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World music CD DVD shop and Classic distribution
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ID: SIGCD009
CDs: 1
Type: CD
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Collection:
Chamber Music
Subcollection: Chamber EnsembleArtist track listing:
Susanne Heinrich: (a) treble viol (M.D. Attwood 1993, after B. Norman)
(b) tenor viol (M.D. Attwood 1993, after B. Norman)
(c) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Lynda Sayce: (d) Renaissance flute (L. Jones 1996)
(e) 7-course lute (M. Lowe 1998, after G. Gerle ca. 1580)
(f) chitarrone (D. Van Edwards 1987, after Tieffenbrucker III 1608)
Kah-Ming Ng: (g) chamber organ (V. Woodstock 1996)
(h) harpsichord (A. Garlick 1977, after I. Ruckers 1638)
Oliver Webber : (i) violin (A. Beavitt 1986, after Stradivari)
Susanna Pell: (j) 6-string bass viol (J. Julier 1992, after R. Meares)
Reiko Ichise: (k) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Jacob Heringman: (l) 4-course cittern (S. Barber 1994, late 16th-century style)
(m) 7-course lute (B. Hirst 1992, after Venere 1582)
Rupert Jennings: (n) Tenor voice |
| 18.00 eur Buy |
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ID: SIGCD033
CDs: 1
Type: CD
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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. |
| 18.00 eur Buy |
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ID: SIGCD032
CDs: 1
Type: CD
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Collection:
Chamber Music
Recording Location: St. Andrew's Church, Toddington, Gloucestershire
Louis (c.1626-1661), François le Grand (1668-1733) and Armand-Louis (1727-1789) were the three most celebrated members of the distinguished Couperin family of musicians who flourished from the late 16th century until the middle of the 19th, holding a position of esteem parallel to that of the Bachs in Germany.
The Sultan and the Phoenix presents both masterpieces and rare gems from the Couperins and their contemporaries, all delivered with a rare insight by the ensemble charivari agréable. The programme presents an overview of the ensemble use of the viol in its various manifestations and stages of evolution in France. The Couperin dynasty offers a convenient chronological framework within which the viol could be heard in various guises: from a consort setting to a ‘pičces de clavecin en concerts’ configuration; from a six-string bass viol to a five-string hybrid ‘quinton’. Underpinning this programme is the historical practice of adaptation, transcription and arrangement with which French baroque music is replete.
Historical tradition is followed by the arrangement of some pieces by the players. Some involved direct transcription, such as the L. Couperin Pavan for a viol consort or the F. Couperin harpsichord piece for theorbo (in the style of de Visée, see above). Other pieces are left untouched, such as L. Couperin’s Fantaisies and Corrette’s Phénix, as well as the large-scale chamber works of Dornel and Couperin.
Charivari Agréable’s reputation as one of the most original ensembles in the period-instrument scene was recently articulated by the BBC Music Magazine, which noted that the ensemble “has carved something of a niche for itself in imaginative and well thought-out programming”, reasoning that its work is the fruit of both scholarly research and charismatic musicianship, a combination which puts it at the forefront of period-instrument ensembles.
This recording is refreshing and rewarding. Charivari Agréable is a rare combination with a distinct sound and sonority, displaying sincere empathy and love for the repertory they choose to record. |
| 18.00 eur Buy |
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ID: SIGCD020
CDs: 1
Type: CD
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Collection:
Chamber Music
Subcollection: Chamber Ensemble"Her Majesty lay upon her back, with one hand in the bed and the other without. The bishop kneeled down by her, and examined her first of her faith: and she so punctually answered all his several questions by lifting up her eyes and holding up her hand, as it was a comfort to all beholders. Then the good man told her plainly, what she was and what she was to come to, and though she had been long a great Queen here upon earth, yet shortly she was to yield an account of her stewardship to the King of Kings. Between one and two of the clock on Thursday morning, he brought me word the Queen was dead."
Thus wrote the queen’s cousin Sir Robert Carey, recording in his memoirs the events of March 23rd-24th 1603, and the end of an era in England’s history. Earlier, as Elizabeth I lay dying she called for her musicians to play around her bed so that “she may die gaily as she had lived, and that the horrors of death might be lessened; she heard the music tranquilly until her last breath”.
As the 400th anniversary of her death approaches, The Queen’s Goodnight commemorates the music of the court of Queen Elizabeth I. The queen’s professional musical establishment was in some ways more modest than that of her father, Henry VIII, but she brought together the finest talent in the land and created collections of consort, lute and keyboard music that is still renowned today.
charivari agréable demonstrate representative facets of this wonderful 16th century repertory. The pieces are selected with a passionate attention to detail and charivari agréable have included music that depicts the life of the queen: music from the court, an exhilarating depiction of a hunt, celebrations from the queen’s coronation and the moving laments on her death. |
| 18.00 eur Temporarily out of stock |
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ID: SIGCD026
CDs: 1
Type: CD
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Subcollection: Chamber EnsembleThe paintings of Thomas Gainsborough (1727-88) constitute one of the most poignant and evocative icons of Georgian England; he painted supremely accomplished portraits of a wide social spectrum, and landscapes which capture the verdancy of England prior to the Stygian advance of the Industrial Revolution.
Gainsborough’s own creativity sought expression in music as much as in painting, which was unusual in an age when musical ability was mainly considered the preserve of the ladies.
For this musical tribute to Gainsborough, we have gathered together pieces by several of his friends; Abel, J.C. Bach, Giardini, Linley & Straube. |
| 18.00 eur Buy |
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ID: SIGCD026
CDs: 1
Type: CD
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Subcollection: Chamber EnsembleThe paintings of Thomas Gainsborough (1727-88) constitute one of the most poignant and evocative icons of Georgian England; he painted supremely accomplished portraits of a wide social spectrum, and landscapes which capture the verdancy of England prior to the Stygian advance of the Industrial Revolution.
Gainsborough’s own creativity sought expression in music as much as in painting, which was unusual in an age when musical ability was mainly considered the preserve of the ladies.
For this musical tribute to Gainsborough, we have gathered together pieces by several of his friends; Abel, J.C. Bach, Giardini, Linley & Straube. |
| 18.00 eur Buy |
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ID: SIGCD006
CDs: 1
Type: CD
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Collection:
Renaissance
Subcollection: Voices and OrchestraSignum is delighted to announce the debut disc of Charivari Agréable on Signum Records.
Music for Philip of Spain and His Four Wives is complementary to SIGCD004 and presents secular music associated with Philip II from the four European countries of his wives - Portugal, England, Austria and France. |
| 18.00 eur Temporarily out of stock |
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