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World music CD DVD shop and Classic distribution
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ID: RK2101
Disk: 1
Type: CD
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Podkolekce: Sbor
Italian Love Cantatas and Chamber Music
Das Bouts Ensemble wurde 1999 gegründet. Die Musiker, allesamt Spezialisten auf dem Gebiet der Alten Musik, hatten in den unterschiedlichsten Kombinationen bereits mehrfach bei anderen Gelegenheiten zusammen musiziert, bevor sie sich zum Bouts Ensemble formierten, um in flexibler Besetzung Kammermusik des 18. Jahrhunderts in historischer Aufführungspraxis zu pflegen. Mit ihrem unterschiedlichen musikalischen Hintergrund bilden sie eine Mischung, die Alte Musik lebendig und facettenreich zum Erklingen bringt.
The Bouts Ensemble is a chamber music ensemble devoted to the repertoire of the "high" baroque and pre-classical periods - ca. 1725-1775. Through performance of works by both famous and unjustly neglected composers, the group aims to contribute to a greater appreciation and understanding of music from this endlessly fascinating period. The members of this young group use their extensive experience in historical performance practice on period instruments to bring to this repertoire the virtuosity, vitality and intelligence that it demands. |
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ID: RK3008
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Chamber Ensemble
Graun was a prolific composer and wrote almost 130 trio sonatas, of which only a few are dated. It was difficult for these musicians to choose just four sonatas from such an abundance of works due to their quality and consistency. They have tried to highlight the various facet’s of Graun’s works. |
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ID: DCD34112
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Harpsichord
John Kitchen harpsichord (1769 Taskin Harpsichord)
John Kitchen - uniquely familiar with Edinburgh's internationally acclaimed collections of early keyboard instruments - turns his attention to the world's most famous harpsichord, the Taskin harpsichord. The reign of Louis XV was the period during which the harpsichord gained its greatest popularity in France, and this glorious 1769 instrument by Pascal Taskin would have been the preferred choice of any composer. Here its opulent lushness is captured in the ideal acoustics of Scotland's oldest concert hall St Cecilia's Hall. The Hall is also home to the Raymond Russell Collection of Early Keyboard Instruments, which houses the Taskin harpsichord. The combination of instrument, venue, programme and performer creates a unique listening experience.
This is John Kitchen's fourteenth solo recording on Delphian. Since his appointment in 2002 as Edinburgh City Organist, he has curated a busy series of concerts in the city's iconic Usher Hall. Recent recital series in the USA and Germany complement his busy programme of activities in the UK. Having studied seventeenth century French harpsichord music whilst Organ Scholar at Clare College, Cambridge, John is now Senior Lecturer at Edinburgh University, Conductor of Edinburgh University Singers, and Director of Music of Old Saint Paul's Episcopal Church in Edinburgh.
Track listing
1 François Couperin (1668-1733): Ordre no. 6 in B flat
1 Les Moissonneurs
2 Les Langueurs-Tendres
3 Le Gazoüillement
4 La Bersan
5 Les Baricades Mistérieuses
6 Les Bergeries
7 La Commére
8 Le Moucheron
Antoine Forqueray (1672-1745)
[attrib.]
9 La Du Breüil
10 La Leclair
11 La Léon
12 La Boisson
Jean-Philippe Rameau (1683-1764)
13 La Triomphante
14 Fanfarinette
15 Les Sauvages
16 L’Enharmonique
17 L’Egiptienne
Jacques Duphly (1715-1789)
18 La Forqueray
19 Médée
Total playing time [66:26] |
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ID: DCD34115
Disk: 1
Type: CD
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Kolekce: RenaissanceThe Marian Consort
Rose Consort of Viols
Rory McCleery, conductor
For its second Delphian recording, The Marian Consort have leafed through the beautifully calligraphed pages of the partbooks compiled in Oxford between 1581 and 1588 by the Elizabethan scholar Robert Dow, to present a deeply satisfying sequence of some of their brightest jewels. Sumptuous motets, melancholy consort songs and intricate, harmonically daring viol fantasies are seamlessly interwoven, all brought to life by seven voices and the robust plangency of the Rose Consort of Viols in the chapel of All Souls College, Oxford - where Dow himself was once a Fellow.
The Marian Consort is a young, dynamic early music vocal ensemble founded in Oxford in 2007. Combining academic insight with high levels of performance practice, the ensemble predominantly explores the repertoire of Renaissance and early Baroque music with its director Rory McCleery. They are joined by the Rose Consort of Viols, which takes its name from the celebrated family of viol makers, whose work spanned the development of the English consort repertoire.
Track listing
1 William Mundy (c.1528-c.1591)
Sive vigilem
2 Nicholas Strogers (fl. 1560-75)
A doleful deadly pang
3 Nicholas Strogers
In Nomine a 5 (No. 2)
4 (?)Robert Mallory (d. 1572)
Miserere a 5
5 Nathaniel Giles (c.1558-1633/34)
Vestigia mea dirige
6 Robert White (c.1538- 1574)
In Nomine a 5
7 William Byrd (1539/40-1623)
O Lord, how vain
8 Robert White
Justus es, Domine
9 Christopher Tye (c.1505-1572/73)
In Nomine
10 Thomas Tallis (c.1505-1585)
O salutaris hostia
11 Robert Parsons (c.15351572)
Retribue servo tuo
12 anon.
