SACD
|
Label: ACCENT SACD 24179 Our Price: $24.25 Quantity in Basket: none Concerto in E major RV 269 (Spring); Concerto in G minor RV 315 (Summer); Concerto in F major RV 293 (Autumn); Concerto in F minor RV (Winter); Concerto in D major for Cello, String & B.C. RV 403; Sonata in D minor, Op. 1 No. 12 RV 63 “La Follia” TRUE HISTORICAL PERFORMANCES Based on his elaborate research, Sigiswald Kuijken made two important discoveries: first, in the 18th Century many cello parts were actually meant to be performed on the violoncello da spalla, the little sister of the violoncello, which was played like a violin or viola. Second, that multiple casting of strings was rather the exception than the rule for Vivaldi. Kuijken follows both with this recording and the result seems to prove him right. |
|
|
Label: ACCENT SACD 24182 Our Price: $24.25 Quantity in Basket: none Concerti for two flutes, two oboes, two bassoons, strings & bc FWV L:d7 (D minor) & L:D22 (D major); Concerto in D minor for oboe, violin, strings & bc FWV L:d4; Concerto In A major for violin, strings & bc FWV L:A3; Concerto in D major for flute, oboe, strings & bc FWV L:D11; Concerto in G minor for oboe, strings & bc FWV L:g1 Johann Friedrich Fasch made use of his excellent relationships and often exchanged sheet music with Pisendel in Dresden and Graupner in Darmstadt. Thanks to that many of his compositions survived in those two libraries. An interesting line up of the instruments combined with a great sense for sound and the individuality of the instruments is characteristic for his concertos. On the occasion of the 250th anniversary of Fasch’s death il Gardellino recorded for this CD a selection of concertos found as autographs or copies in Dresden and Darmstadt. |
|
|
Label: ACCENT SACD 24185 Our Price: $24.25 Quantity in Basket: none MUSIC by MAYNARD, MORLEY, DOWLAND, PLAYFORD, BRADE, LOCKE, a.o. Echo du Danube: Elisabeth Seitz, salterio; Martin Jopp, violin; Michael Dücker, lute/theorbo; Johanna Seitz, harp; Christian Zincke, viola da gamba/violone; Julia Blitz, shawm/recorder; Josue Melendez, cornett; Cas Gevers, trombone; Michele Claude, percussion; Rob Wyn Jones, narrator The XII Wonders of the World is a collection of lute songs by lutenist and singer John Maynard after poems by Sir John Davies. It was published 1612. These satiric songs make fun not only of various groups of human society but also of famous persons of their time such as John Dowland. From this collection Echo du Danube’s presents a selection in form of a masque. A “Masque” was a kind of funny, shrilly revue, presented at court or for other high ranking and rich audiences. The costume figurine shown on the cover of this SACD indicates that seriousness was not the name of that game … |
|
|
Label: ACCENT SACD 24187 Our Price: $24.25 Quantity in Basket: none Cassations in G major (KV 63) & B major (KV 99/63a); Divertimento in D major KV 205 (167a) Sigiswald Kuijken, direction The cassations KV 63 and 99 composed by Mozart at the age of thirteen (!) are among his earliest serenades and show already the genius. The Salzburg audience obviously enjoyed this music, so, until 1799 quite a few, written for festive occasions, followed. One of them was Divertimento KV 205 written for the Antretter family. Strangely these works are little known in spite of the fact that they are true “jewels”. The cover shows the front of the house in Salzburg where Mozart was born. |
|
|
Label: ACCENT SACD 24188 Our Price: $24.25 Quantity in Basket: none Concerto for harpsichord and strings in G major Hob.XVIII:4; Divertimento in F major Hob.II:20; Concerto for harpsichord and strings in F major Hob.XVIII:3 La Petite Bande/Sigiswald Kuijken Unlike his composer colleagues, Joseph Haydn (1732-1809) never was an acclaimed virtuoso on an instrument, but his skills on the harpsichord were however enough to carry out his job as music director at the Eszterházy Court as well as to play the solo part in his own harpsichord concertos. Haydn wrote the two concertos recorded on this CD around 1761 when he started his job at Esterhazy’s. The Divertimento dates from his 1750 years and also shows the young composer at an early stage of his artistic development. With this recording Sigiswald Kuijken and La Petite Bande gives us the possibility to meet another perspective of Haydn: not the well known grandeur but a young and very promising composer. |
