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Label: DORON 4022 Our Price: $15.75 Quantity in Basket: none ARTISTS: Ricardo Odnoposoff, violinist; Orch. Symphony De Radio Geneve/ G. Rivoli |
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Label: GLOSSA 30405 Our Price: $38.00 Quantity in Basket: none JOHANN SEBASTIAN BACH Suites for solo cello (BVW 1007-1012) Adapted to the viola da gamba This release is a revelation. At last we have a complete transcription of Bach's wonderful cello suites for viola da gamba and performed by one of the leading gambist in the world today. By the time you read this, these discs will have already garnered many awards along with Editor's Choices. NO dry cello sound here, rather the warm, gorgeous and sensual sound of the viola da gamba. Absolutely amazing. ( 2CD ) |
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Label: GLOSSA 30409 Our Price: $19.00 Quantity in Basket: none Uno (Toccata di tutti musici); Due (sopra Las Vacas); Tre (Passemezzo… nei boschi del Re); Quattro (Anchor che col partire); Cinque (…che col partire…); Sei (sopra Canaryo); Sette (Toccata del Signor Pandolpho); Otto (sopra l’anticho canto de La Spagna); Nove (Toccata del Signor Gharrydo); Dieci (sopra Passemezzo moderno); Undici (Doulce Memoire); Dodici (Dialogo sopra un Pass’emezzo); Tredici (Dolce Memoria); Quattordici (Fonliandalus); Quindici (Toccata del Signor Morhiny) Paolo Pandolfo is one of those rare artists who does not give into the temptation of establishing a regular and frequent rhythm of making new recordings – except, in his case, when he feels that he has something really relevant and new to say. If, in some way, this sets him apart and places him on the fringes of the record market, it does guarantee on the other hand a sense of timelessness and durability for his artistic work. His dazzling virtuosity and a musicality that knows no bounds transforms him into a true reference marker in an early music world that grows more predictable by the day. And now, after nearly two years of silence, Pandolfo gathers round him a group of friends in order to create something which has practically been lost among the performers of “classical” music, victims of a wasting process that has become almost ingrained: improvisation. Turning back to a tradition which in the 16th and 17th centuries counted upon practitioners as famous as Diego Ortiz, Christopher Simpson and Girolamo Della Casa and that continued with significant names such as Frescobaldi, Corelli, Mozart and Brahms, these musicians unleash their imagination to regale us with eighty minutes of touching beauty and an unusual freedom. What we have here is a journey across musical structures which are mainly late-Renaissance ones, from dance ostinato basses (Pass’e mezzi, Folías, Canarios, Vacas) to the Fantasies for a solo instrument, from improvisations on a cantus firmus (La Spagna) to the alla bastarda style, based on polyphonic compositions (Anchor che col partire, Doulce Memoire)… Truly delightful. |
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Label: GLOSSA 30508 Our Price: $19.00 Quantity in Basket: none Gnossienne nº 1; Gnossienne nº 2; Gnossienne nº 3; Gnossienne nº 5; Danse de travers III; Gnossienne nº 4; Air à faire fuir I; Danse de travers I; Air à faire fuir II; Danse de travers II; Petite ouverture à danser; Gnossienne nº 6; Première pensée rose-croix; Gymnopédie nº 1; Caresse; Gymnopédie nº 2; Air à faire fuir III; Gymnopédie nº 3; Sarabande nº 1; Le fils des étoiles: L’initiation Patrick Cohen, piano Érard |
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Label: GLOSSA 30804 Our Price: $19.00 Quantity in Basket: none JOHANN SEBASTIAN BACH – MUSIC FOR SOLO FLUTE Cello suites transcribed by Wilbert Hazelzet Partita for flute (a minor), BWV 1013 Suite for cello nº 1 (G major), BWV 1007 Suite for cello nº 2 (b minor), BWV 1008 Suite for cello nº 3 (C major), BWV 1009 ‘In the leaden fatigue of our everydayness I was shaken as I listened to your music, I centred my attention on something extraordinary that happened inside me. A delightful feeling overwhelmed me, cut me off, though I knew not what caused it. And it transformed the vicisitudes of life into nothing, its disasters became harmless and its brevity became illusory, much in the way that love affects one, filling oneself with its prized essence; but, to put it clearer, that essence was not in me, rather we were one and the same thing. I no longer felt mediocre, unimportant and mortal.’ (Proust/Ortega) This is a CD of pure poetry. The most poetic music interpreted by the most poetic of performers. The essence of Bach in a recital that is sure to hypnotize the listener from the first note to the last... After being out of print for quite a few years –although like a true cult recording, innumerable pirate copies have made the rounds among devotees– the Glossa Platinum collection now offers us the perfect opportunity to once again present this gem in an innovative and evocative format, a revised edition in which the original essays by Wilbert Hazelzet and Reduán Ortega have been included. |
