As the hub of a fledgling British Empire, London around 1710 was burgeoning with new wealth and offered the perfect setting for operatic entrepreneurs eager to spread the latest Italian fashions. It was thus a city of opportunity for Handel, fresh from spending five years in Italy, but also for many other touring musicians including Arcangelo Corelli, Francesco Maria Veracini and Francesco Geminiani. This recording unveils a portrait of the chameleon Handel, emerging in the panache of his early Italian-styled Amadigi, reaching maturity in the 'English operatic' Hercules and arriving finally in the perennial melodic grace of Theodora, his penultimate oratorio. Extracts from these works, in which the young Norwegian mezzo-soprano Tuva Semmingsen displays both vocal agility and a wide-ranging emotional palette, are interspersed with instrumental works by Handel's Italian contemporaries. Corelli's Concerto grosso in D major, from the celebrated Opus 6, and Geminiani's 'La Follia' in D minor - incidentally a reworking of Corelli's famous violin sonata - both illustrate Italian instrumental music at its most sumptuous, in colourful and dynamic performances by the Norwegian period band Barokksolistene. For further variety, the leader and artistic director of the ensemble, Bjarte Eike, also performs a chamber work by Veracini, who visited London regularly during some three decades in the early 18th century. The Sonata in A major was published in England in 1744, and it would be quite tempting to interpret the use in it of a Scottish tune, Tweed's side, as merely a clever marketing device to charm a local audience, were it not that the tune, and the composition itself, was so attractive.

In early 18th-century England, the recorder was a popular instrument among music lovers, therefore- since the eminent Italian composer Arcangelo Corelli’s works made an enormous impression in the country- it was only a matter of time before numerous virtuoso recorder arrangements of his string works began to appear.Estro Cromatico leader Marco Scorticati and his longstanding partner Davide Pozzi join forces with Evangelina Mascardi, Sara Campobasso, Michela Gardini, and Pietro Pasquini to deliver a new rendition of this well-loved music, including two premiere recordings. Improvised ornamentation, as well as the multifaceted texture provided by diversified combinations of the continuo instruments, play a central role in the present interpretation, thus bringing Corelli’s extraordinary music back to life; as Roger North wrote in 1710 “if music can be immortal, Corelli’s consorts will be so.”

Handel, Scarlatti, Corelli, Stradella, Muffat ... From 1650 to the beginning of the eighteenth century, Rome exercised an immense power in attracting composers from all over Europe and experienced an intense moment of musical activity, because of - or in spite of - the papal administration. It was a prosperous period with a melting pot of influences. The programme devised here by the Roman conductor, Rinaldo Alessandrini, offers a complete and personal vision of the time, passionate and secular, lyrical (made sublime by Sandrine Piau) and orchestral, romantic in every way. Rinaldo Alessandrini is one of the leading figures in the international early music scene. His predilection for the Italian repertory and his constant preoccupation with the expressive characteristics specific to the Italian style of the seventeenth and eighteenth centuries are the decisive factors that orientate his musical approach and interpretative options, both as the head of Concerto Italiano, of which he is the founder and director, and as a soloist and guest conductor.

Recent research has revealed the existence of a practice which has been hitherto ignored: that of doubling the instrumental music composed and conducted by Corelli with all sorts of wind instruments. This practice forces a re-examination of the faithful reproduction of the compositions as printed, which has prevailed up until now. This is thus the first complete performance of the twelve Concerti Grossi by Corelli which attempts to accurately reconstruct the works' historical-musical context.

For her debut album, Karen Gomyo has joined forces with guitarist Ismo Eskelinen in a programme offering fireworks as well as graceful tenderness. A violin virtuoso as well as an expert guitar player, Niccolo Paganini wrote a number of works for the two instruments together. He thus forms a natural point of departure as Gomyo and Eskelinen embark on a journey some hundred years backwards in history, and offer works by three other famous Italian violinist-composers. Neither the violin sonatas by Vivaldi and Locatelli nor Corelli’s celebrated ‘La Follia’ were written specifically with the guitar in mind. They are instead provided with so-called basso continuo accompaniments, to be performed on various chord-playing instruments, such as the harpsichord or the organ. Larger continuo ensembles might also include a lute or a guitar, and it is to this tradition that Ismo Eskelinen harks back as he performs his own realizations of these accompaniments. With one exception, the works by Paganini are on the other hand intended for the combination of violin and guitar – or, in the case of the Grand Sonata, ‘per chitarra e violino’. The centrepiece of the disc is formed by the famous 24th Caprice, provided by the composer with a guitar accompaniment and renamed Variazioni di bravura. Another favourite closes the disc, as Karen Gomyo and Ismo Eskelinen perform their version for violin and guitar of Il carnevale di Venezia, Paganini’s take on a Neapolitan folk song.

Following the success of 100 Christmas Classics (Capriccio C7331) comes Christmas Meditation, featuring 100 choral and vocal works from across the centuries. The set encompasses sacred Renaissance treasures including Bach’s Christmas Oratorio and Bach/Gounod’s Ave Maria, Handel’s Baroque masterpiece Messiah (‘He shall feed his flock’) and classic Christmas carols such as It Came Upon A Midnight Clear by Richard Storrs Willis and Franz Xaver Gruber’s Stille Nacht (‘Silent Night’). Featuring some of the most renowned choral institutions, Christmas Meditation offers listeners a classical Christmas to remember.

REVIEWS:

A rather sumptuous collection of seasonal choral works, instrumental pieces and carols. --BBC Music Magazine

After the success of the 5 CD box “100 Christmas classics” (Capriccio C7331), the new 5 CD box “Christmas Meditation” contains 100 choral and instrumental works from past centuries. It contains works from 43(!) composers, including excerpts from Bach's Christmas Oratorio, Bach/Gounod's Ave Maria, Handel's Baroque masterpiece Messiah, and traditional and classical carols such as "It Came Upon A Midnight Clear" by American composer Richard Storrs Willis, and Franz Xaver Gruber's "Silent Night”. With some of the most renowned choirs, “Christmas Meditation” offers you an unforgettable Christmas.

In addition to world-famous Christmas music, in this box you will also discover previously unknown but no less beautiful work by Bruch, Rheinberger, Carl Neuner, Wagenseil, Robert Fuchs, Johann Philipp Reichert or Johann von Herbeck. Cannot be missed!

--Stretto

Johann Sebastian Bach is commonly understood as the starting point of the violin repertoire. But there was unaccompanied violin music before him, too—and it is truly exciting! The renowned baroque violinist Nadja Zwiener presents this music with her solo debut album on GENUIN. Her inspired recording shows that Bach was able to build his repertoire on a great foundation: Composers such as Johann Georg Pisendel, Johann Westhoff, and even Arcangelo Corelli and Giuseppe Tartini wrote highly challenging works for the incredibly versatile instrument. The concertmistress of the English Concert and the Gaechinger Cantorey takes us on a fascinating journey.