studio de musique ancienne de Montréal, Christopher Jackson

This album was first released in 1995 under the title Le Chant de la Jérusalem des terres froides on the French label K617 and is now re-released under the title Musique sacrée en Nouvelle-France on the ATMA label. It illustrates musical life during the French colonization of the Americas, when sacred music accompanied many daily activities.

The late Christopher Jackson (1948-2015) conducted the Studio de musique ancienne de Montréal for this recording, made in the church of Saint-Didier in Villiers-le-Bel, France. The program also includes works by Lebègue and extracts from the Livre d’orgue de Montréal, with Réjean Poirier playing the church’s historic organ.

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Atma - ACD22764

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$15.00

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Thorsten Encke: A Portrait

Thorsten Encke: A Portrait


Encke:

Preludes for Ensemble

musica assoluta, Thorsten Encke

Wanderer (Phantasy for Orchestra on Themes of Richard Wagner's Der Ring des Nibelungen)

NDR Radiophilharmonie, Eivind Gullberg

Hommage à 14 players

musica assoluta, Thorsten Encke

Un beau brin de fille for Chamber Orchestra

musica assoluta, Thorsten Encke

Echoes for Violin, Viola and Orchestra

Isabelle Faust (violin), Boris Faust (viola)

musica assoluta, Thorsten Encke

Nyx for full orchestra

Deutsche Kammerphilharmonie Bremen, Paavo Järvi


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Avi Music - AVI8553247

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$16.00

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Beethoven: Songs

Beethoven: Songs


Beethoven:

Adelaide, Op. 46

An die ferne Geliebte (To the distant beloved), Op. 98

In questa tomba oscura, WoO.133

Sunset, Op. 108 No. 2

Oh! Sweet were the hours, Op. 108 No. 3

The Sweetest Lad was Jamie, Op. 108 No. 5

Could this ill world, Op. 108 No. 16

Faithfu' Johnie, Op. 108 No. 20

Come fill, fill, my good fellow!, Op. 108 No. 13

The Soldier's Dream

The Deserter

On the Massacre of Glencoe, WoO 152 No. 5

The brainspinnings Swans, WoO 152/15

Polly Stewart, WoO 156 No. 7

The pulse of an Irishman, WoO 154 No. 4

Since greybeards inform us

Morning a cruel turmoiler is, WoO 152/21

all works arr. for voice & piano trio


André Schuen (baritone)

Boulanger Trio

Art song had blossomed into a multifaceted genre by 1800, and the debate whether to favour recurrent stanza structures or through-composed form was well underway. Lieder, as the lyrical genre per se, marked out the territory in which musicians could express the most profound emotions. The best composers therefore increasingly chose to through-compose their songs – a logical step, thanks to which they were able to closely follow the content and the speech of the poems they were setting to music. Beethoven already took that very step in his earliest Lieder. The emotional value of a song such as Adelaide op. 46 (1795/96) even managed to convince a late-19th-century Vienna music critic otherwise well known for his harshness – Eduard Hanslick, who wrote in 1886: “No depiction of a youth’s enthusiastic love could be more faithful and exemplary than this Adelaide by Beethoven. What sweet, secret bliss shivers in every note of this golden melody! Perhaps the young man is not even ‘blushingly following her footsteps’ like Schiller’s suitor [in The Song of the Bell ]. Instead, this lover seems to be content to inebriate himself with his beloved’s mere name, to which he renders such profuse homage.”

Beethoven originally called his setting of Matthisson’s poem a “cantata”, and Adelaide introduced a theme that would play a major role in the composer’s subsequent Lieder output: his yearning for the unattainable. No other work conveys that same subject more impressively than the one Beethoven wrote in 1816: To the Distant Beloved, op. 98, a setting of a “romantic-pastoral text” (Maynard Solomon, 1977) by Alois Jeitteles, and the first truly through-composed song cycle in music history. The songs in this cycle cannot be singled out for individual performance, since they are connected by transitions in the piano accompaniment. Schubert never took up the same idea, but it served all the more so as a model for Robert Schumann and for subsequent generations of Lied composers. Beethoven would later apply the same cyclic concept, displayed in such exemplary fashion in To the Distant Beloved, in several of his late chamber music works...

His contribution can be described as new arrangements and harmonizations of pre-existing melodies. These were true “songs without words”, since considerations of language could not be taken into account. Beethoven’s correspondence with Thomson shows, however, that he was quite pleased with this modus operandi (although the Irish Songs WoO 152-154, conversely, did allow for a closer association between text and music).

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Avi Music - AVI8553377

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