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Selailu 71 tuotteet
Image Quatuors Op. 33 & 42
27,16 € (33,95 €)
Image Harmonie & Turcherie
Zefiro / Alfredo Bernardini

Harmonie & Turcherie: around the year 1800, Western music was experiencing a merging of two phenomena. On one hand was the success of a particular ensemble of wind instruments, boosted by the foundation of the royal and imperial Harmonie by Emperor Joseph himself in Vienna in 1782, the core of its repertoire being arrangements of famous opera arias; on the other, the fashion for orientalism, reflected in different expressions of the arts: painting, sculpture, architecture and music.

The typical octet of the Harmonie, consisting of pairs of oboes, clarinets, horns and bassoons, was therefore reinforced by louder wind instruments such as trumpets, trombones, a contrabassoon or a cimbasso, as well as an array of percussion instruments - together, they could evoke the military bands of the highly feared Janissaries.

That sound fascinated the most eminent composers of the time, including Haydn (Joseph and his younger brother Michael), Mozart, Rossini, Donizetti (Gaetano and his elder brother Giuseppe, active at the Ottoman court), Mendelssohn, Schubert, and Spohr, all of whom wrote small, little-known masterpieces for this particular band. Zefiro presents us with a varied programme by these composers, alternating Turkish marches with chamber music works in a more operatic and deeper vein, thus revealing the versatility and colours of period wind instruments.


15,96 € (19,95 €)
Image Occhi belli, occhi neri
Soledad de la Rosa, soprano
Ensemble Mare Nostrum
Andrea De Carlo

One of the most productive and versatile of Italian composers, Marco Marazzoli is remembered today principally for his part in the development of Roman opera. Or maybe not even that, seeing that his output is represented in current record catalogues by only a few scattered entries, amongst which the recording of La Fiera di Farfa by Vincent Dumestre (Alpha 172) is the most significant. And yet Marazzoli, who lived in the shadow of three great popes, is one of the most significant Roman composers of the mid-seventeenth century.

Besides which, his compositional skill, the originality of his style and the freshness of his melodies put him on a par with the greatest names of the Baroque era. For his debut album on the Arcana label - after three successful recordings issued on Ricercar and Alpha - Andrea De Carlo and his Ensemble Mare Nostrum explore one of the most noteworthy areas of his output: the secular cantata.

The scale of his production (379 items!) places Marazzoli among the big names in the history of the genre. The characteristics that distinguish these works are the stunning originality of the melodic lines that anticipate the great arias that will appear years later, and a great variety of form, style and subject. A good singer himself, he probed the vocal skills of his performers, which is why his music requires a sophisticated vocal technique for works where legato, coloratura, and extreme vocal ranges combine to delight the listener.


15,96 € (19,95 €)
Image Six Violin Sonatas, Op. 4
15,96 € (19,95 €)
Image Ayres & Songs from Orpheus Britannicus; Harmonia S
It is an important moment in the life of a singer when she is able to confront the standard repertory. After years spent studying theatre and music in Shakespeare's England under the guidance of musicologist Philip Brett, Jill Feldman recorded two programmes of Henry Purcell's music in 1992, reissued here as a double CD. Many of the ‘Ayres and Songs’ from Orpheus Britannicus are connected to the English theatrical tradition. In the earliest piece on this CD, ‘From Silent Shades’, and the latest, ‘From Rosy Bow'rs’, we hear one theatrical tradition – placing the voice of truth in the mouth of a madman. In the same way, we hear the wisdom of Touchstone in As You Like It, of Feste in Twelfth Night, and of King Lear's Fool. This programme, superbly accompanied by lutenist Nigel North, searches for that wisdom throughout. In the Harmonia Sacra recording, Purcell’s sacred hymns are interspersed with his complete organ works played by Davitt Moroney, with whom Jill Feldman had collaborated ever since their meeting in 1975 as part of Philip Brett’s ensemble at Berkeley in California. The organ is an exquisite instrument built by Purcell’s contemporary, Thomas Dallam (1677), which resides in the small village of Guimiliau in Brittany.

27,16 € (33,95 €)
Image Pieces de Clavessin en Manuscrits
15,96 € (19,95 €)
Image Hildebrandston: 15th-Century German Songbooks
15,96 € (19,95 €)
Image Musikalisches Opfer
15,96 € (19,95 €)
Image Laudarium
It was the St. Francis of Assisi, who developed the Lauda except as a religious liturgical song. The edition with two albums released again presents some of these medieval Laude, in which is revealed the popular piety of the Middle Ages in a musical way. For his productions, the special ensemble La Reverdie took into account the time the first pieces of a Florentine manuscript. The Lauda, a musical-poetic genre first developed by Saint Francis of Assisi, is the oldest Historically and remains one of the most remarkable expressions of Italian popular musical culture from the Middle Ages to our day. In this double CD set presents a rich and La Reverdie VARIED anthology of Italian monophonic Laude from the two principal sources of this repertoire: the manuscripts of Cortona (about 1270) and Florence (1320), centered on the main themes common to both: the cult of the Virgin Mary and the devotion of the Saints. Along with recorded performances of many pieces from the Florence manuscript never before recorded, the two CD set includes a presentation booklet with detailed introductory essays Illustrating the methods of musicological research Involved in the reconstruction of this repertoire, as well as its continuing social, historical, cultural and religious Significance, upon Which La Reverdie Has founded its unique interpretive approach.