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Label: GLOSSA 30917 Our Price: $19.00 Quantity in Basket: none |
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Label: GLOSSA 31401 Our Price: $19.00 Quantity in Basket: none THE MARRIAGE OF ENGLAND AND SPAIN Winchester Cathedral, 1554 BENDINELLI: Levet (2) MORALES: Jubilate Deo omnis terra; Pater noster; O sacrum convivium AP RHYS: Kyrie TAVERNER: Gloria, Missa Gloria tibi Trinitas; Credo, Missa Gloria tibi Trinitas; Sanctus, Missa Gloria tibi Trinitas; Agnus Dei, Missa Gloria tibi Trinitas CABEZON: La dama le demanda GOMBERT: Jouissance vous donnerai SERMISY: Tant que vivray Plainchant: Introitus; Graduale; Prefatio; Communio; Postcommunio |
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Label: GLOSSA 31407 Our Price: $19.00 Quantity in Basket: none ARTISTS: Ensemble Plus Ultra, Michael Noone, direction Atalanta Fugiens is considered by many to be the most beautiful and the most thought-provoking emblem book of all time, with an author in Michael Maier (1568-1622) who was a celebrated alchemist and physician at the court of the Emperor Rudolf II in Prague. In the final eight years of an eventful and much-travelled life, Maier created a series of illustrated alchemist works, among which Atalanta Fugiens is undoubtedly the most important. Part of the fascination which this work has aroused stems from its tripartite nature: from a visual perspective with all its engraved emblems, as a musical work comprising fifty compositions, identified as „fugues‟, which run through the publication and accompanying the images, and as a purely textual activity in the form of a volume of epigrams and alchemic commentaries. Additionally, Atalanta Fugiens provides part of the backdrop to an understanding of the spiritual Rosicrucian movement which flourished during the first decades of the 17th century, especially in the German principalities. The musical pieces, of an extremely antiquated nature even for that time, consist of canons in two parts above a cantus firmus; Michael Noone and his Ensemble Plus Ultra perform them in their entirety and in the order in which they appear in the book. What emerges through the centuries across this book is a hypnotic disc, one that is unclassifiable yet extraordinarily evocative. |
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Label: GLOSSA 31510 Our Price: $19.00 Quantity in Basket: none Art of the Fugue: For one keyboard- Contrapunctus 1-10- Canon al roverscio et per augmenationem; For two keyboards- Contrapunctus 11-14 – Fuga a tre soggetti Fabio Bonizzoni, harpsichord & Mariko Uchimura, harpsichord (tracks 13 – 17) |
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Label: GLOSSA 31901 Our Price: $19.00 Quantity in Basket: none Salve flos Tuscae gentis; Apostolo glorioso, da Dio electo; Imperatrix angelorum; Alma Redemptoris Mater (I); Gaude Virgo, Mater Christi; Ecclesiae militantis; Anima mea liquefacta est; Vasilissa, ergo gaude; Salve Regina; Inclita stella maris; Alma Redemptoris (II); Balsamus et munda cera; Juvenis qui puellam; Flos florum; Nuper rosarum flores Laura Fabris & Maria Teresa Nesci, soprano; Alena Dantcheva, soprano & harp; Fabio Furnari & Giuseppe Maletto, tenor; Gianluca Ferrarini, tenor & organ; Marco Scavazza, baritone; Guido Magnano, organ; Marta Graziolino, harp; Svetlana Fomina & Efix Puleo, fiddle; David Yacus, sackbut; Mauro Morini, trumpet & sackbut; with: Sveva Martin, soprano; Livio Cavallo, tenor; Margret Köll, harp; Davide Rebuffa, lute The cube made with matches which appears on the cover of this disc, showing on flames in the inside of the digipak and afterwards completely burnt, plays with the ideas that inspire this dazzling recording: the four ways to the knowledge of numbers through the Quadrivium (arithmetic, geometry, music and astronomy), which are expressed through something as ephemeral as sound, where also the unexpected and the emotion of the moment take place. A long essay by Guido Magnano introduces us to the fascinating world of numeric relationships, tunings and architecture applied to music, concepts that we discover, in all their magnificence, in the music of Guillaume Dufay. Let us just remember