Label: ACCENT 10012
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DIETRICH BUXTEHUDE (1637 - 1707): Aria "Muss der Tod denn nun doch trennen" Elegy upon the death of his father; Cantata "Jubilate Domine"
JOHANN CHRISTOPH BACH (1642 - 1702): Aria "Ach, dass ich Wassers g'nug hätte"
GEORG PHILIPP TELEMANN (1681 - 1767): Cantata "Ach Herr, strafe mich nicht"; Cantata "Ihr Völker, hört"

René Jacobs, counter-tenor
The Kuijken Consort: Sigiswald Kuijken & Janneke Van Der Meer, violin; Wieland Kuijken, Anneke Pols, Magriet Tindemans, Adelheid Glatt, viola da gamba; Robert Kohnen, organ; Maurice Aerts, violone; Konrad Junghändel, theorbo
The Oarnassus Ensemble: Barthold Kuijken, transverse flute; Richte Van Der Meer, violoncello; Johann Huys, harpsichord

Label: ACCENT 10033
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Sonata I in D Major; Sonata III in C major; Sonata VI in A major; Sonata XI in E major; Sonata XII "Follia"

Sigiswald Kuijken, violin; Wieland Kuijken, violoncello; Robert Kohnen, harpsichord
In terms of re-editions Corelli’s 12 violin sonatas Op. 5 were the “chartbuster” of the 18th century, and made him “a classic”, earning him names of honor such as “divin Corelli”. Sigiswald Kuijkens 1984 recording is also a “classic” of this work. The French magazine Compact called it “une vision extraordinaire”. Indeed it is something special.

Label: ACCENT 10034
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Symphony No. 7, Op. 92 (in the composer’s version for nine part harmonie); Fidelio, Op. 72b (arr. Wenzel Sedlak) - Octophoros: Paul Dombrecht & Marcel Ponseele, oboe; Hans Rudolf Stalder & Elmar Schmid, clarinet; Piet Dombrecht & Claude Maury, horn; Danny Bond & Donna Agrell, bassoon; Claude Wassmer, contrabassoon
The Harmonie consisted in 2 oboes, 2 clarinets, 2 horns and 2 bassoons, with another wind instrument such as a contrabassoon. Since every nobleman wished to have musicians, this kind of orchestra could be afforded by some of them, more easily than a complete orchestra. However, there were only few composers who would compose for harmonie. The editors decided to have famous pieces of music arranged for harmonie, sometimes with the consent of the original composer, sometimes without it... Wenzel Sedlak did the arrangement of 11 sections of Fidelio, supervised by Beethoven according to the Wiener Zeitung dated July 1st, 1814. Of course, one cannot find in such recordings the strength and the complete harmony of Beethoven's symphonies. But, it was such interpretations that Beethoven's contemporaries would listen to, more often than with a complete orchestra during a concert.

Label: ACCENT 10038
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WOLFGANG AMADEUS MOZART ((1756 – 1791)
Quintet in E flat major for pianoforte, oboe, clarinet, horn and bassoon, KV 452
LUDWIG VAN BEETHOVEN (1770 - 1827)
Quintet in E flat major for pianoforte, oboe, clarinet, horn and bassoon, Op. 16

Jos van Immerseel, pianoforte
Ensemble Octophorus: Paul Dombrecht, oboe; Elmar Schmid, clarinet; Piet Dombrecht, horn; Danny Bond, bassoon
Mozart himself regarded this composition of 1782 his best to date. Beethoven must have thought similar. For him it was a shining example when writing his own quintet in the late seventeen nineties. First time played on original instruments, this Immerseel/Octophorus recording became a milestone in historical interpretation.

Label: ACCENT 10064
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HUBERT WAELRANT: "Tra amor di tamburi"; Vorria morire a 4; Vorria morire a 6; Mi voglio fare; CORNELIUS VERDONCK: Donna bella e gentile; LUCA MARENZIO: Amor poichè non vuole; Chi strinse mai piu bella mano; Madonna mia gentil; Rosa bianche e vermiglie; PHLIPPUS DE MONTE: Occhi vaghi amorosi (1a parte); Ochhi leggiandri (2da parte); GIOVANNI DE MACQUE: Vorria saper da voi; Bacciami vita mia; GIROLAMO CONVERSI: Io cantero; GIOVANNI GASTOLDI: Un novo cacciator; GIOVANNI FERRETTI: Mirate che m'ha fatto; Occhi, non occhi; Basciami vita mia; Un tempo sospirava; LUCA MARENZIO: Dissi a l'amata; GIOVANNI NANINO/G.B. MOSCAGLIA/LUCA MARENZIO/GIOVANNI DE MACQUE: Mentre ti fui si grato; HIPPOLITO BACCUSI: Io son bell' e delicata; ANDREA GABRIELI: Sonno dileto e caro; Cinto m'avea tra belle e nude; Come voi tu ch'io viva; Clori a Damon dicea