27,16 € (33,95 €)
Image Missa Galeazescha. Music for the duke of Milan
During the reign of Duke Galeazzo Maria Sforza (1444-76), Milan experienced an extraordinary musical era. In the 1470s, the Duke set out to form a ‘famous and worthy choir’, recruiting a ‘goodly number of singers from beyond the Alps and from various countries’. He soon assembled a musical ensemble that boasted some of the most celebrated musicians in the Franco-Flemish polyphony of the day, from Italy and beyond.

The Duke brought into being a new kind of polyphonic mass, a cycle of motets called missales to replace the traditional ordinarium, with texts attributing special importance to the worship of Our Lady of Grace and Mercy, much beloved by the Sforza family.

A masterpiece of the genre is the so-called Missa Galeazescha for five voices, composed by Loyset Compère and performed here by an ensemble inspired by the impressive size of Galeazzo Maria Sforza’s cappella. This recording brings together four vocal instrumental groups.

15,96 € (19,95 €)
Image Venetian Oboe Concertos
Using a rare original instrument made by Giovanni Maria Anciuti (the most remarkable woodwind instrument maker active in Italy in the first half of the eighteenth century) and dated 1730, Alfredo Bernardini offers us a reference anthology of Venetian Baroque oboe concertos, ranging from favourites like Marcellos Concerto one of the most performed oboe concertos in the repertoire to true rarities like Bigaglias, recordedhere for the first time.The new oboe invaded all European countries by the year 1700, just a few decades after its invention in France. All composers and listeners were fascinated by its flexibility, versatility and a sound that came very close to the human voice. In the same period Venetian composers developed the solo-concerto, a new musical form that would become a privileged standard until our modern times, in which one instrument is in the foreground in a larger group mostly consisting of strings and basso continuo. The two novelties were very soon associated and the amount of Venetian concerti for oboe written between 1715 and 1735 make an impressive milestone in the repertoire of this instrument.


15,96 € (19,95 €)
Image Estro Poetico-Armonico
With a selection from Benedetto Marcello’s Estro poetico-armonico, a monumental musical setting of the first fifty psalms, the first edition of which was accompanied by letters of praise from such musicians as Telemann, Mattheson and Bononcini, L’Amoroso finds an original way of celebrating its initial passion, the Italian repertory with viola da gamba, of which the ensemble has made a speciality at the instigation of Guido Balestracci. The artistic project here renews the group’s ties with the centrality of melody, the dialogue between voices and instruments, and experimentation with vocal sound. The two singers, the ductile and sensitive soprano Caroline Pelon and the alto Melodie Ruvio with her deep tone-colours, appear in both solo and duet formation. A sonata from the composer’s op.2, testifying to the taste for the viola da gamba typical of Baroque culture in Venice, completes this recording, a new collaboration between the ensemble and Outhere that also marks the debut of L’Amoroso and Guido Balestracci on the Arcana label.

15,96 € (19,95 €)
Image Vertù contra furore (3CD)
31,96 € (39,95 €)
Image Sonatas for Cello and Continuo
15,96 € (19,95 €)
Image Lux in tenebris
One of the most talented singers of the new generation brings to light four gems for soprano and orchestra belonging to the great eighteenth -century tradition of Neapolitan sacred music.

The three composers are representative of as many generations of an industrious dynasty: Francesco Feo (1691-1761) was the uncle of Gennaro Manna (1715-79), who in turn was the uncle of Gaetano (1751-1804). Comparison between their scores allows us to observe the extraordinary development from the austerity of the late Baroque to the elegance of the galant style.

The Lamentations by the two Mannas were part of the liturgy of Holy Thursday (Officium tenebrarum), whereas Feo’s La sinderesi, a sorrowful meditation on sin and contrition, belongs to the form of the spiritual cantata and points to a private devotional environment. The short and bright Gloria by Gennaro Manna crowns the programme, symbolising the final achievement of a dimension of redemption and eternal salvation. All the pieces are characterised by the typically Neapolitan taste for purity of voice, with restrained virtuosity and radiant expressivity.