that Dufay put music to the consecration of the awesome cathedral of Florence, with that marvelous dome built by Brunelleschi that today, after more than five hundred years, still overwhelms us with its immense beauty. This work of art rendered by Cantica Symphonia, one of best kept secrets of the performing elite of these beginnings of the 21st century, is a truly moving experience. On this recording, approached from the beginning as a great tribute to science, Dufay’s motets sound as they never did before, with the wise incorporation of instruments where the score is claiming them, with that perfection engraved with humanity that only the greatest can transmit, with a music and an interpretation that are far beyond the fashions of the moment. A full celebration of the eternal expressed through the ephemeral... |
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Label: GLOSSA 31902 Our Price: $19.00 Quantity in Basket: none Salve flos Tuscae gentis; Apostolo glorioso, da Dio electo; Imperatrix angelorum; Alma Redemptoris Mater (I); Gaude Virgo, Mater Christi; Ecclesiae militantis; Anima mea liquefacta est; Vasilissa, ergo gaude; Salve Regina; Inclita stella maris; Alma Redemptoris Mater (II); Balsamus et munda cera; Juvenis qui puellam; Flos Florum; Nuper rosarum flores On this recording, approached from the beginning as a great tribute to science, Dufay’s motets sound as they never did before, with the wise incorporation of instruments where the score is claiming them, with that perfection engraved with humanity that only the greatest can transmit, with a music and an interpretation that are far beyond the fashions of the moment. A full celebration of the eternal expressed through the ephemeral... |
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Label: GLOSSA 31903 Our Price: $19.00 Quantity in Basket: none Tempio dell’Onore e delle Vertù – Chansons Guido Magnano, organ; Svetlana Fomina & Efix Puleo, fiddle; Marta Graziolino & Margret Köll, harp – Michele Pasotti, lute Giuseppe Maletto, direction After the extraordinary success of their first recording of motets by Guillaume Dufay (Quadrivium), Cantica Symphonia now turn to the composer’s secular output on this second CD, before the planned third installment which will complete the corpus of motets... “This CD, which contains an anthology of chansons by Guillaume Dufay dated between 1415 and 1435, including in particular all of Dufay’s secular compositions with Italian texts, was recorded at the church in Colletto, on the hill outside the city of Pinerolo. [...] It was Stanislao Cordero di Pamparato, himself from Piedmont, who first discovered evidence of Dufay’s stay at Pinerolo in documents relating to the Court of Savoy. [...] In these documents, Cordero di Pamparato also came upon a reference to an opera staged in Pinerolo in the presence of the dukes for the carnival of 1439. It was entitled Tempio dell’Onore e delle Vertù and was clearly a moralité, a type of allegorical, edifying theatrical performance fashionable at the time. Although no specific evidence has been found of Dufay’s possible participation in this, Cordero suggests that his role at the court is itself evidence. We have included this suggestion here not as an attempt to reconstruct a (hypothetical) musical involvement in the event, but because the association with the title Tempio dell’Onore e delle Vertù sheds new light on Dufay’s secular work prior to 1440. [...] It is Dufay’s work itself that suggests that this title might well be interpreted from a perspective not too far removed from the emerging humanist philosophy. As a matter of fact, the ‘Temple of Honour and Virtues’ existed as a real building in ancient Rome, on the via Appia...” |
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Label: GLOSSA 31904 Our Price: $19.00 Quantity in Basket: none Supremum est mortalibus bonum; Rite maiorem Iacobum canamus; O beate Sebastiane; O sancte Sebastiane; Minerva; Aver regina celorum; Magnam me gentes lauda paciare, Ave virgo, que de celis; Fulgens iubar ecclesie dei; Mirandas parit hec urbs florentina puellas; O gemma, lux et speculum; O proles Yspanie; Moribus et genere Cristo coniuncte; Ave regina celorum With this disc, Giuseppe Maletto and Cantica Symphonia complete their ‘Dufay trilogy’ on Glossa: two volumes of motets and one of chansons (Tempio dell’Onore e delle Vertù, GCD P31903). These musicians (singers and instrumentalists), many of them members of the various configurations of La Venexiana, represent the best possible interpreters today for communicating this timeless and moving music: motets indelibly linked to the power struggles that, in the first half of the fifteenth century, convulsed the politics of European powers and of the Roman Catholic Church - with the Church’s great Councils, attended by Guillaume Dufay, as the settings for glorious and evocative compositions. This new release sees Cantica Symphonia traversing all the currently attributed motets by Dufay - works written to set the seal on historic occasions as well as those with liturgical texts. The accompanying essay admirably captures the pervasive fifteenth century currents of Humanism and religious splendor. |