Maite Arrubarrena, Katelijne Van Laethem, soprano; Mira Valenta, alto; Josep Benet, Marius van Altena, tenor; Josep Cabré, bass;
Titia de Zwart, Anneke Pols, Richte van der Meer, viols; Konrad Junghänel, lute and direction

Label: ACCENT 10068
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Giù perla maia via; O vos hominess; Ben so che la mia mente; O rosa belle/He robinet; Triumpho de le done; Piangete done; Una vecchia sempiternosa; Fate d'arera; Hora may che fora son; Morte, merce/Mo´rt en mercy; Per la mya cara; La gratia de voe; O temp bono; Cor mio volunturioso; Amor tu nin me gabasti; Voca la galleria; Mort che fay

Ensemble Daedalus/Roberto Festa
Maria-Cristina Kiehr, soprano, rebec & percussion; Otto Rastbichler, tenor; Gerd Türk, tenor; Martin Hummel, baritone; Josep Cabré, bass & declamation; Roberto Festa, recorder; Koko Tylor, recorder & percussion; Renee Stock, vielle; Sergi Casdemunt, viol; Hugh Sandilands, lute; Jill Schaeffer, percussion

Label: ACCENT 10069
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DOMENICO SCARLATTI (1685-1757): Stabat mater
JOAO RODRIGUES ESTEVES (ca.1700-ca.1755): Missa a oito voces

Vocal Ensemble Currende/Erik Van Nevel

Label: ACCENT 20142
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ETIENNE OZI (1754 – 1813) – SIX GRANDES SONATES FROM “NOUVELLE METHODE DE BASSOON” – PARIS 1803
Premère Sonate; Deuxième Sonate; Troisième Sonate; Quatrième Sonate; Cinquième Sonate; Sixème Sonate

Danny Bond, bassoon

Richte van der Meer, violoncello

Label: ACCENT 21141
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POPULAR SPANISH SONGS: Canciones españolas Antiquas; MANUEL DE FALL: Homenaje (guitar solo); Siete Canciones Populares Españolas; Romance del pescador (guitar solo); Cancion del fuego fatuo (guitar solo); JOAQUIN RODRIGO: Villancicos; Coplas del pastor enamorado; Tres Conciones - Liliana Rodriquez, voice; Raphaella Smits, guitar - These songs, most of which originate from folk songs, are typical examples of the change to national pride. There is a rich source of exciting Spanish folk music to draw from. The French Impressionism of Debussy, Satie and Dukas greatly influence tone, nuances, finesse and harmony in the broadest sense. Liliana Rodriquez’s natural timbre and professional use of her voice ideally fit this way of thinking. A folksy method of expression complements expert voice control and proper articulation of language. Liliana presents both long ballads and brief songs in an arresting and comprehensible way.

Label: ACCENT 21147
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LEONARDO LEO: Pastorale; BERNARDO STORACE: Capriccio sopra Ruggiero; Follia; Pastorale; GIROLAMO FRESCOBALDI: 6 Partite sopra l'Aria di Follia; GAETANO GRECO: Pastorale; LUIGI VECCHIOTTI: Pifarata Napolitana; FRANCESCO LAMBARDI: Gagliarda; 3 Partite sopra Fedele; GIOVANNI DE MACQUE: Gagliarda 1; Gagliarda 2; GIOVANNI MARIA TRABACI: Gagliarda 1 detta il Galluccio; 20 Partite sopra Fedele; Galgiarda 2; ASCANIO MAYONE: 10 Partite sopra Fedele; ANONYMOUS: Tarantella (Churchbells/Campane della Chiesa, 18th Century); My Lady Carey's Dumpe (16th Century); Follia; Pastorale (1774). Liuwe Tamminga, organs (Miglionico, S. Maria Maggiore & Salandra, S. Antonio) Digging backwards in time into an area which seems poor and lacking in musical treasures, such as Basilicata today, it is possible to find surprising indications of a brilliant artistic past, which coincided with the two centuries of Spanish domination in the Kingdom of Naples. Today these indications are limited to representations of music in iconography, to chronicles and documentary evidence, and above all to the splendid organs which survive in so many churches in the territory of Lucania. We need only consider the Renaissance organ of Salandra, among the oldest still functioning in southern Italy, or the eighteenth-century jewels of Miglionico (the work of Giuseppe Rubino, of Puglia) and of Ferrandino (made by the organ-builder Pietro De Simone, of Ban). Some of these instruments, thanks to recent restorations, are again making their marvelous voices heard, and this recording offers the best evidence of this: it is an excellent idea to include the sound of the ancient church bells, which literally spread their powerful musical message, and truly contributed to the construction of the sound scope of the south of Italy in the seventeenth century.