This is the third instalment of the new series devoted to Neapolitan music, in collaboration with the Neapolitan Centro di Musica Antica - Fondazione Pietà de’ Turchini.

15,96 € (19,95 €)
Image Water Musick; Wassermusik
Zefiro has already proved its strong affinity with Georg Philipp Telemann’s music, and the ensemble’s recording of his Ouvertures a 8 (Arcana A 371) was awarded a Gramophone Editor’s Choice. As Julie Anne Sadie pointed out, ‘the much-vaunted lean muscularity of the Ensemble Zefiro performances favours the wind instruments and, when joined with one-to-a-part strings, produces a freshly balanced sonority that alters our experience of these works’. The 250th anniversary of Telemann's death offers now a neat incentive to re-release this successful recording – originally issued on the Ambroisie label – on which his Wassermusik, generally referred to as Hamburg Ebb and Flow, is coupled with Handel’s more familiar aquatic suites. Both are occasional pieces composed within a few years of each other, the former written to celebrate the centenary of the Admiralty in Hamburg, and the latter for royal water parties on the Thames. Unlike Handel’s work, Telemann’s suite attempts to evoke images of water, aided by references in the titles to scenes and characters associated with the sea, and may therefore be considered as ‘programme music’.

15,96 € (19,95 €)
Image Toccate per Cembalo
15,96 € (19,95 €)
Image Se Con Stille Frequenti
In the Baroque period, the duetto da camera, usually conceived for two equal voices and continuo, was an important form of vocal chamber music, of which innumerable examples are found in the works of composers associated with Venice, the leading protagonist in the history of this genre. Venetian Sara Mingardo is joined by a large group of young, talented solo female voices (Silva Frigato, Lea Desandre…) in this amazing project, where masterpieces by the leading composers of the time have been entrusted to the voices best suited to highlight the respective particular musical content. Included in this recording are several previously unpublished and unperformed works, which have been newly transcribed and edited by the harpsichordist Edward Smith. At the heart of the programme, Sara Mingardo leaves her colleagues for a moment to appear as soloist in Fuggi pur, o crudele by Francesco Lucio, a splendid and typical lamento recorded here for the first time and destined to become a big hit.

15,96 € (19,95 €)
Image The Two Christmas Cantatas
15,96 € (19,95 €)
Image Chamber Music
Kuijken Ensemble

One quartet, three sonatas, Syrinx, and that basically sums up Claude Debussy's chamber music, as the rest does not amount to much. Pioneers of the historically informed practice movement, the Kuijken clan is mostly known for their excellent Baroque and Classical recordings, and it is therefore quite astonishing to find them tackling the chamber music of Claude Debussy, in what represents indeed the most advanced incursion in their extensive discography. In his performance remarks, Sigiswald Kuijken rejects any form of "historic or historicising or historically authentic Debussy", but the instruments that they have chosen are all either originals from his lifetime or copies thereof, and one has only to listen to the well-known Syrinx, performed by his younger brother Barthold on an Auguste Bonneville instrument of 1910 to realize that these don't come off sounding like 'modern' performances. After a long time out-of-print, we're happy to announce that this album is back with new artwork.


15,96 € (19,95 €)
Image Historia Sancti eadmundi
15,96 € (19,95 €)
Image Toccate d'intavolatura di cimbalo et organo
Rinaldo Alessandrini, harpsichord & organ

On the occasion of the 400th anniversary of the publication of Primo Libro di Toccate (1615), Arcana is proud to make this reference recording of Girolamo Frescobaldi's most popular work available again.

Here, Rinaldo Alessandrini shows to full advantage his well-known skills as keyboard virtuoso as well as his familiarity with the madrigal repertoire of the time, so important for a proper approach to this revolutionary book, whose basic elements are the affetti and where rhetoric became the interpretive key.

Two period Italian instruments are used here, making it possible to rediscover the colours appropriate to Frescobaldi's music: a harpsichord attributed to Celestini - the latest research apparently proves that it is not by this builder and that its construction dates from around 1650 - preserved in the Gemeentemuseum in The Hague; and the restored organ (c.1630), in the church of S Maria del Carmine in Brescia.



27,16 € (33,95 €)
Image Le Coeur & l'Oreille - Manuscript Bauyn
The Bauyn Manuscript, a key collection of seventeenth century harpsichord and other music, displays the influence of various schools of composition on the writing and performance of the great clavecinistes of the mid- seventeenth century. The recording includes works of Chambonnières and Louis Couperin, displaying their different styles which led Le Gallois (1680) to write that "one touched the heart and the other touched the ear", as well as other contemporary composers such as Hardel and d'Anglebert. The Denis harpsichord of 1658 is the extraordinary protagonist of this recording, in which Giulia Nuti explores the expressive capacities of one of the earliest extant French double-manual harpsichords, displaying how instrumental refinement enables performance choices. The approach is that of Giulia Nuti's award-winning first solo recording of eighteenth -century French harpsichord music, Les Sauvages, recorded on the Taskin of 1788, which received a Diapason d'Or. Hearing this music through the voice of the Denis harpsichord accesses the sound world in which these pieces belong and should be understood.