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Label: GLOSSA 31905 Our Price: $19.00 Quantity in Basket: none ADRIAN WILLAERT (ca. 1490 – 1552): Ave Maria, gratia plena | JEAN MOUTON (ca. 1459 – 1522): Ave fuit prima salus; O Maria, virgo pia | JOSQUIN DES PREZ (ca. 1450/55 – 1521): Gaude virgo mater Christi | FRANCISCO DE PENALOSA (ca. 1470 – 1528): Sancta Maria istud agas | HEINRICH ISAAC (ca. 1450 – 1517): Alma redemptoris mater, Sub tuum praesidium; O praeclarissima | LUDWIG SENFFL (ca. 1486 – 1542/43): Virgo prudentissima | FRATER PETRUS: Ave Maria; Ave regina caelorum | CARLO GALANTE (*1959): Stella del nostro mar | YAKOV GUBANOV (*1954): Benedicta et venerabilis After completing their original trilogy devoted to Guillaume Dufay (two volumes of motets and one of chansons) and before setting out on their next large-scale project, Giuseppe Maletto and Cantica Symphonia reduced their ensemble to its vocal core and arranged themselves in front of the microphones – in order to make what quite possibly will be the most personal disc of their careers. The result was a series of intimate sessions made across 2007 and 2008, all of them in that acoustic in which they have been rehearsing, performing and recording for many years (the Piedmontese church of the “Colletto” – the scene of plenty of La Venexiana’s recordings too), with Maletto and his singers delivering for us an anthology of motets and laude inspired by the Virgin Mary, many of them hitherto little-known. To the Renaissance compositional voices of Mouton, Isaac, Willaert and Peñalosa are joined for this occasion two living composers, Carlo Galante and Yakov Gubanov, with works written especially for Cantica Symphonia. An excellent and original a capella disc, performed by one of today’s most invigorating early music ensembles. (4 CDs) |
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Label: GLOSSA 31906 Our Price: $19.00 Quantity in Basket: none ANTOINE BUSNOIS (attrib., 1430 – 1492) – L’HOMME ARMÉ L’homme, l’homme (instrumental, from Sanctus – Mass I); Kyrie (Mass VI); L’homme armé (instrumental, from Hosanna – Mass II); Gloria (Mass VI); Doibt on doubter (instrumental, from Christe – Mass III); Credo (Mass VI); On a fait partout crier que chascun se viengne armer (instrumental, from Hosanna – Mass IV); Sanctus (Mass VI); d’un haubregon de fer (instrumental, from Agnus Dei I – Mass V); Agnus Dei (Mass VI) Laura Fabris, Francesca Cassinari, Lorenza Donadini, Maria Teresa Nesci, sopranos; Gianluca Ferrarini, Raffaele Giordani, Giuseppe Maletto, tenors; Fabio Furnari, tenor; Marco Scavazza, Mauro borgioni, baritones David Yacus, Mauro Morini, sackbuts; Guido Magnano, organ; Svetlana Fomina, Efix Puleo, fiddles Cantica Symphonia/Giuseppe Maletto A notable manuscript from the late 15th century, housed today in Naples, contains a cycle of six cantus firmus masses all based on the chanson L’homme armé which can be regarded as a treatise on polyphonic composition as well as providing even more examples of masses based on this ubiquitous theme. Whilst surviving virtually complete the Naples manuscript has alas been shorn of its rich illuminations, losing along the way the identity of the composer of this unparalleled masterpiece from the late 15th century, although some scholars are inclined to believe that it was Antoine Busnois (1403-1492), a leading musical figure at the Burgundian Court of duke Charles the Bold, but whose compositional output remains little recorded. Armed with their own artistic insights and detective work and an unfailing grasp of the musical language of the 15th century (witness their three discs of music by Guillaume Dufay on Glossa and the more recent a capella Stella del nostro mar album) Giuseppe Maletto and the musicians of Cantica Symphonia unlock the enigma of this “L’homme armé” masses, unveiling a real treasure of an early Renaissance musical masterpiece. A full performance of the sixth Mass is interspersed with fragments – played instrumentally – from the preceding five and complemented by a contemporary Magnificat setting. |
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