|
|
Label: ACCENT SACD 24224 Our Price: $48.50 Quantity in Basket: none CD 1- Concerto no 3, BWV 1048; Concerto no 5, BWV 1050; Concerto no 1, BWV 1046 CD 2- Concerto no 4, BWV 1049; Concerto no 6, BWV 1051; Concerto no 2, BWV 1047 Sigiswald Kuijken was born in 1944 close to Brussels. He studied violin at the conservatories of Bruges and Brussels, completing his studies at the latter institution with Maurice Raskin in 1964. He came into contact with early music at a very young age, together with his brother Wieland. Studying on his own, he gained a thorough knowledge of specific 17th- and 18th-century performance techniques and conventions of interpretation. This led to the introduction, in 1969, of a more authentic way of playing the violin, whereby the instrument was no longer held under the chin, but lay freely on the shoulder; this was to have a crucial influence on the approach to the violin repertoire and was consequently adopted by many players starting in the early 1970s. He founded La Petite Bande in 1972. |
|
|
Label: ACCENT SACD 24231 Our Price: $24.25 Quantity in Basket: none I Pastori de Bettelemme; Libro primo di sinfonie à 4, 1615 (excerpts) GIOVANNI LORENZO BALDANO (1576 – 1660): Dances for sordellina and buttafuoco, 1600 (excerpts) Echo du Danube: Christian Zincke, viola da gamba, violone; Michael Dücker, lute; Elisabeth Seitz, psalterio; Johanna Seitz, harp. Kapsberger’s Shepherds of Bethlehem at the Birth of Our Savior Jesus Christ was published in 1630, when the sacred dialogue madrigal enjoyed high popularity in Rome. The text by Giulio Rospigliosi, Rome’s most distinguished poet at the time, is set by the composer in a varied sequence of monodic recitatives and homophonic choral pieces, with close attention to the content and structure of the language. The genre of the sacred dialogue madrigal is considered to be the forerunner of the Baroque oratorio. |
|
|
Label: ACCENT SACD 25301 Our Price: $24.25 Quantity in Basket: none Cantata BWV 98 "Was Gott tut, das ist wohl getan" – 21st Sunday after Trinity; Cantata BWV 180 "Schmücke dich, o liebe Seele" – 20th Sunday after Trinity; Cantata BWV 56 "Ich will den Kreuzstab gerne tragen" – 19th Sunday after Trinity; Cantata BWV 55 "Ich armer Mensch, ich Sündenknecht" – 22nd Sunday after Trinity La Petite Bande/Sigiswald Kuijken For several years, we have chosen to perform the vocal works of J. S. Bach (Cantatas, Motets, Passions, etc.) with vocal forces of one singer to a part, and not with a "choir" in the usual sense. Indeed, some well founded musicological studies, started nearly a quarter of a century ago by Joshua Rifkin, demonstrated that Bach – as well as his contemporaries – was used to composing his "modern" music for performance by such a vocal quartet. So, in the Cantatas, Passions, Magnificat and Masses, these "performers" would have to sing everything that appeared in the score: the recitatives, the arias, the chorales and the ensembles (choruses). Thus the works for double choir (certain Motets, the St. Matthew Passion) had to have eight singers. This corresponds exactly with Bach's kind of writing. Even if there exist nowadays choirs of reduced size, which can perfectly overcome the technical difficulties posed by Bach's scores, it seems to me more and more that the practice of tripling and quadrupling the vocal forces in Bach's works is comparable to playing a Haydn quartet with 16 musicians. Certainly "realizable", but less appropriate to the actual essence of the work's writing. In the version with "soloists", the whole can remain transparent, and yet "inhabited" by the individual contributions of the four singers. A certain "madrigalism" can be detected, which hardly corresponds to a "choral" performance. The instrumental forces are also those suggested by Bach, and are those found every time in the original material, which comes down to us. Needless to say, the performance without a "conductor", in the "modern" sense, is vital from this point of view, and thus the creation of the moment becomes more than ever a shared and essential act by all the participants. The program presented here is part of a vast project, spread over many years. Indeed, we have undertaken the realization of a complete liturgical year of Cantatas. This will result in about 20 CDs, bringing together the Cantatas for every Sunday and the great Festivals of the liturgical year. We will give them in groups of three or four Cantatas, wherever possible in the appropriate period of the year. |