15,96 € (19,95 €)
Image Figures of Harmony
Presented in a stylish 4-CD box set, here is a comprehensive recording of one of the most enigmatic manuscripts in the history of European music, preserved in the museum at the Chateau de Chantilly, France.'Anything that can be sung, can be written in music notation,' claimed an anonymous treatise on notation in the late fourteenth century. The harmonies thus 'captured' on parchment represent an apex in Western music, associated with the wealthiest courts in Christendom, called 'decadent' by some. Various elements of improvisation - avant-garde dissonance, astonishing rhythmic complexity, arching, lyrical melisma - meld into musical forms which test the boundaries of late Gothic sensibilities.Here are love songs for the End of the World: a time of deadly plague, devastating earthquakes, endless war, disintegrating religion, and the explosion of science and measurement.



47,96 € (59,95 €)
Image Knights, Maids & Miracles - The Spring of Middle A
In August 1986 two pairs of young sisters (Claudia and Livia Caffagni, and Elisabetta and Ella de Mircovich) founded the ensemble La Reverdie. The name, derived from a poetic genre that celebrates the return of Spring, reveals perhaps the principal trait of a group that, for 30 years now, has captivated audiences and critics alike for the variety in its approach to the vast and varied musical repertoire of Middle Ages and early Renaissance. To mark this anniversary, Arcana has brought together in a single release all of the themed projects that, over the years, La Reverdie has devoted to various aspects of Medieval culture. From the image of femininity to courtly love, from the music in Medieval thought to the symbolism of light and darkness, each theme developed in this musical collection- an excellent introduction to Medieval music- explores specific repertoires from different points of view, either geographical or literary and philosophical. A journey of discovery that, by virtue of the issues addressed and the freshness of their approach, gives the listener the idea that music in Middle Ages is a fantastic kaleidoscope of sounds and words which reflect the spirit of the time. The history of Europe itself resounds in this anthology of music between 13th and 15th centuries; Latin and vernacular poetry, as well as monody and polyphony, voices and instruments feature a colorful and bright artistic landscape.

36,40 € (45,50 €)
Image Carmina Burana / Sacri Sarcasmi
15,96 € (19,95 €)
Image Alfabeto falso
After the success of ‘L’ultimo romano’, his album of music for archlute from the 1718 collection of the Roman composer Giovanni Zamboni, Simone Vallerotonda presents something totally new with his Baroque ‘power trio’ I Bassifondi: ‘Alfabeto falso’. Their debut album is devoted to Italian and Spanish music for guitar and theorbo from the first half of the seventeenth century. A little-known repertory, characterised by rhythmic oddities and harmonic extravagances that challenge those of contemporary jazz. Ordinary ‘alfabeto’ (alphabet) was the system used by guitarists of the period to mark chords: each letter corresponded to a single chord. But, in the ‘false alphabet’, those letters which were marked with a slash indicated chords containing dissonances, often very bold. The trio, comprising guitar/theorbo, percussion instruments and colachon, reconstructs an ensemble typical of the seventeenth century. Breathtaking rhythms, ‘dirty’ chords, improvisations and variations: these are the colours they seek to convey in their sound. The beauty and the challenge of this disc lie precisely in providing an interpretation that respects everything notated in the score, and in the choice of arrangements and timbres. This music sounds modern and perhaps slightly provocative to us, but all of it was written around 1640!

15,96 € (19,95 €)
Image Cifras Imaginarias
A leading vihuela specialist, the Argentinian virtuoso Ariel Abramovich has already devoted two albums to the favourite instrument of the Iberian Renaissance, the first on Arcana (Esteban Daça, El Parnasso, A316, 2002) and the second on Carpe Diem (Diego Pisador, Si me llaman, 2009). For this third instalment he is joined by one of the world’s most respected and innovative solo lutenists, Jacob Heringman, for a vihuela duo project which is the result of years of research and performing. While there is a significant number of publications for two lutes from the sixteenth century, only one of the seven collections for vihuela de mano includes duets, and it is precisely that collection that was the main source of inspiration for this project. The performers, both highly experienced with intabulations of sixteenth-century music, decided to recreate an ‘imaginary’ book of vihuela duets, following the taste and practice of the ancient masters, who through a notation system of ‘numbers’ used to arrange works by the composers they listened to and played. Cifras Imaginarias is the poetic name they have given to an imaginary music collection of vihuela duos of the kind that might have been published in the mid-sixteenth century.

