NEW PAN CLASSICS

	GIOVANNI BRUNETTI (1706 – 1787) Label: NEW PAN CLASSICS 10077 Our Price: $19.00 Quantity in Basket: none
Stabat Mater; Plain chant; Introitus: Stabant juxta crucem; Graduale: Dolorosa et lacrimabilis est; Alleluia: O vos omnes; Communio: Felices sensus Elena Mosuc, soprano; Luiz Alves da Silva, countertenor Ensemble Turicum Giovanni Gualberto Brunetti (1706 - 1787) lived a large part of his life in Pisa, Italy, where he was director of music of the cathedral. Though he composed operas as well as other works he composed mainly for the church. According to the musicologist Paolo Peretti his Stabat Mater was more or less copied, in 1825, by Antonio Brunetti, probably a nephew of his, who changed some things, replaced three sections by his own and sold it as his own work: "Stabat Mater all'imitazione del'esimio Sig.Pergolesi". From this we might conclude that in fact Giovanni Gualberto himself had already made an imitation of Pergolesi's. Especially the first four parts have indeed a strong resemblance. Nevertheless, though Giovanni took Pergolesi's as an example, his contribution to the music is such, that it surely can be regarded as a work of his own. In this respect it is interesting too, to notice that he used a different text than Pergolesi.
	FRANCESCO ANTONIO ROSETTI (1750 – 1792): “À LA CHASSE” – WIND MUSIC FROM WALLERSTEIN Label: NEW PAN CLASSICS 10194 Our Price: $19.00 Quantity in Basket: none
Partita in F major (Murray Verz B18); Partita in E flat major (Murray Verz B13); Partita in D major (Murray Verz B2); Partita in F major (Murray Verz B21) Amphion Wind Ensemble: Xenia Löffler & Kersten Kramp, oboes; Jana Semerádová & Julie Braná, flutes; Christian Leitherer & Daniel Beyer, clarinets; Václav Luks, Miroslav Rovenský & Stefan Schaller, horns; Eckhard Lenzing & Györgyi Farkas, bassoons; Ludek Brany, double bass Antonio Rosetti (1750-1792) was extraordinarily esteemed by his contemporaries just as much as Haydn and Mozart. Especially his “celestial beautiful” setting for winds was valued and everybody admired the “enticing sound” of his music. The Amphion Bläseroktett has chosen four pieces from his 20 wind music works in various instrumentations – three of them are World Premiere Recordings. For years now the ensemble is regarded as a first choice for wind music on period instruments. Its recording communicates the charm and esprit of Rosetti’s music in a very beautiful manner.
	MARC-ANTONIE CHARPENTIER: “Le Jugement Dernier” (The Last Judgement) Label: NEW PAN CLASSICS 10175 Our Price: $19.00 Quantity in Basket: none
Ensemble Europeen William Bryd/Graham O’Reilly Catherine Greuillet & Raphaële Kennedy, soprano; Brigitte Vinson, mezzo-soprano; Ryland Angel & Emanuel Bardon, alto; Bruno Boterf, Vincent Bouchot & Adrian Brand, tenor, Alain Buet, François Fauche & Paul Willenbrock, baritone/bass; Yannick Varlet, orgue; Pascal Monteilhet, theorbo; Dominique Dujardin, cello; Philippe Couvert & Françoise Couvert, violin; Hélène Couvert-Suignard, viola In the same way as these Spiritual Exercises, it is a function of baroque sacred music to help Man become aware of his freedom with regard to salvation and sin. That is the case with the sacred music of Marc-Antoine Charpentier who, in the service of his art, offered his contemporaries meditations in music, beautiful and moving certainly, but above all intended to instruct and teach. The works recorded here, representative of the composer’s uncompromisingly individual output and aesthetic, leaning towards the Italian style in a distinctly gallican France, invite the listener to a theatrical form of self-examination, a journey of introspection and active contemplation that of Man in his freedom of choice. The Ensemble européen William Byrd is composed of some of the best solo singers of Baroque and Renaissance music in France. All the different schools of vocal music found between 1450 and 1750 are included in the Ensemble’s programs. That said, the 17th century forms the core of its repertoire: “The passage from the universal Flemish polyphonic style of the 16th to the universal Italian baroque style of the 18th century follows different routes in different countries throughout the 17th, producing music of staggering invention and daring” (Graham O’Reilly).