Come Holy Ghost
13 Vincenzo Ruffo (c.15081587)
La gamba
14 William Byrd
La verginella
15 anon. ['Roose']
Dum transisset Sabbatum
16 Jean Maillard (c.1515-after 1570)
Ascendo ad Patrem meum
17 Nicholas Strogers
Non me vincat, Deus meus
18 (?)Philippe Verdelot (1480s-c.1530)
Madonna somm'acorto
19 Philip van Wilder (c.15001553)
Je file quand Dieu me donne de quoy
20 Philip van Wilder
Pour vous aymer j'ay mis toute ma cure
21 Robert Parsons
Ave Maria
Total playing time [72:49] |
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ID: RCD16052
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Bassoon and Orchestra
Catalogue RCD:
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| 20.00 eur Temporarily out of stock |
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ID: DCD34110
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Voices and Orchestra
Mary Bevan soprano
Ed Lyon tenor
Ludus Baroque
Richard Neville-Towle director
Following the widespread critical acclaim of their debut recording, Alexander's Feast, Ludus Baroque brings their celebrated verve to Handel's Song for St Cecilia's Day. Coupled with his miniature cantata for tenor, Look Down, Harmonious Saint, which Handel wrote to supplement performances of Alexander's Feast, and with the Concerto Grosso in B flat, written in his fruitful autumn of 1739, Handel approaches the setting of this second text by John Dryden with the same extraordinary vividness of detail and metrical virtuosity as Alexander's Feast. 'What passion cannot music raise and quell?' the answer is that it can raise and quell them all: martial, erotic, sacred ... but as music had, in the beginning, been the divine principle of cosmic order, so, on the Final Day, it will be the force that dissolves the universe.
Track listing
Ode for St Cecilia’s Day
1 Ouverture
2 From harmony, from heav’nly harmony
3 From harmony, from heav’nly harmony
4 What passion cannot music raise and quell?
5 The trumpet’s loud clangour
6 La Marche
7 The soft complaining flute
8 Sharp violins proclaim
9 But oh! what art can teach?
10 Orpheus could lead the savage race
11 But bright Cecilia rais’d the wonder high’r
12 As from the pow’r of sacred lays
Concerto Grosso in B flat Op. 6 No. 7
13 Largo - Allegro
14 Largo e Piano
15 Andante
16 Hornpipe
Look Down, Harmonious Saint
17 Look down, harmonious saint Musick! That all-persuading art Sweet accents all your numbers grace
Total playing time [79:55] |
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ID: DCD34111
Disk: 1
Type: CD
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Podkolekce: Guitar
Gordon Ferries guitars, lute & theorbo
Gordon Ferries’ fifth solo disc for Delphian spans two centuries of music for kings and courtiers. Performing on four instruments matched to the periods in question, and captured in sumptuous recorded sound, Ferries takes in the chansons and elegant counterpoint of sixteenth-century France’s cultivated humanist courts and the exquisite melancholy and refined dance forms from the private chambers of Louis XIV’s Versailles, and investigates the place of guitar music at the heart of the decadence, sexual intrigue and Baroque splendour of Charles II’s Restoration court.
Gordon Ferries has established himself as one of the UK’s leading exponents of the baroque guitar. He has performed in venues and festivals across the UK and in Europe both as a soloist and in ensembles including The Scottish Ensemble, The Scottish Early Music Consort and the Edinburgh Quartet.
Track listing
Robert de Visée
1 Allemande ‘La Royalle’
Adrian Le Roy
2 Pavane ‘Est il conclud’
3 Gaillarde plus diminuée
Francesco Corbetta
4-8 Suite in D major
Gregor Brayssing
9 Fantasie des Grues
10 Fantasie no. 5
11 Fantasie no. 6
Claudin de Sermisy, arr. Pierre Attaingnant anon., arr. Attaingnant
12 Une bergerote 1
13 Une bergerote 2
Charles Hurel
14-18 Suite in C majorn
Francesco Corbetta
19 Allemande ‘La Royalle’
20 Sarabande ‘La Stuarde’
Jean-Baptiste Lully, arr. Hurel
21 Les Pellerins
Pierre Certon, arr. Guillaume Morlaye
22 ‘Robin’
Adrian Le Roy
23 Almande
Pierre Sandrin, arr. Morlaye
24‘Jay veu que j’estoys franc et maistre’
[?]Guillaume Le Heurteur, arr. Morlaye
25 ‘Regretz soucy et peine’
Robert de Visée
26-34 Suite in D minor
35 Allemande ‘La Royalle’
Total playing time [72:51] |
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ID: RK2506
Disk: 1
Type: CD
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Podkolekce: Orchestr
Anfang des 17. Jahrhunderts wurde die deutsche Passionsmusik stark vom italienischen Oratorium beeinflusst, vor allem durch Heinrich Schütz gelangte der italienische Stil nach Deutschland. Unter den Musikern, die diese Tradition bis zu Bach weiterleiteten, befand sich der Sänger, Organist und Komponist Johann Valentin Meder. Seine Matthäuspassion entstand höchstwahrscheinlich 1701 in Riga.
Meders Werk spricht durch seine Klarheit und seinen zugänglichen Stil an. Die gefühlsbetonten Melodien und Texte stammen teilweise aus bekannten Chorälen der damaligen Passionszeit, Michael Alexander Willens besetzte die Vokalpartien entsprechend der damaligen Praxis mit fünf Sängern, die teilweise als Solisten, teilweise als Chor agieren. Obwohl das vorgeschriebene Ensemble nur wenige Instrumente umfasst (zwei Oboen im Wechsel mit zwei Blockflöten, Violinen und Basso continuo), entlockt ihm Willens gemeinsam mit der Kölner Akademie einen bemerkenswerten Farb- und Kontrastreichtum, der bereits im Mederschen Werk angelegt ist.
Nicki Kennedy: Sopran
Hannah Morrison: Sopran
Dorothee Merkel: Alt
Gerd Türk: Tenor
Christian Hilz: Bass |
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