COVIELLO CLASSICS
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Label: COVIELLO 20903 Our Price: $19.00 Quantity in Basket: none SACRED MUSIC FROM THE ERA OF WILHELM VON DER PFALZ-NEUBURG (1658 – 1716) JOHANN HUGO VON WILDERER (1670 – 1724): Mass in G minor for four voices, strings and b.c.; “Quando Jesus adest” from “Modulationi sacrae”, Op. I, 1-10, solo motet for two to four voices, strings and b.c.; “Custodi me”; “Te Deum” for four voices, four trumpets, timpani, bassoon, strings and b.c. CARLO PIETRO GRUA D. Ä. (ca. 1665 – 1726): Cantata for Easter “Alleluja fideles plaudite” for five voices, two trumpes, strings and b.c.; “Laetatus sum”; “Beatus vir” (Psalm 111), Motet for Choir for four voices, strings and b.c. It was a golden age in Düsseldorf – during his nearly 40-year reign, the regent Johann Wilhelm of Palatinate (1658-1716), an art and music enthusiast who was affectionately called "Jan Wellem" by his people, was responsible for a blossoming of Baroque cultural life. The music at his court, which was equally extravagant on both secular and sacred occasions, was performed by the best musicians from the German-speaking world and Italy and could compete with that of the Emperor in Vienna or Louis XIV in Versailles. The Neue Düsseldorfer Hofmusik brings the former splendor to life again. During the festivities celebrating Jan Wellem's 350th birthday in 2008, the ensemble presented numerous concerts with music from his sphere. Now a new CD has been released featuring compositions by two of the most important protagonists of that day – sacred works by Johann Hugo Wilderer and Carlo Luigi Pietro Grua, both of whom were in the service of Jan Wellem for many years, give an authentic impression of the church music heard in Düsseldorf. |
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Label: COVIELLO 20904 Our Price: $38.00 Quantity in Basket: none LUDWIG VAN BEETHOVEN (1770 – 1827) Sonata for Violin and Piano No. 4 in A minor, Op. 23 Sonata for Violin and Piano No. 5 in F major, Op. 24 "Spring" Sonata for Violin and Piano No. 9 in A major, Op. 47 "Kreutzer" TWO VERSIONS ON AUTHENTIC AND MODERN INSTRUMENTS "The idea is to demonstrate the difference in sound with the two pairs of instruments using the same interpretational approach. We don't actually play differently, but the instruments make different music out of it." Gerrit Zitterbart sums up an unusual contribution to the discussion of authentic performance practice – Matthias Metzger and he take the logical approach and dare to experiment with direct comparison. The works recorded in two versions on this CD include Beethoven's celebrated Kreutzer Sonata and the scarcely less popular Spring Sonata, along with its rarely played sister work, the A minor Sonata, Op. 23. The instruments are, first of all, a fortepiano from the year 1795 and a 1761 violin with gut strings, and secondly, a modern grand piano and a violin with wire strings. The result – fascinating music in a double listening experience of a unique kind. |
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Label: COVIELLO 21111 Our Price: $19.00 Quantity in Basket: none ARTISTS: Compagnia di Punto |
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Label: COVIELLO 21202 Our Price: $38.00 Quantity in Basket: none ARTISTS: Linard Bardill, German narration/ John Holloway, English Narration/Mathias Kleiböhmer, conductor/ Orchestre Le Phénix. (2 CD Set) |
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Label: COVIELLO 21205 Our Price: $19.00 Quantity in Basket: none ARTISTS: Thomas Fritzsche (Viola da Gamba), Shalev Ad-El (Pianoforte/ Harpsichord) |
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Label: COVIELLO 51204 Our Price: $19.00 Quantity in Basket: none ARTISTS: Matei Varga, piano. Laura Buruiana, cello. |
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Label: COVIELLO CLASSICS 20701 Our Price: $19.00 Quantity in Basket: none ANONYM/PETRUCCI AUS ‘ODHECATON” (1503): Dit le Bourgignon; CANCIONERO DE UPPSALA: Verbum caro factum est; Ay luna que reluzes; ANONYM (ca. 1470): L’Homme Armé; ANONYM (ca. 1520): Tourdion; MICHAEL PRATORIUS (1571 – 1621): Pavane d’Espaigne; FRANCISCO DE LA TORRE (ca. 1500): Danza Alta; LUIS DE NARVAEZ (1490 – 1547): Diferencias sobre “Mille regretz”; TILMAN SUSATO (1500 – 1562): Pavana “La Battaglia”; THOINOT ARBEAU (1520 – 1595): Belle qui tiens ma vie; CANCIONERO DE PALACIO (ca. 1500): L’amor, dona, ch’io te porto; LUIS DE MILAN (1500 – 1561): Pavana y Galliarda; PHILIPPE DE VERDELOT (ca. 1480 – 1545): Italia mia; CANCIONERO DE LA COLUMBINA (ca. 1510): Propignan de Melyor; FRANCISCO GUERRERO (1528 – 1599): Gloria from the mass “Simile est regnum caelorum”; Hombres, Victoria!; HIRONYMUS PARABOSCO (1524 – 1557): Da pacem, Domine; LIBER USUALIS: Antiophon Requiem aeternam; ANTONIO DE CABEZON (1510 – 1566): Si par souffrir; LUDWIG SENFL (1486 – 1543): Non moriar; JOHANN WALTHER (1496 – 1570): Ein feste Burg ist unser Gott; JOSQUIN