Label: ACCENT 21149
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LES HEUREUX MOMENTS - Works for Two Flutes: Sonatas Op. 3/ in E Minor; Op. 3/ 2 in D Major; Op. 3/ 3 in B Minor; 2nd Suite of Pieces 'a duex dessus', Op. 6; 1st Suite of Pieces 'a deux dessus', Op. 4: Frank Theuns, Marc Hantai (transverse flute); Martin Bauer (viola da gamba); Ewald Demeyere (harpsichord). The Hotteterre musical dynasty, like the Bachs and Couperins, was a long one. Jacques martin (1674-1763) received his earliest training from this extensive family. He flourished at the court of Louis XIV. His flute treatises were widely read and respected. His works are most idiomatic for the instrument

Label: ACCENT 22150
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FLUTE SONATAS - BWV 1030/32/33/34/35. Bartold Kuijken, transverse flute; Ewald Demeyere, harpsichord. There is an ongoing dispute among musicologists on the chronology, original instrumentation and even authenticity of Bach’s chamber music for the transverse flute. However, this does not harm the timeless validity of these works, especially not if two musicians like Barthold Kuijken and Ewald Demeyere take care of them. Both artists show the wide scope in style of these pieces, which were written over a period of 20 years. As always, Kuijkens playing is of stunning elegance.

Label: ACCENT 22156
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BAROQUE OBOE CONCERTOS - ALESSANDRO MARCELLO: Concerto Op. I in D minor for oboe, strings and continuo; JOHANN SEBASTIAN BACH: 4 Sinfonia (BWV 156) 'Ich stehe mit einem Fuß im Grabe'; 8 Sinfonia (BWV) "Ich hatte viel Bekummernis'; 13 Sinfonia (BWV 12) "Weinen, Klagen, Sorgen, Zagen'; GEORG PHIIIPP TELEMANN: Concerto in F minor for oboe, strings and continuo TWV 51:f2; Concerto in E minor for oboe, strings and continuo TWV 51:e1; GEORG FRIEDRICH HANDEL: Concerto in G minor for oboe, strings and continuo GWV 287; ASTOR PIAZZOLLA: Oblivion. Marcel Ponseele, oboe & director; Il Gardellino. Marcel Ponseele and his ensemble present not only some of the most beautiful baroque oboe concertos but they also have a surprise up their sleeve ... Marcel Ponseele about this recording: After I had, as a child, played the oboe for a few months, my father presented me with a longplaying record of oboe concertos and symphonies by J. S. Bach. I listened to this record so oftenthat one could sow cress in the grooves. . . we need a new copy urgently. Many thanks father! In the ranks of baroque composers someone should be included, who is not chronologically quite at home there Astor Piazzolla, whose "Oblivion" overwhelms me with a feeling of timelessness, just as is the case with Bach's compositions. Hopefully dear music-lovers, that hap-pens to you as well.... Enjoy listening to it!

Label: ACCENT 23148
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THE COMPLETE ORGAN WORKS
Recerare Primo; Salve Virgo; Recercare secondo; O Stella maris; Recercada; Pardonne-moi cette folie; Madame vous avez mon coeur; Plus, ne regres; L'autre jour, pour un matin; JACOBO FOGLIANO (1468 – 1548): Recercare terzo; Recercare quarto; Recercare primo; Recercare secondo; CLAUDIO VEGGIO (ca. 1505 - ca. 1557): Recercada per b quadro del quarto tono; Recercare del promo tono; Recercada per b mol del 1o tono; Recercada prima del primo tono per b molle; Recercada per b quadro del primo tono; GIULIO SEGNI ( 1498-1561): Recercare per musica ficta in sol per la via d G sol re ut
Martellata di Chiesa, played by Cesarino Bianchi in the tower of the San Petronio Basilica
Liuwe Tamminga at the organ by Lorenzo da Prato (1471-1475) in the San Petronio Basilica in Bologna (Italy)
It is not by coincidence that Liuwe Tammingas playing conveys southern flair: for more than 20 years he has been living in Bologna, Italy. He is regarded as an outstanding specialist for Italian organ music of the 16th and 17th centuries. Needless to say that he plays only Italian instruments, such as the organ of San Petronio used for this CD. Discover the important forerunners of Frescobaldi.

Label: ACCENT 23153
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FRANÇOIS COUPERIN (1668 - 1733): Concerts Royaux (Paris 1722). Barthold Kuijken, transverse flute: Wieland Kuijken, viola da gamba; Robert Kohnen, harpsichord. Couperin wrote these intimate concerts in 1714 and 1715 when the "Roi Soleil" was seeking privacy with "Mme de Maintenon", rather then the pomp he is known for, whereas the Kuijken brothers' and Robert Kohnen's interpretation is really splendid. DIAPASON D'OR NOUVEAUTE !!!