15,96 € (19,95 €)
Image San Giovanni Crisostomo
Ensemble Mare Nostrum / Andrea de Carlo

The reputation of 'San Giovanni Battista', by far Alessandro Stradella's best-known and most recorded work, has so far overshadowed the rest of his surviving oratorio output, amounting to a total of six works. Unlike the most representative masterwork, San Giovanni Crisostomo, here released for the first time, was conceived for more intimate resources and yet perfectly expresses the modernity of the oratorio genre as it appeared in the second half of the 17th century. Sacred and moral themes are combined with political, social, and sometimes erotic ones, and the subject, libretto and music interact on multiple levels with surprising boldness and freedom.

Stradella masterfully presents the eternal conflict between lust for power and the vanity of life through a wide variety of expressive solutions and the refined dramatic and psychological characterization of the two protagonists, Saint John Chrysostom and Eudosia.



15,96 € (19,95 €)
Image Sonatas and Variations for the piano
The legendary Viennese pianist has issued a new recording (October 2008) of five piano masterworks by Joseph Haydn, on the occasion of the bicentenary of his death. Johann Schantz’s fortepiano from Badura-Skoda’s collection, which has been used for this recording, is the most appropriate instrument available today for interpreting Haydn’s music. In a letter to Marianne von Genzinger dated 4 July 1790, Haydn refers to Johann Schantz as “the best pianoforte maker”. The booklet contains notes (in four languages) by Badura-Skoda himself.

15,96 € (19,95 €)
Image Li due Orfei
Angélique Mauillon
Marc Mauillon

Florence, 1600: Giulio Caccini and Jacopo Peri, two virtuoso singers and rival compo-sers. Striving to rediscover the expressive powers of ancient Greek tragedy, they re-volutionized the art of singing and created a new style, which eventually would give birth to opera. In reaction to Renaissance polyphony, these monodies were intended to be sung with the simple accompaniment of a plucked intsrument in order to express the full range of human passions. Peri and Caccini would often accompany them-selves but they would also perform with certain family members. Thus brother and sister in this duo follow most naurally a tradition passed on by those great musicians.


15,96 € (19,95 €)
Image Sonate à flauto solo
Lorenzo Cavasanti
Sergio Ciomei, Caroline Boersma

Vivaldi wrote for the recorder practically throughout his composing life, from the youthful little sonata RV 52 to the much more complex concerto RV 441 written in old age. While the five recorder concertos are among his most popular works, with a long list of recordings (among which that of Dorothee Oberlinger and the Sonatori de la Gioiosa Marca - Arcana A334 - stands out), Vivaldi's output of sonatas has curiously attracted very little attention and has never been the subject of a specific investigation.

Lorenzo Cavasanti fills this major gap by offering us the first complete recording of the sonatas for recorder and basso continuo, including Vivaldi's recently discovered Sonata RV 806. This recording also provides an opportunity to sample the various recorders used in Vivaldi's Venice, with each of the seven sonatas using a different instrument, from the soprano recorder to the bass. The result is a reference recording for followers of Vivaldi and recorder players alike, enhanced with liner notes by the authoritative Federico Maria Sardelli, author of Vivaldi's Music for Flute and Recorder (Aldershot, Ashgate, 2007, translated by Michael Talbot) and editor of the Vivaldi Catalogue (RV).

Lorenzo Cavasanti has earned an international reputation as a concerto soloist performing with many leading ensembles and orchestras including Le Concert des Nations (Jordi Savall), Accademia Bizantina (Ottavio Dantone), I Sonatori della Gioiosa Marca, L'Europa Galante (Fabio Biondi). With the latter he recorded the Concerto in G minor Op. 10 No. 2 RV439, "La notte" (Virgin Classics).


15,96 € (19,95 €)
Image El Parnasso
15,96 € (19,95 €)
Image The Night of Saint Nicholas: A Medieval Liturgy fo
Winter feasts like the Latin Saturnalia and the Germanic Yule, airborne gift-giving figures like the Norse Odinn Jolnir, the Slavic Ded Moroz, the Dutch Sinterklaas: from time immemorial December skies have been rather busy. Pagan patterns were readapted to Christianity – and a canonised bishop from fourth-century Asia Minor, Nikolaos, whose feast occurred near the winter solstice, merged with another bearded benefactor. Wotan’s hood and Nicholas’s mitre were mixed up, and by the nineteenth century Santa Claus was ready to don new red and white robes and to deliver toys on both sides of the Atlantic. The pieces on this recording (mainly from a thirteenth-century English manuscript) belong to the liturgy for the eve of the Feast of St Nicholas: they allude to his picturesque feats, such as the rescue of three needy maidens or the taming of a storm. Readings and additional songs come from the repertory associated with this widely popular saint, celebrated throughout the Middle Ages from Italy to Iceland. Originally released in 1998, this joint performance by La Reverdie and Cantori Gregoriani received enthusiastic reviews in several music magazines: ‘For those who want to enjoy some of the best liturgical singing this is highly recommended’ (Early Music, 1999).