DESPREZ (1450 – 1521): In te, domine, speravi; ANONYM (ca. 1500): Adoramoste, Senor Capella De La Torre: Katharina Bäuml, shawms & Dulcian; Birgit Bahr, shawms, dulcian, recorder; Detlef Reimers, sackbut; Annette Hils, bass dulcian & recorder; Nora Thiele, percussion; Sebastian Knebel, organ & regal Music played an important role in the life of Kaiser Karl V. (1500-1558) - his court orchestra was considered to be one of the best of its time. Karl ruled an almost worldwide realm from Spain, including colonies in America, as well as the culturally important Flanders. The emphasis of this new recording is on ceremonial wind music, which was popular, particularly in Spain, at spiritual and secular events alike. However, the program also describes the Kaiser's biography. From the Flemish music of his youth to an anonymous requiem from the year of his death, fifty exciting years of music history are studied. The Cappella de la Torre provides a colorful interpretation of the music of Spain's golden years on their unusual sounding double reed instruments. |
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Label: COVIELLO CLASSICS 20713 Our Price: $57.00 Quantity in Basket: none Max Emanuel Cencic; Mariselle Martinez; Matthias Rexroth; Netta Or; Mirko Roschkowski; Andreas Post Neue Düsseldorfer Hofmusik/Andreas Stoehr; Live recording A very little known opera by Christoph Willibald Gluck – written prior to his revolutionary works which led to stirring discussions with the traditionalists in Paris around 1770. Yet in Ezio already, first performed in Prague in 1750, early indications of Gluck’s new dramatic art are recognizable: the characters appear more three-dimensional and conceivable than was customary in the baroque opera; music and plot are closer interlinked. The Neue Düsseldorfer Hofmusik has become renowned for its authentic interpretation of 18th century music – in collaboration with Andreas Stoehr and an ensemble of declared specialist singers like the countertenors Max Emanuel Cencic and Matthias Rexroth, this new recording enables listeners to rediscover Gluck’s very nearly forgotten treasure of early classical opera. (3 CDs) |
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Label: COVIELLO CLASSICS 20811 Our Price: $19.00 Quantity in Basket: none BARTOLOMEO TROMBONCINO (1470 – 1535): Ostinato vo sequiré; FRANCISCO GUERRERO (1528 – 1599): Ave virgo sanctissima; A un niño llorando al hielo; Pastores si nos queries; Los Reyes siguen la estrella; Al resplandor d’ una estrella; SEBASTIANO FESTA (14?? – 1524): Vergine sacra; PEDRO ESCOBAR (1465 – 1535): Virgen bendita sin par; ROSSINO MANTOVANO (beginning 16th cent.): Lirum bilirum lirum lirum; ANON. (Cancionero de Uppsala): Dadme albrícias; Yo me soy la morenica; Alta Reina soberana; Señores el ques nasçido; Falalalan falalala; Que farem del pobre Joan; Rey a quien reyes adoran; Riu, riu Chiu la guarda ribera; E la don don; ANON. (Cancionero de Colombina): Reyna muy esclarescida; A los maytines era; ANON.: Bella de vos son amoros; Vos virgen soys nuestra madre; No la devemos dormer; Un niño nos es nasçido; Verbum caro factum est; Qué bonito Niño chiquito!; Neapolitanisch traditionell Quando nascette nino Capella de la Torre/Katharina Bäuml Even centuries ago, Christmas was something for the heart. Although the birth of Christ is not the highest festival in the church year, it has always been the most important for the people. Already during the Renaissance, the magic of light during the dark season of the year and the moving story of the Savior who came into the world in a manger with poor shepherds were grounds for the intense feelings expressed in a rich body of songs throughout Europe – particularly in the Mediterranean countries. Composers took up this folk style and adapted it in elaborate arrangements. Villancicos, Spanish peasant songs from the 15th and 16th centuries, are featured on this new recording, along with Renaissance songs from various regions of Italy. Capella della Torre, which has been highly acclaimed for its previous recordings, presents a Christmas spirit of a different kind on its new CD, impressively accompanied by period instruments. |
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Label: COVIELLO CLASSICS 20909 Our Price: $19.00 Quantity in Basket: none JOHANN SEBSTIAN BACH (1685 – 1750) – TENORE & TRAVERSO ARIAS FOR TENOR, TRANSVERSE FLUTE & BASSO CONTINUO: Lass, o Fürst der Cherubinen BWV 130/5; Erschüttre dich nur nicht, verzagte Seele BWV 99/3; Duetto III BWV 806; Ach! ich bin ein Kind der Sünden BWV 806; Das Blut, so meine Schuld durchstreicht BWV 78/4; Ach ziehe die Seele mit Seilen der Liebe BWV 96/3; Frohe Hirten, eilt, ach eilet BWV 248/15; Benedictus BWV 232/24; Jesus nimmt die Sünder an BWV 113/5; Wo wird in diesem Jammertale BWV 114/2; Erbarme dich BWV 55/3; Fughetta super Fughetta super: Allein Gott in der Höh’ sei Ehr Manualiter, from Clavierübung part 3, BWV 677; Ermuntre dich: dein Heiland klopft BWV 