All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Amorous DialoguesRecording location: Decca Studios, West Hampstead, London, UK, June 1979
Anthony Rooley writes: ‘“Amorous Dialogues” perfectly describes this unusual repertoire – although the variations on the theme of erotic love familiar to all of us tells the basic story of amatory exploits, desires and dreams in fresh ways. For example, can we be expected to believe that “He” doesn’t know what a kiss is and asks “She” to teach him step by step? None of us is fooled by his pretended ignorance, yet every one of us is delighted with the humour of the unfolding “game”. ‘Since I first began my exploration of the “dialogue” repertoire of the seventeenth century in the mid-1970s, we have had occasion to use this material on innumerable occasions for teaching purposes (singing and performing teaching, not amatory!). Its vitality and freshness, its humanity, humour – and dignity, too – has fired so many young performers, focused their enthusiasm and honed their performing skills. ‘We might be unfamiliar with some of the social graces of the seventeenth century nobility as they played their games of Arcadian Shepherds and Nymphs, but we can still be mightily entertained by the music and poetry created for them.’ Featuring leading singer Emma Kirkby and Martyn Hill, this L’Oiseau-Lyre recording makes its first appearance on CD on this Decca Eloquence reissue. Also issued on CD for the first time is Pastoral Dialogues, the companion recording to Amorous Dialogues. The extensive booklet includes the original notes, a new introduction by Anthony Rooley and full texts and translations. “The singing is of a very high order, the accompaniments are managed with real sympathy, and the balance is ideal. An unusual and highly enjoyable record.” Gramophone | | | In stock - usually despatched within 1 working day. |
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| |  | Musique and Sweet PoetrieSongs and Lute Solos from Europe around 1600
“This exquisite collection of musical gems is arranged so as to represent a tour around Europe at the end of the Renaissance. …there is a feast of pleasing musical detail here from both performers, beautifully captured by superb recording techniques.” BBC Music Magazine, April 2007 ***** | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | The Artistry of Emma Kirkby
Amodei: | Su l'ore che l'aurora Va', ché l'hai fatto a me Lieve al piè, grave al passo (Cantata sacra per la Beatissima Vergine) | Ariosti: | Cantata 'Pur al fin gentil Viola' | Bach, J S: | Öffne dich mein ganzes Herze, from the cantata ‘Nun komm, der Heiden Heiland', BWV61 Cantata BWV132 'Bereitet die Wege, bereitet die Bahn' | Blow: | Sappho to the Goddess of Love | Böddecker: | Natus est Jesus | Boesset: | Que Philis a l’esprit léger | Couperin, F: | Premiere leçon de Tenebres pour le Mercredy Saint Troisieme lecon de Tenebres pour le Mercredy Saint | Danyel: | Dost thou withdraw thy grace? | Dowland: | O sweet woods I saw my Lady weepe Daphne was not so chaste Farewell too faire Time's eldest sonne Shall I strive with wordes to move? | Ferrabosco, A II: | So beautie on the waters stood | Graupner: | Ach Gott Herr | Greene, M: | Orpheus with his lute | Handel: | Gloria Salve Regina, HWV 241 O qualis de coelo sonus, HWV239 Coelestis dum spirat aura, HWV231 Laudate pueri (Psalm 112), HWV236 | India: | Da l’onde del mio pianto | Johnson, R: | Full fathom five | Lalande: | Troisième Leçon de Ténèbres du Mercredy Saint | Lawes, H: | Anacreon's Ode, call'd The Lute (original Greek) Anacreon's Ode, call'd The Lute ('English'd, to be sung by a Basse alone') At dead low ebb of night ('A tale out of Anacreon') Orpheus' Hymn to God | Moulinié: | Paisible et ténébreuse nuit | Scarlatti, A: | Cantata pastorale 'Non sò qual più m'ingombra' Cantata pastorale 'O di Betlemme altera' | Schimmelpfennig: | Dolce tempo passato | Schütz: | Eile mich, Gott, zu erretten, SWV282 | Weldon: | Stop, O ye waves | Wilson, John: | Diffugere nives (Horace, Odes IV, 7) |
Emma Kirkby has enchanted audiences with her almost supernaturally clear and agile soprano ever since she first appeared on the Early Music scene in the 1970s. As the art of historically informed performance has become more and more widely appreciated, so has her style of singing to the extent that she was included in a listing of ‘the 20 greatest sopranos ever’ made by the BBC Music Magazine in 2007. Released on the occasion of her 60th birthday, the present collection celebrates her collaboration with BIS and includes highly acclaimed performances of works from her repertoire such as Handel solo cantatas (with London Baroque) and Dowland songs (with Anthony Rooley and Jakob Lindberg) as well as pieces by less familiar composers, such as Ariosti and Amodei, de Lalande and Schimmelpfennig. This collection provides an opportunity to sample the work of an exceptional singer in all its variety. The accompanying booklet includes a personal appreciation of the performer by music critic Brian Robins, as well as the texts – in the original languages with English translations where applicable – of all the works featured. “…it's often in the modest-looking pieces that she's at her most compelling. Robert Johnson's Full Fathom Five is 109 seconds of breathtaking stillness and beauty, Böddecker's Natus est Jesu a masterclass in how quietly to find variety and meaning in a piece that might have seemed to have little to offer. Artistry indeed, and praise to BIS for recognising how to honour it.” Gramophone Magazine, July 2009 | | | (also available to download from $25.75) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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