15,96 € (19,95 €)
Image Santa Editta
Ensemble Mare Nostrum / Andrea De Carlo

With this third installment of the Stradella Project, Andrea De Carlo and Ensemble Mare Nostrum continue the exploration of the oratorio output, following the recent rediscovery of San Giovanni Crisostomo.

An historical figure from the 10th century, Edith of Wilton was an English nun of noble birth, and legend has it that she refused the opportunity of taking the throne, causing the aversion of a faction of nobles.

The title role of Stradella’s oratorio, Edith is disputed between various allegorical characters: on the one hand Humiltà, pushing her to a chaste monastic life, on the other hand the mundane figures of Grandezza, Bellezza, Nobiltà and Senso, all inviting her to become Queen and enjoy the pleasures of life. In the end, Edith will ignore the strong arguments submitted by the latter in favour of the advice from an arrogant Humiltà, a sort of alter ego of the Queen who was not to be.

The Argentine soprano Verónica Cangemi offers us an emotional portrayal of the title role, surrounded by a distinguished cast, including Francesca Aspromonte as Nobility, Gabriella Martellacci as Greatness, Fernando Guimaraes as Beauty, Sergio Foresti as Sensuality, and Claudia Di Carlo as Humility.

As in previous installments, recording was made within the framework of the Alessandro Stradella International Festival in Nepi, the composer’s birthplace.

15,96 € (19,95 €)
Image Sonate a violino e violone o cimbalo
The Italian Ensemble Aurora will celebrate their thirtieth anniversary in September of 2016. Since their very first concert in 1986, the ensemble has been particularly interested in the music of Arcangelo Corelli. It is only fitting that this is the music chosen to commemorate a long and successful career. + Previous recordings of Corelli’s music have garnered them critical acclaim as well as several international prizes. + Particularly notable on this recording is the inclusion of Corelli’s Sonatas Op. V. The perfect synergy of the ensemble represents a milestone recording which will be a model for many performers and listeners.

27,16 € (33,95 €)
Image Cantadas de Pasión
15,96 € (19,95 €)
Image Sei Suonate à Cembalo certato è Violino Solo, BWV
The violinist Chiara Zanisi works with the finest early music ensembles, notably the Amsterdam Baroque Orchestra under Ton Koopman, with whom she has just finished a long tour performing the Six Brandenburg Concertos. She now devotes her first solo recording to Johann Sebastian Bach’s Six Sonatas for Harpsichord and Violin. Alongside her is Giulia Nuti, among the most brilliant harpsichordists and scholars in Italy, whose solo CD Les Sauvages: Harpsichords in pre-Revolutionary Paris (DHM) won a Diapason d’Or, among other awards. The kernel from which this project grew is their strongly shared idea that, in addition to great stylistic richness and invention, Bach’s music possesses an aura of magic and an almost divine form. Thus, in this valuable and elegant reading, it is clearly their intention to underline in the simplest way the grandeur of the writing. Even the choice of sound aesthetic, beautifully realised under the supervision of Fabio Framba, opts for the ‘real’ with a ‘pure’, ‘speaking’ sound, warm and full of harmonics. The attractions of this precious version of the Six Sonatas, played on a G. Gagliano violin of 1761 and a harpsichord by K. Hill, are enhanced by a bonus track: the Cantabile, un poco Adagio from the early version of Sonata VI in G major.

19,96 € (24,95 €)
Image Ouvertures à 8
Zefiro Baroque Orchestra
Alfredo Bernardini

Recorded in the bright acoustics of the Teatro Bibiena in Mantua ("the most beautiful theatre in the world", according to Leopold Mozart), Zefiro's second release on the Arcana label is devoted to the colourful world of Telemann's Overtures (i.e. Suites). The three masterworks presented here highlight the unique quality of this versatile ensemble - formed by the oboists Alfredo Bernardini and Paolo Grazzi, and the bassoonist Alberto Grazzi - specialising in eighteenth-century works that give particular prominence to wind instruments.


15,96 € (19,95 €)
Image Sei partita à violino
When, in 1720, Bach assembled the series of Sonata and Partitas, he could rely on the experience of other composers in this genre. After the Six Partitas (1715) by Johann Joseph Vilsmayr, Gunar Letzbor pursues his exploration of the German repertoire for the unaccompanied violin before Bach with the Six Partitas by Johann Paul von Westhoff. Westhoff deserves a prominent place in the history of music: his Six Partitas are the earliest collection of suites for unaccompanied violin, printed in 1696. They were a likely inspiration for the Sonatas and Partitas of Bach who, during his first short stay in Weimar (summer of 1703), had the chance of meeting Westhoff who, in his later years, served at the Weimar court of Duke Johann Ernst of Saxe-Weimar. Liner notes by the authoritative Gregory Barnett and by Gunar Letzbor himself.