	DOMENICO MAZZOCCHI: Madrigali e dialoghi (Madrigals & Dialogues) Label: NEW PAN CLASSICS 10188 Our Price: $19.00 Quantity in Basket: none
Ensemble Les Paladins: Monique Zanetti & Valérie Gabail, soprano; Jean-François Lombard & Benoît Haller, tenor; Renaud Delaigue, bass; Gilone Gaubert Jacques & Guillaume Humbrecht, violone; Angélique Mauillon, harp; Rémi Cassaigne, theorbo & guitar; Isabelle Saint-Yves, viola da gamba; Thomas de Pierrefeu, violone; Jérôme Correas, harpsichord, organ & direction Borrowing their name from one of the greatest French composers, Les Paladins explore unjustly neglected repertoires, such as the great achievements of baroque music. A partner ensemble of the Versailles Centre for Baroque Music (with pieces by Desmarets, Destouches, Lully) and the Ambronay Festival (with pieces by Bernier Carissimi, Hasse), Les Paladins have also performed at the Quimper Music Weeks (Dido and Aeneas and Purcell’s Ode to Saint Cecilia), the Auvers sur Oise Festival, the Lourdes Festival of Sacred Music (with cantatas by Bach and Handel), the Jean de la Fontaine Festival at Chateau-Thierry (Lully, Porpora), the Evian Festival, the Picardy Cathedrals Festival (Handel), Les Invalides and the Palais Royal Concerts in Paris (Charpentier’s David et Jonathan, Handel’s Apollo and Daphne), Radio France, the Metz Arsenal, and in London, Geneva, Utrecht, Rome, Milan, Prague… Les Paladins continue to explore the repertoire of Italian dramatic music, both sacred and profane. Carissimi has been followed by Porpora, Hasse, Albinoni and Mazzocchi, whose numerous operas still await performance.
	VIENNESE WALTZES & POLKAS Label: NEW PAN CLASSICS 10159 Our Price: $19.00 Quantity in Basket: none
JOSEF STRAUSS: “Dynamiden” (“Geheime Anziehungskräfte”) – Waltz, Op. 173; “Frauenherz-Polka”, Op. 166; JOHANN STRAUSS: “Künstlerleben” – Waltz, Op. 316; “Eljen a Magyar” – Schnell-Polka; “Wo die Zitronen Blühen” – Waltz; “Schatzwalzer from “Der Zigeunerbaron”, Op. 418; “Wein, Weib und Gesang” – Waltz, Op. 333 (arr. Alban Berg); JOHANN & JOSEF STRAUSS: “Pizzicato-Polka” Wiener Streichsextett: Erich Höbarth, Peter Matzka, violin; Thomas Riebl, Siegfried Führlinger, viola; Rudolf Leopold, Susanne Ehn, cello; Rudolf Leopold, harmonium; Teresa Turner-Jones, piano
	RIMSKY-KORSAKOV; TCHAIKOVSKY Label: NEW PAN CLASSICS 10173 Our Price: $19.00 Quantity in Basket: none
NICOLAI RIMSKY-KORSAKOV: String sextet in A major (1876) PIOTR TCHAIKOVSKY: Souvenir de Florence, Sextet for two violins, two violas and two cellos in D minor, Op. 70 (1890) Wiener Streichsextett: Erich Höbarth, Peter Matzka, violin; Thomas Riebl, Siegfried Führlinger, viola; Rudolf Leopold, Susanne Ehn, cello
	FRANCESCO CAVALLI: L’Ormindo, Opera in a Prologue and three acts Label: NEW PAN CLASSICS 10196 Our Price: $38.00 Quantity in Basket: none