|
|
Label: ACCENT SACD 25302 Our Price: $24.25 Quantity in Basket: none Cantata BWV 177 "Ich ruf zu dir, Herr Jesu Christ" – 4th Sunday after Trinity; Cantata BWV 93 "Wer nur den lieben Gott lässt walten" – 5th Sunday after Trinity; Cantata BWV 135 "Ach Herr, mich armen Sünder" – 3rd Sunday after Trinity La Petite Bande/Sigiswald Kuijken For several years, we have chosen to perform the vocal works of J. S. Bach (Cantatas, Motets, Passions etc.) with vocal forces of one singer to a part, and not with a "choir" in the usual sense. Indeed, some well founded musicological studies, started nearly a quarter of a century ago by Joshua Rifkin, demonstrated that Bach – as well as his contemporaries – was used to composing his "modern" music for performance by such a vocal quartet. So, in the Cantatas, Passions, Magnificat and Masses, these "performers" would have to sing everything that appeared in the score: the recitatives, the arias, the chorales and the ensembles (choruses). Thus the works for double choir (certain Motets, the St. Matthew Passion) had to have eight singers. This corresponds exactly with Bach's kind of writing. Even if there exist nowadays choirs of reduced size, which can perfectly overcome the technical difficulties posed by Bach's scores, it seems to me more and more that the practice of tripling and quadrupling the vocal forces in Bach's works is comparable to playing a Haydn quartet with 16 musicians. Certainly "realizable", but less appropriate to the actual essence of the work's writing. In the version with "soloists", the whole can remain transparent, and yet "inhabited" by the individual contributions of the four singers. A certain "madrigalism" can be detected, which hardly corresponds to a "choral" performance. The instrumental forces are also those suggested by Bach, and are those found every time in the original material, which comes down to us. Needless to say, the performance without a "conductor", in the "modern" sense, is vital from this point of view, and thus the creation of the moment becomes more than ever a shared and essential act by all the participants. The program presented here is part of a vast project, spread over many years. Indeed, we have undertaken the realization of a complete liturgical year of Cantatas. This will result in about 20 CDs, bringing together the Cantatas for every Sunday and the great Festivals of the liturgical year. We will give them in groups of three or four Cantatas, wherever possible in the appropriate period of the year. - Sigiswald, 15 December 2005 |
|
|
Label: ACCENT SACD 25303 Our Price: $24.25 Quantity in Basket: none Cantata BWV 82 "Ich habe genug" - Purification; Cantata BWV 178 "Wo Gott der Herr nicht bei uns hält" - 8th Sunday after Trinity; Cantata BWV 102 "Herr, deine Augen sehen nach dem Glauben" - 10th Sunday after Trinity La Petite Bande/Sigiswald Kuijken Volumes 1 + 2 of this cycle have already raised a lot of attention and received some enthusiastic reviews such as: “There could hardly be a more convincing argument for using soloists instead of a choir for Bach’s cantatas. Sigiswald Kuijken and his musicians give a perfect performance. It has everything one could ask for: intimity, brilliance, clarity and depth.” - Klassik-heute.com „The vocalists are exquisite, the recording vivid and exciting. One of Kuijkens best recordings.” - Toccata 3/4, 2006 |
|
|
Label: ACCENT SACD 25304 Our Price: $24.25 Quantity in Basket: none Cantata BWV 16 "Herr Gott, dich loben wir" - New Year's cantata; Cantata BWV 153 "Schau lieber Gott, wie meine Feind" - Sunday after New Year; Cantata BWV 65 "Sie werden aus Saba alle kommen" - Epiphany; Cantata BWV 154 "Mein liebster Jesus ist verloren" - First Sunday after Epiphany La Petite Bande/Sigiswald Kuijken A few years ago Sigiswald Kuijken and his Ensemble La Petite Bande decided to perform Bach’s vocal works only with one singer per register. Joshua Rifkin’s well-founded scientific researches, which he started at the beginning of the 1980s, revealed that Bach was accustomed to compose his music for a vocal quartet. The controversy on this thesis is still lasting, but the enthusiastic reviews of the specialized publications as well as – first of all – the convincing artistic results agree with Sigiswald Kuijken and his approach. The project is not conceived to produce an integral of all cantatas, but it shall be recorded one cantata for every Sunday and high feasts of the liturgical year. On the fourth volume you can hear cantatas for the time from New Year’s Day to the first Sunday after Epiphany. |
