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Baroque, page 18

   Les titres retrouvé: 338
 

Adriano Banchieri - Pazzia Senile - Saviezza Giovenile - Marco Longhini

Adriano Banchieri - Pazzia Senile - Saviezza Giovenile - Marco Longhini
ID: STR11005
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Voices and Chamber Ensemble

18.00 eur Temporarily out of stock

Adriano Banchieri - Pazzia Senile - Saviezza Giovenile

Adriano Banchieri - Pazzia Senile - Saviezza Giovenile
ID: STR35704
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Chamber Ensemble

18.00 eur Temporarily out of stock

BENEDETTO VINACCESI - Cantate e sonate - Gli Erranti

BENEDETTO VINACCESI - Cantate e sonate - Gli Erranti
ID: STR33879
CDs: 1
Type: CD
Subcollection: Voices and Chamber Ensemble

18.00 eur Temporarily out of stock

S.Grondona plays J.S.BACH

S.Grondona plays J.S.BACH
ID: STR33868
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Guitar

18.00 eur Temporarily out of stock

Two Upon a Ground - Virtuosic duets and divisions for two viols

Two Upon a Ground - Virtuosic duets and divisions for two viols
ID: SIGCD007
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: String instruments

Two Upon a Ground explores the peculiarly English approach to writing instrumental variations known as 'divisions'. The style is principally known for the way it enables a player to demonstrate both a virtuosic command of the instrument and an imaginative understanding of the musical possibilities inherent in a short musical phrase.

The repertoire heard here is begins with the undisputed ,aster of the genre, Christopher Simpson, and continues with further virtuosic duets and divisions by Jenkins, Lawes, Tomkins and Purcell.
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Telemann,Vivaldi, Handel Nand others - Un'Alma Innamorata: A Soul in Love

Telemann,Vivaldi, Handel Nand others - Un'Alma Innamorata: A Soul in Love
ID: SIGCD033
CDs: 1
Type: CD
Collection:
Baroque

The emergence of the basso continuo (or “figured bass”) was one of the critical moments in this history of music. Figured bass, upon which a keyboard player or lutenist could improvise harmony, meant that a single musician could provide the necessary harmonies which would previously have needed several players. In the early part of the seventeenth century, large numbers of extremely virtuosic solo motets and sonatas started to appear. The combination of solo voice with one instrument and continuo was quite common, and pieces with violin were the most common of all.

This new collection from Cordaria features cantatas for soprano, violin and basso continuo, written by composers including Samuel Capricornus, Dietrich Buxtehude, Antonio Vivaldi , Georg Phillipp Telemann and Georg Frederic Handel.
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J. S. Bach: Sonatas for Viola de Gamba & music from The Well Tempered Clavier

J. S. Bach: Sonatas for Viola de Gamba & music from The Well Tempered Clavier
ID: SIGCD024
CDs: 1
Type: CD
Subcollection: Harpsichord

It is not difficult to discern many of the elements that render Bach’s three sonatas for viola da gamba and harpsichord so remarkable by the standards of their age: a mixing of virtually every conceivable genre, form, style, medium and gesture of the late German Baroque; a forging of connections that had not hitherto been made; a penetrating insight into the multi-dimensional potentialities of each motive, theme and polyphonic complex.

Composing for the viol in this way was by, the early eighteenth century, archaic, yet what has made J.S.Bach a summit for many is his apparent ability to transcend historical contingency, somehow to stop the clock of outward progress and to rearrange and recreate the world as he knew it.

On this disc we hear the three sonatas for the Viola da Gamba and three Preludes and Fugues from the Well Tempered Clavier.
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Antonio Vivaldi: Pellegrina's Delight - Sonatas & Chamber Music for Oboe

Antonio Vivaldi: Pellegrina's Delight - Sonatas & Chamber Music for Oboe
ID: SIGCD037
CDs: 1
Type: CD
Subcollection: Harpsichord

Pellegrina’s Delight celebrates Vivaldi’s contribution to oboe repertoire in the early eighteenth century. Vivaldi wrote at least 16 concerti for solo oboe, but in this recording we offer an overview of Vivaldi’s prominent use of the solo oboe in his chamber music. The disc also provides a fascinating illustration of Vivaldi’s stylistic development between c.1705 and c.1720.

