Kaori Uemura YUU

 

YUU

 

Perrine Devillers / The 1750 Project SERENISSIMA

 

SERENISSIMA

 

Ensemble Dragma SONG OF BEASTS

 

SONG OF BEASTS

 

Les Abbagliati D'ASTORGA & LALLI

 

D'ASTORGA & LALLI

 

Ratas del ViejoMundo JEAN BOYER Chansons à boire et à danser - Airs de cour

CHANSONS À BOIRE AT À DANSER - AIRS DE COUR

 

Pluto-Ensemble / Marnix De Cat / Hathor Consort / Romina Lischka ANIMAM GEMENTEM CANO

ANIMAM GEMENTEM CANO

 

New Collegium / Claudio Ribeiro CARL PHILIPP EMANUEL BACH Empfindsam

EMPFINDSAM

Bart Jacobs / Les Muffatti JOHANN SEBASTIAN BACH Concertos for Organ and Strings

Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life on this CD.

New Collegium GEORG PHILIPP TELEMANN Chameleon

No eighteenth-century composer was so adept at so many musical styles as Georg Philipp Telemann. Telemann's versatility and inventiveness kept his musical style avant-garde during his entire life. He was not only praised by his contemporaries but was highly respected by the next generation: his fame was immense. Thererfore New Collegium, one of the promising ensembles of the younger generation, has chosen for their first CD on the Ramée label to show Telemann the chameleon, the breadth of his musical palette. Some of the pieces will undoubtedly sound familiar; others, such as the Italianate Trio for violin and cello obbligato, or the pastoral Trio for two violins in scordatura, will surely be delightful, new surprises for many. Coming in and out of disguise with Telemann’s chameleonic notes we often find ourselves wondering: is this truly music by just one composer, not six?

Radio Antiqua GIOVANNI BENEDETTO PLATTI Sonate à tre

Giovanni Benedetto Platti was born in northern Italy and spent some of his youth in Venice, where his father was a violetta player at St Mark's, before he received his court appointment as an oboist and violinist at the court chapel of Würzburg in 1722. Two years later, the music-loving and cello-playing count of Schönborn, Rudolf Franz Erwein, had managed to secure him as a musician for his own household at his small residence in the county of Wiesentheid. Platti composed - in addition to his ordinary ouptut for worldly and spiritual occasions - for the cello, the Count's favourite instrument: a dozen sonatas, 28 concerti, 6 duets and over 21 trio sonatas in which the two melodic instruments are not playing at the same height. The music collection of the counts of Schönborn-Wiesentheid very probably consists of Erwein's personal music library and is today an important historical music archive. Radio Antiqua present in partly world premiere six trio sonatas from that collection, which the count could presumably have played with Platti.

La Morra SPLENDOR DA CIEL

The Chapter Archive of San Lorenzo in Florence houses a manuscript which served to record church properties. However, its parchment leaves originally belonged to a music manuscript compiled around 1410–20 in Florence. Later, the music was erased to create space for new content. Although its musical origins are known for over thirty years, its 216 compositions have been considered largely illegible. Recently, scholars and scientists from the University of Hamburg were able to render it visible again, using the technology of multispectral imaging. The San Lorenzo Palimpsest, as the collection is known today, is an invaluable source of secular polyphonic music composed between the fourteenth and the beginning of the fifteenth centuries. The anthology not only includes new readings for compositions known from other contemporary manuscripts, but contains completely unknown works by Florentine composers. La Morra breathes new life into these rediscovered musical treasures, most of which are recorded here for the first time.