180/2; Sonata II e-minor for flute an b.c., BWV 1034 Tenor and transverse flute – a combination virtually predestined for giving voice to Baroque themes, particularly the great Johann Sebastian Bach's highly individual style of expressing sacred subjects with thoroughly secular exuberance. In his vocal works, Bach almost always assigns the role of the announcer and interpreter of divine truth to the tenor parts; they are on a par with the great Baroque operas in their technical and musical demands. The versatile transverse flute is the consummate partner, now providing a pastoral idyll with a mellow tone, now supporting heavenwards soaring with virtuoso runs, then spinning out long, expansive cantilenas. Daniel Johannsen and Annie Laflamme achieve this symbiosis on their new Coviello CD and demonstrate that even – and especially – in an intimate ensemble one can sense the tremendous breadth of Bach's musical cosmos. |
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Label: COVIELLO CLASSICS 20911 Our Price: $38.00 Quantity in Basket: none GIAN FRANCESCO DE MAJO (1732 – 1770): Alessandro, opera seria in tre atti The 1760s were a time of reorientation for opera – more musical drama rather than a loose succession of brilliant circus numbers for the singers was the aesthetic goal of many composers, among them Christoph Willibald Gluck. The Neapolitan Gian Francesco de Majo (1732-1770) adopted the reform approach and had the good fortune to work in Mannheim from 1764-1766 with the best orchestra of that day. His opera Alessandro was premiered in Mannheim in 1766. Based on a traditional story about Alexander the Great, Majo's musical setting is far from conventional, however. The close interlocking of dramaturgical elements and sophisticated treatment of the orchestra create a new tonal idiom, without forcing the ensemble of singers to forego bravura arias. The Mannheim National Theatre has made this treasure available to audiences again in a production of the highest artistic standard. (2 CDs) |
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Label: COVIELLO CLASSICS 21001 Our Price: $19.00 Quantity in Basket: none MICHEL CORRETTE (1707 – 1795) – LES DÉLICES DE LA SOLITUDE 6 Sonatas for violoncello & b.c., Op. 20 The cello enjoyed a rapid rise during the 18th century, particularly in France. Still largely unknown in 1700, within only a few decades it became an extremely popular solo instrument. One of the first to recognize this was the composer, musician, teacher, and publisher Michel Corrette (1707-1795). In 1741 he published the first instruction manual for cello playing in France – his detailed performance directions and explanations are still a rich source for 18th-century music history. Corrette thus knew his subject well, and he put this knowledge of the technical possibilities and tonal characteristics of the cello into practice musically. In 1739 he published a collection of six sonatas entitled Les Délices de la solitude in which he makes the sound facets of the instrument sparkle. The highly acclaimed ensemble Bassorum vox performs in variable combination on a variety of historical bass instruments. It is one of the few ensembles that have taken on the challenge of researching and performing more obscure literature. The members of Bassorum vox performed with or under the direction of Masters of early music such as Jordi Savall, Rolf Lislevand, Philippe Pierlot, Lorenz Duftschmid, Christophe Rousset, Patrick Cohen-Akeninen, Lars Ulrik Mortensen, Anton Steck and Gottfried von der Goltz. |
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Label: COVIELLO CLASSICS 21012 Our Price: $19.00 Quantity in Basket: none Veni, veni Emmanuel; O Heiland, reiss die Himmel auf; Riu riu chiu; Nova! nova!; Marien wart ein bot gesant; Es kommt ein Schiff geladen; Noel nouvelet; Weihnachtsapfel nos 1&2; Der Morgenstern ist aufgedrungen; On Christmas Night; Ein Kind geboren; Entre le boeuf et l’ane gris; Masters in this Hall; Playford Christmas Medley-Coventry Carol; Fum fum fum. |
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Label: COVIELLO CLASSICS 21013 Our Price: $38.00 Quantity in Basket: none Rameau’s Les Paladins (1760), while subtitled “Comédie lyrique in three acts,” is actually a virtuosic mixture of serious and comic operatic traditions (comédie lyrique, tragédie lyrique, opera buffa, pastorale, morality tale, farcical parody) which, when combined with its much misunderstood ironic allusions, irritated the public at the time of its first performance. Perhaps this complexity is what makes this work especially fascinating today, and available now for the first time on CD, with Konrad Junghänel leading a superb cast of performers. 2-DISC, LIVE RECORDING! |
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Label: COVIELLO CLASSICS 21105 Our Price: $19.00 Quantity in Basket: none ARTISTS: Johannes Weiss, tenor, bFIVE Recorder Consort. |
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