The Quartet Sonata in C major (RV 779) was written during the first decade of Vivaldi’s activity as a composer, when he was serving as a violin teacher at the Ospedale della Piet in Venice. Selected girls were admitted - after audition - to the musical establishment. Vivaldi made a note in this manuscript of the names of the four female musicians who were chosen to perform the sonata. They are Pellegrina (oboe), Prudenza (violin), Lucietta (organ) and Candida (chalumeau).

Other works featured on this disc are the Sonata for oboe and continuo in C minor, RV 53, the Sonata in G minor, RV 28 the Trio-sonata in E minor, Op. 1 no. 2, RV 67, the Concerto for flute, violin and bassoon in G minor, RV 106 (presented with the oboe taking the part of first treble instrument, the Sonata in B-flat major, RV 34 and the Sonata a 4 in C major, RV 801.
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Arie e Canzone - Girolamo Frescobaldi - Ensemble Braccio, Nancy Mayer-Mezzo soprano

Arie e Canzone - Girolamo Frescobaldi - Ensemble Braccio, Nancy Mayer-Mezzo soprano
ID: ACDHD024-2
CDs: 1
Type: SACD
Collection:
Baroque

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
Girolamo Frescobaldi’s chamber music has been somewhat neglected in favor of his more famous keyboard compositions. This recording presents a selection Frescobaldi’s music for small ensembles as it could have been heard in performance at, for example, an early 17th century salon.Perhaps the best known pieces on this disc are the canzonas for bass instrument and continuo, which are among the earliest published repertoire for solo bass instrument. Like the discant and the discant and bass canzonas, they show a composer exploring the new instrumental conventions of the early 17th century.
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J. S. Bach: Music for Oboe and Harsichord -Oboe Sonatas & Preludes and Fugues from The Well Tempered Clavier

J. S. Bach: Music for Oboe and Harsichord -Oboe Sonatas & Preludes and Fugues from The Well Tempered Clavier
ID: SIGCD034
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Harpsichord

J. S. Bach's g minor sonata BWV 1030b is perhaps better known in its later version for flute and harpsichord where it was re-cast in b minor (BWV 1030). For the earlier g minor version only the harpsichord part remains and it is a matter of conjecture which instrument Bach really intended. Of all his flute works Bach's b minor sonata is the most ambitious, and played on the oboe the epic nature of the piece is even more evident.

Whilst being blessed with many wonderful obligato parts in the cantatas, the g minor sonata is the only large scale solo work for oboe players left by Bach.

If BWV 1030 can exist in both oboe and flute versions, why can't other pieces by Bach be similarly versatile? The remainder of the disc includes the often arranged trio sonata for organ, BWV 529 in C major, the flute sonatas BWV 1020, 1031 and 1033 and the harpsichord Prelude and Fugue in c minor BWV 871 from the Well-Tempered Clavier, Book II.

The authorship of the flute sonata BWV 1033 is called into question because of the style and quality of the basso continuo part. A theory, proposed by musicologist Robert Marshall, is that Bach wrote the flute part as an unaccompanied piece, and that either a son or a student of J. S. Bach added the accompaniment at a later stage. We therefore present the work here as an unaccompanied sonata, echoing the genre that Bach developed with his unaccompanied violin and 'cello sonatas.

Gail Hennessy and Nicholas Parle first played together in London in 1986. They discovered a strong musical rapport and their decision to record these Bach sonatas using oboe and harpsichord stems from their performances over the years of the "big" g minor sonata (BWV 1030b), a challenging work that, like much great music, reveals more and more with each playing.
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