15,96 € (19,95 €)
Image Orlando Furioso: Madrigals on Ludovico Ariosto’s
15,96 € (19,95 €)
Image Ferita D’Amore (Wounded by Love)
15,96 € (19,95 €)
Image Dalmatica - Chants of the Adriatic
Josko Caleta & Katarina Livljanic
Dialogos

Behind the hundreds of islands and history of wars, the Croatian coastal region of Dalmatia hides endless musical treasures. In this powerful musical fresco, four female singers of Dialogos and six traditional cantors from Croatia explore the richness of Dalmatian musical traditions, at the boundaries of Roman Catholic and Byzantine worlds since the Middle Ages. Between rare gems from Latin manuscripts, and polyphonic Glagolitic chants from the coastal, insular and hinterland regions of Croatia, this recording reveals a tradition of the liturgical year going from Advent to Holy Week and invites us to discover this small country on the Adriatic Sea, with its rich and ancient musical roots born between the Western and Eastern Roman Empires.

15,96 € (19,95 €)
Image Concerti per fagotto
Alberto Grazzi, Ensemble Zefiro

According to Greek mythology, Zefiro was the tender and kind God of the Western Wind. In 1989, the oboists Alfredo Bernardini and Paolo Grazzi, and the bassoonist Alberto Grazzi, members of the most outstanding baroque orchestras, founded Zefiro, a versatile music group specialising in the eighteenth-century repertoire that gives particular prominence to wind instruments. Since then, Zefiro has performed at many major worldwide festivals and recorded 20 Cds, including the complete works for wind ensemble of W. A. Mozart, all virtuosic sonatas of J.D. Zelenka (Astrée), and three instalments of the distinguished Vivaldi Edition on Naïve. After a long-term collaboration with Sony Classical/Deutsche Harmonia Mundi, this new Vivaldi recording marks the beginning of an exclusive partnership of the Italian ensemble with Arcana, which will result in a true Zefiro series, characterised by its own artwork, focused on new releases but whose task will also be to make their discography still available. Antonio Vivaldi was (and has remained) the most productive composer of concertos for solo bassoon. Thirty-nine concertos for solo bassoon, strings and basso continuo by him have survived. As a group, they are noteworthy for their high musical quality, their stylistic maturity and their depth of feeling, a property shared with Vivaldi's concertos for the cello. Vivaldi shows perfect understanding of the mercurial temperament of the instrument, which is able in an instant to move from the comic to the tragic, from the melancholy to the joyful. An active player on the early music scene for the last 25 years, Alberto Grazzi is presenting here seven concertos from the enormous corpus of the Venetian composer. This selection, with 4 concertos in major and 3 in minor keys, represents Alberto Grazzi's personal choice in showing the expressive qualities of the bassoon in Vivaldi's world. This work is the result of a Alberto Grazzi's long-term practise as a baroque player, here magnificently supported by the Ensemble Zefiro.


15,96 € (19,95 €)
Image Nel Giardino di Partenope
Ten years after the success of the Neapolitan cello concertos, accompanied by the Ensemble 415 conducted by Chiara Banchini (Zig Zag Territoires), Gaetano Nasillo comes full circle with this collection of Neapolitan cello sonatas, a worthy sequel to the previous recording. Best known for its contributions to vocal music, Naples was also one of the birthplaces of the modern violoncello: the programme provides a fascinating overview of the Neapolitan repertoire for the instrument from its onset at the end of the 17th century to the second half of the 18th century. It offers a good balance between well-known composers of the Neapolitan School (Pergolesi, Porpora) and less familiar cellist-composers (Alborea, Lanzetti, Supriani, Pericoli) who established new standards in cello technique that would define the later cello repertoire through these cellists successes in France and England.


15,96 € (19,95 €)
Image Premier livre de sonates
With the participation of: Rinaldo Alessandrini, Pascal Monteilhet, Maurizio Naddeo A shadowy, unstable and misanthropic character, died mysteriously from a knife wound inflicted by an unknown assailant, Jean-Marie Leclair is the real creator of the French violin school and one of the greatest violinists of the Eighteenth Century. His prolific output, almost exclusively devoted to the violin, consists of a series of collections of sonatas published throughout his lifetime, in which stand out 48 sonatas for violin and bass (four volumes). The First Book of Sonatas for Solo Violin with Basso Continuo dates from 1723 and represents Leclair’s first publication. Four sonatas are performed here by Fabio Biondi, one of the most authoritative Baroque performers, joined by an all-star continuo group featuring Rinaldo Alessandrini, Pascal Monteilhet and Maurizio Naddeo.