WORLD PREMIERE RECORDING of the Original version from 1644 Ensemble Les Paladins: Sandrine Piau, Magali Léger & Stéphanie Révidat, sopranos; Karine Deshayes, mezzo-soprano; Martin Oro & Dominique Visse, countertenors; Howard Crook & Jean-François Lombard, tenors; Jacques Bona & Enoît Arnould, baritones; Françoise Duffaud & Guillaume Humbrecht, violins; Isabelle Saint Yves & Emmanuelle Guigues, violas da gamba; Jean-Paul Talvard, violone; Nanja Breedijk, baroque harp; Rémi Cassaigne, theorbo & guitar; Florian Carré, harpsichord & organ Jérôme Correas, harpsichord & direction Ormindo is the third melodrama to have been born of the collaboration between librettist Giovanni Faustini and composer Francesco Cavalli. The plot, following the established code of dramatic convention, tells the story of two pairs of lovers (Erisbe and Ormindo, Sicle and Amida) as they experience reversals of fortune, disguise and a fictive death, all of which culminates in the agnizione of Ormindo as Hariadeno’s long-lost son in an incomparable coup de theatre. In Ormindo, as in the majority of Venetian operas from the same period, all is wagered upon the expressive power of the voices. It is no wonder that the instrumental accompaniment is entrusted to a string ensemble backed by a continuo. The symphonies and ritornelli, sometimes merely sketched out in the score and left to be completed by the singers during performance, have the role of giving body to the fine texture of the character’s monologues and dialogues, accompanying them throughout the vicissitudes with which they are confronted. (2 CDs)
	FRANCESCO GASPARINI (1668 – 1727) – SONATE E CANTATE Label: NEW PAN CLASSICS 10189 Our Price: $19.00 Quantity in Basket: none
Cantata a due “Sapessi almen perché”; Cantata per canto, 2 violini e basso “La Lontananza”; Sinfonia (Sonata a 3 per due violini e bc); Cantata a voce sola e basso “Chi non sa che sia morire”; Cantata a due/Dori e Daliso “Dimmi gentil Daliso” Ensemble Fons Musice: Monique Zanetti, soprano; Pascal Bertin, countertenor; François Fernandez & Stéphanie Pfister, baroque violins; Roberto Gini, baroque cello; Laurent Stewart, harpsichord; Yasunori Imamura, lute & direction Although Francesco Gasparini was, during his lifetime, not at all unknown, it is quite rare nowadays to find his name on the billings of concert halls and opera houses or in catalogues of musical recordings. Consequently, it is fitting that, by tracing his footsteps, we rediscover the music behind the name. It is an effort that will reap us rich rewards! As a young man of twenty, he is already a talented vocalist, violinist and keyboard player. He becomes organist at the Madonna dei Monti Chapel in Rome. At the same time, he is a member of the Accademia di Santa Cecilia and is probably training at the school of Arcangelo Corelli. It is here that he meets Alessandro Scarlatti, who will later send his son Domenico to Venice in order to take violin lessons with Gasparini. While still in Rome, Gasparini composes his first operas, sixty of which have come down to us today. It is also here that, in 1695, he will publish his first opus: Chamber Cantatas for Solo Voice. This genre is of special importance to him, but also for his time, since the richness of emotion that animates the opera can unfold equally within a cantata, albeit within a more intimate framework and with much more economy of space. Gasparini composed 111 cantatas for different voices and combinations of voices. One of his contemporaries relates that they are “gracious, elegant, natural and passionate”.