|
|
Label: ACCENT SACD 25305 Our Price: $24.25 Quantity in Basket: none Cantata BWV 179 “Siehe zu, dass deine Gottesfurcht Heuchelei sei” – 11th Sunday after Trinity; Cantata BWV 35 “Geist und Seele wird verwirret” 12th Sunday after Trinity; Cantata BWV 164 “Ihr, die ihr euch von Christo nennet” – 13th Sunday after Trinity; Cantata BWV 17 “Wer Dank opfert, der preiset mich” – 14th Sunday after Trinity La Petite Bande/Sigiswald Kuijken A few years ago Sigiswald Kuijken and his Ensemble La Petite Bande decided to perform Bach’s vocal works only with one singer per register. Joshua Rifkin’s well-founded scientific researches, which he started at the beginning of the 1980s, revealed that Bach was accustomed to compose his music for a vocal quartet. The controversy on this thesis is still lasting, but the enthusiastic reviews of the specialized publications as well as – first of all – the convincing artistic results agree with Sigiswald Kuijken and his approach. The project is not conceived to produce an integral of all cantatas, but it shall be recorded one cantata for every Sunday and high feasts of the liturgical year. |
|
|
Label: ACCENT SACD 25306 Our Price: $24.25 Quantity in Basket: none Wie schön leuchtet der Morgenstern BWV 1; Gleichwie der Regen und Schnee vom Himmel fällt BWV 18; Du wahrer Gott und Davids Sohn BWV 23 Ensemble La Petite Bande/Sigiswald Kuijken The Cantatas BWV 18 and BWV 23 were intended for the two last Sundays before Lent, the “Sexagesima” and “Estomihi” Sundays. In the following weeks, during actual Lent, no cantatas were performed in the Leipzig churches, apart from the Feast of the Annunciation of Mary on the 25th of March - even if this Feast fell within the period of Lent according to the calendar. The Cantata BWV 1 was written for this Lady Day Feast on the 25th March, 1725. Thus, in a way, these three cantatas belong to the same period in the liturgical year. In his interpretation Sigiswald Kuijken follows the thesis that the cantatas were written for solo singers, because Bach very often had no choir at his disposal. What seemed rather odd and questionable in the beginning has meanwhile proved to be a stroke of luck for modern Bach interpretation, and was highly praised by the press and music lovers around the world. |
|
|
Label: ACCENT SACD 25307 Our Price: $24.25 Quantity in Basket: none Cantata BWV 20 “O Ewigkeit, du Donnerwort” – First Sunday after Trinity; Cantata BWV 2 “Ach Gott, vom Himmel sieh darein” – Second Sunday after Trinity; Cantata BWV 10 “Meine Seel erhebt den Herrn” – Visitatio La Petite Bande/Sigiswald Kuijken In the beginning there was great skepticism towards the thesis that Bach’s sacred vocal works were originally written for solo voices. Now this interpretation is establishing itself more and more. With this edition of one cantata for each Sunday and the great feasts of the ecclesiastical year Sigiswald Kuijken and La Petite Bande want to strengthen this new approach and prove it right by their excellent performances. This Vol. 7 of the edition contains cantatas for Visitatio (BWV 10), as well as for the first and second Sunday after Trinity (BWV 20 & 2). |
|
|
Label: ACCENT SACD 25308 Our Price: $24.25 Quantity in Basket: none JOHANN SEBASTIAN BACH (1685 – 1750) CANTATAS FOR THE COMPLETE LITURGICAL YEAR, VOLUME 8 Cantata BWV 13 “Meine Seufzer, meine Tränen” – 2nd Sunday after Epiphany Cantata BWV 73 “Herr, wie Du willst, so schick’s mit mir” – 3rd Sunday after Epiphany Cantata BWV 81 “Jesus schläft, was soll ich hoffen” – 4th Sunday after Epiphany Cantata BWV 144 “Nimm, was dein ist, und gehe hin” - Septuagesima In the beginning there was great skepticism towards the thesis that Bach’s sacred vocal works were originally written for solo voices. Now this interpretation is establishing itself more and more. With this edition of one cantata for each Sunday and the great feasts of the ecclesiastical year Sigiswald Kuijken and La Petite Bande want to strengthen this new approach and prove it right by their excellent performances. |
|