15,96 € (19,95 €)
Image Arias for Nicolino
The violinist Chiara Zanisi works with the finest early music ensembles, notably the Amsterdam Baroque Orchestra under Ton Koopman, with whom she has just finished a long tour performing the Six Brandenburg Concertos. She now devotes her first solo recording to Johann Sebastian Bach’s Six Sonatas for Harpsichord and Violin. Alongside her is Giulia Nuti, among the most brilliant harpsichordists and scholars in Italy, whose solo CD Les Sauvages: Harpsichords in pre-Revolutionary Paris (DHM) won a Diapason d’Or, among other awards. The kernel from which this project grew is their strongly shared idea that, in addition to great stylistic richness and invention, Bach’s music possesses an aura of magic and an almost divine form. Thus, in this valuable and elegant reading, it is clearly their intention to underline in the simplest way the grandeur of the writing. Even the choice of sound aesthetic, beautifully realised under the supervision of Fabio Framba, opts for the ‘real’ with a ‘pure’, ‘speaking’ sound, warm and full of harmonics. The attractions of this precious version of the Six Sonatas, played on a G. Gagliano violin of 1761 and a harpsichord by K. Hill, are enhanced by a bonus track: the Cantabile, un poco Adagio from the early version of Sonata VI in G major.

15,96 € (19,95 €)
Image The Fiery Genius: Neapolitan Instrumental Music
The central role of Naples in the history of vocal music has so far overshadowed a rich tradition of instrumental music; only in recent years has musicological research begun bringing it to light once more, demonstrating that Naples also played a crucial role in the field of instrumental music, no less relevant than other centres more often associated with this repertory, such as Rome and Venice. This CD presents a voyage of discovery into a musical heritage that is even less known, but of the highest value. The new project conceived by Enrico Gatti focuses on the specific scoring for three or four violins (without viola) and continuo which was so typical of the Neapolitan School. Precious gems are unearthed here (including the only solo violin sonata by Giovanni Carlo Cailò, in its first modern recording), and this programme makes many different exponents of Neapolitan instrumental composition accessible to a wider public, from the generation of Pietro Marchitelli (slightly older than Corelli) and Giovanni Carlo Cailò to Francesco Paolo Supriani, Angelo Ragazzi, Nicola Fiorenza and Leonardo Leo – contemporaries of Bach, Tartini and Locatelli, yet who are revealed as possessing a completely different style, at a time when Naples was one of the great European capitals. The musical forms range from church sonatas in the strict style to concertos of more modern conception, thus providing an enjoyable and varied listening experience.

15,96 € (19,95 €)
Image Missa Papae Marcelli
For the first time in recording history, Odhecaton has recreated as much as possible a hypothetical performance by the pontifical chapel at the time of Pope Marcellus II. With an ensemble of about twenty singers, Odhecaton comes close to the formation of the pontifical chapel which, between 1510 and 1585, numbered between twenty and thirty-six singers. Odhecaton excludes soprano and treble voices, extraneous to the pontifical chapel in the second half of the sixteenth century, and employs only adult male voices: basses, baritones, tenors and countertenors. Until now the discography of the Missa Papae Marcelli has been dominated by British ensembles and choirs, inclined to emphasize the balanced purity of the vocal lines, the ethereal side of Palestrina. Odhecaton instead highlights the Mediterranean qualities of his vocal style. The performance places the Missa Papae Marcelli in a liturgical context which emphasizes its original function, reconstructing a hypothetical liturgy (the Easter Mass) with music as it might have been celebrated at the Sistine Chapel.

15,96 € (19,95 €)
Image La forza delle stelle
Following four successful recordings released on the Ricercar, Alpha and Arcana labels, Rome-based Andrea De Carlo and his Ensemble Mare Nostrum continue their exploration of the Roman repertoire and inaugurate here a new series of recordings, with its own distinctive artwork, devoted to the vast and multifaceted musical heritage of the Eternal City. Recorded in Nepi (province of Viterbo), where Alessandro Stradella was born, La forza delle stelle (The power of the stars) gives us an opportunity to sample some of the fruits of the fascinating collaboration between that exceptionally expressive Baroque composer and the Roman poet Sebastiano Baldini, under the patronage of the exiled Queen Christina of Sweden. The serenata that gives the album its title, based on a scenario by Christina, deals as was frequently the case at that time with the subject of love, and the power of the stars to aid or thwart it. The result is a pure delight! This world première recording is accompanied by authoritative liner notes by Carolyn Gianturco, the author of Alessandro Stradella (1639- 1682): His Life and Music (Clarendon Press, Oxford, 1994).


15,96 € (19,95 €)
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