	MUSICALISCHE FRÜHLINGSFRÜCHTE (MUSICAL FRUITS OF SPRING) Label: NEW PAN CLASSICS 10200 Our Price: $19.00 Quantity in Basket: none
GERMAN CHAMBER MUSIC FROM THE 17TH CENTURY DIETRICH BECKER (1623 – 1679): Sonata 2 in A minor for 2 violins, viola da gamba & b.c.; Sonata 4 in A minor for 2 violins, viola da gamba & b.c.; KASPAR FORSTER (1616 – 1673): Sonata in C minor for 2 violins, violone & b.c.; Sonata in F major for 2 violins, viola da gamba & b.c. “La Sidon”; Sonata in B flat major for 2 violins, viola da gamba & b.c.; JOHANN THEILE (1646 – 1724): Sonata duplex in G minor for 2 violins, viola da gamba & b.c.NIKOLAUS ADAM STRUNGK (1640 – 1700): Sonata in D minor for 2 violins, viola da gamba & b.c.; JOHANN ADAM REINCHEN (1643 – 1722): Sonata VI in A major for 2 violin, viola da gamba & b.c.; DIETRICH BUXTEHUDE (1637 – 1707): Ciacona in E minor for cembalo & b.c. BuxWV 160; Sonata in F major for 2 violins, viola da gamba & b.c. BuxWV 269; Triosonate in C minor for violin, viola da gamba & b.c. BuxWV 262; Sonata in G major for 2 violins, viola da gamba and b.c. BuxWV 271 Ensemble CordArte: Daniel Deuter & Margret Baumgartl, violins; Hieke Johanna Lindner, viola da gamba; Andreas Arend, guitar; Markus Markl, harpsichord & organ The collection „Musicalische Frühlingsfrüchte“ (Musical Fruits of Spring) of Hamburger Ratsmusik director Dietrich Becker gave its name to Cord Arte ’s new recording. The ensemble selected from this delightful collection works by Becker contemporaries and successors, documenting very nicely the peak of North German Stylus Phantasticus during the second half of the 17th Century.
	CARL MARIA VON WEBER (1786 – 1826) Label: NEW PAN CLASSICS 10183 Our Price: $19.00 Quantity in Basket: none
Symphony No. 1 in C major, Op. 19 (J.50); Symphony No. 2 in C major (J. 51); Concertstück for Piano and Orchestra, Op. 79 Florian Krumpöck, piano Wiener Concert-Verein/Claus Peter Flor Both symphonies recorded here are early works by Carl Maria von Weber which he composed for the court orchestra of Duke Friedrich Eugen of Württemberg at his castle Carlsruhe in Silesia. These compositions are orientated towards Haydn and Mozart, as Weber disliked Beethoven’s symphonic opus. According to the arising cult around Beethoven the supposedly backward-turned Weber symphonies got out of fashion having no chance to become inherent parts of the symphonic repertoire. In fact the works are no first attempts or conservative anachronisms, but attractive musical pieces which demonstrate Weber’s sophisticated art of orchestration as well as his esprit, vitality and poetry. In contrast the popular brilliant concert piece op.79 is a rewarding challenge to the soloist Florian Krumpöck who is accompanied by the Wiener Concert-Verein directed by Claus Peter Flor.
	GEORG PHILIPP TELEMANN (1681 – 1767) – 12 FANTASIES FOR VIOLA SOLO Label: NEW PAN CLASSICS 10199 Our Price: $17.50 Quantity in Basket: none
(Original 12 Fantasies for violin without bass (1735), trans. by N. Imai) Fantasie No. 1 in E flat major; Fantasie No. 2 in C major; Fantasie No. 3 in B flat minor; Fantasie No. 4 in G major; Fantasie No. 5 in D major; Fantasie No. 6 in A minor; Fantasie No. 7 in A flat major; Fantasie No. 8 in A major; Fantasie No. 9 in E minor; Fantasie No. 10 in G major; Fantasie No. 11 in B flat major; Fantasie No. 12 in D minor Nobuko Imai, viola This recording of the Georg Philipp Telemann’s twelve fantasies for unaccompanied violin, arranged for viola and played by Nobuko Imai, is a very special musical treat. It is stunning and fascinating at the same time how clear and with what lightness such an exceptional instrument can present such complex baroque music. Georg Philipp Telemann wrote several sets of each 12 Fantasies, all between 1732 and 1735; one for the flute, for the harpsichord, for the bass viol and one set for the violin. In the Twelve Fantasias for violin without bass, 1735, elements of the sonata, the suite, or the concerto are cleverly contrasted with one another. The overwhelming creativity and fantasy Telemann shows in this set of Fantasies is flabbergasting and without any precedent. Always inspired, he never repeats himself ever, sometimes with a touching simplicity, then again extremely complex and demanding the utmost of the player. Each Fantasia contains three or four movements with one of them often being the most ‘fantasy-like’; and mostly completed with a ‘happy-end’. They can be grouped roughly in two smaller sets: one based on typical Italian habits, with virtuoso one-liners, melodious slow movements showing great interest in the higher strings, the bass line always supporting the melody. The other set is more based on French (dance) principles, where often the viola da gamba seems to have inspired Telemann: wide arpeggio’s, big intervals, double stops, polyphonic lines, and virtuosity focused on complexity of sound and composition. Nobuko Imai is considered to be one of the most outstanding viola players of our time. After finishing her studies at the Toho School of Music, Yale University and the Juilliard School, she won the highest prizes at both the Munich and the Geneva international competitions. Having formerly been a member of the esteemed Vermeer Quartet, Ms. Imai now combines a distinguished international solo career with teaching at the Conservatories in Amsterdam and Geneva, where she is a Professor.
	HENRICO ALBICASTRO (1661 – 1730) – 12 CONCERTI A QUATTRO, OP. 7 Label: NEW PAN CLASSICS 10124 Our Price: $38.00 Quantity in Basket: none
Concerto I in F major; Concerto II in D major; Concerto III in C major; Concerto IV in C minor; Concerto V in G minor; Concerto VI in B flat major; Concerto VII in B minor; Concerto VIII in D major; Concerto IX in G major; Concerto X in E minor; Concerto XI in A major; Concerto XII in F minor Collegium Marianum – Collegium 1704 Ricardo Masahide Minasi, principal violin; Vaclav Luks, harpsichord & direction The name Henrico Albicastro (1661-1730) is an italianized form of the composer's actual German name: Johann Heinrich von Weissenburg. Albicastro came from Bieswangen in central Bavaria, near Pappenheim, not far from the village of Weissenburg ("White Castle", thus "Albicastro"). Weissenburg spent many years in the Spanish Netherlands. In 1708 he was promoted to the rank of cavalry captain in the State army. He fought in the last years of the War of the Spanish Succession (1701-1713). He remained active in this position until 1730, the last that is heard of him. Weissenburg was a fairly productive composer. The most publications of his music were issued the time immediately preceding his service in the Dutch army. The pieces issued between 1701-1706 under the pseudonym Albicastro by the Amsterdam music publisher Estienne Roger are a rather compact series of nine opuses. They comprise collections of violin sonatas (opp.2, 3, 5, 6 and 9), trio sonatas (opp.1, 4 and 8), and string concertos (op.7) in a decidedly Italianate idiom (i.e. that of Corelli), but slightly more angular and with occasionally more unexpected turns. The succession of movements almost always follows the 'church sonata' sequence, with four movements arranged in the order slow, fast, slow, fast. First movements seem at times somewhat capricious given their succession of short fragments in contrasting tempos and characters. (2 CDs)
	AGOSTINO STEFFANI (1654 – 1728) – CANTATAS, DUETS & SONTATAS Label: NEW PAN 10131 Our Price: $19.00 Quantity in Basket: none
“Porto l’alma incerita”; “E fino a Quando o padre” (Amor vien dal destino, 1709); “Sonata a tre” No. IV in B flat major for 2 violins and b.c.; “Inquieto mio cor” (Duet); Cantata “Fileno, idolo mio”, for soprano, 2 violins and b.c.; Sonata for violin and b.c. in G major; Cantata “Il più Felice e sfortunato amante” for alto, 2 violins and b.c.; “Crudo Amor, morir mi sento” (Duet) Monique Zanetti, soprano; Pascal Bertin, countertenor Fons Musicae: François Fernandez, Ghislaine Wauter, Stéphanie Erös, violin; Rainer Zipperling, violoncello and viola da gamba; Naoki Kitaya, harpsichord; Yasunori Imamura, theorbo, baroque guitar and direction Agostino Steffani (1654-1728) – composer as well as diplomat and bishop – was one of the most remarkable figures in late-17th and early-18th century Europe. He composed about 20 operas, most of them before 1700. It was, however, his numerous chamber duets in cantata form – following, with considerable melodic and structural distinction, the models of Luigi Rossi, Giacomo Carissimi, and Alessandro Stradella – that won for Steffani a European reputation. (with 2009 Catalog)
	MEIN HERZ IST BEREIT – GERMAN SOLO CANTATAS FOR BASS, VIOLIN AND B.C. FROM THE 17TH CENTURY Label: NEW PAN CLASSICS 10211 Our Price: $19.00 Quantity in Basket: none
NICOLAUS BRUHNS (1665 – 1697): Mein Herz ist bereit (psalm 57, 8-12); DIETERICH BUXTEHUDE (1637 – 1707): Sonata BuxWv 272; FRANZ GUNDER (1614 – 1667): Canzona for organ; Salve coelestis pater; JOHANN HEINRICH SCHMELZER (1623 – 1680): Sonata IX in A minor; JOHANN PACHELBEL (1653 – 1706): Ach Herr, wie ich meiner Feinde so viel (psalm 3); ANON: Sonata in D minor for viola da gamba and basso continuo (Lübeck, 2nd half of 17th century); JOHANN ROSENMULLER (1649 – 1684): Lauda Jerusalem (psalm 147, 12-20); JOHANN KRIEGER (1651 – 1735): Fantasia for harpsichord in C major; JOHANN PHILIPP KRIEGER (1649 – 1725): Sonata prima in C major; HEINRICH IGANZ FRANZ BIBER (1644 – 1704): Nisi Dominus aedificaverit domum (psalm 127, 1-5) Peter Kooij, bass; CordArte The particular circumstances at the time of the cultural break-up that began in the German speaking region after the end of the “Thirty Years’ War” (1618-1648) are more strongly anchored in the musically historical consciousness today than they were even a few years ago. This is above all thanks to historically informed performance. It has won back the old playing techniques, through which music from the second half of the 17th century, in all its density of expression and sensuality imported from Italy, is able to be newly experienced. In the vocal works for bass, violin and basso continuo, which appear in the middle of this CD, the practice optimum manifests itself: as a rule, a qualified violinist ranked among the forces which were at the disposal of the organists of that time who were entrusted with church music. And equally, some singers, who had earlier distinguished themselves as a treble soloist in the school choir, brought many years of experience of virtuoso ornamented song, as well as a deep bass voice, to the choir gallery after their voices broke.
	HANDEL; TAKEMITSU; ETC Label: NEW PAN 10195 Our Price: $19.00 Quantity in Basket: none
ELEGIA GEORG FRIEDRICH HANDEL (1685 – 1759): Lascia ch’io pianga (arr. for viola by Toshi Hosokawa) TORU TAKEMITSU (1930 – 1996): “A String Around Autumn” (arr. for viola by T. Hosokawa) AKIRA NISHIMURA (*1953): Fantasia on “Song of the Birds” HIKARU HAYASHI (*1931): Viola Concerto “ELEGIA” ICHIRO NODAIRA (*1953): EN PLEIN AIR pour Alto (2003) JOHANN SEBASTIAN BACH (1685 – 1750): “O Mensch, bewein dein Sünde Gross” (arr. by T. Hosokawa for viola and piano) Nobuko Imai, viola Roland Pöntinen, piano Orchestra of the Conservatoire Supérieur and the Académie de Musique Tibor Varga/Gábor Takács-Nagy Nobuko Imai is considered to be one of the most outstanding viola players of our time. After finishing her studies at the Toho School of Music, Yale University and the Juilliard School, she won the highest prizes at both the Munich and the Geneva international competitions. Having formerly been a member of the esteemed Vermeer Quartet, Ms. Imai now combines a distinguished international solo career with teaching at the Conservatories in Amsterdam and Geneva, where she is a Professor. In addition to an impressive list of over 40 CD recordings for BIS, Chandos, EMI, Hyperion, Philips and Sony, Nobuko Imai has appeared with prestigious orchestras such as, Berlin Philharmonic, the Royal Concertgebouw, Vienna Symphony, Stockholm Philharmonic, London Symphony Orchestra, the BBC Orchestra, Boston Symphony, and the Chicago Symphony.