Unfortunately we know absolutely nothing about the life of Charles Dollé. Not even his approximate birth and death dates are known. From his six collections of instrumental works published between 1737 and 1754 we can logically infer that he was a Frenchman, a viola da gamba virtuoso, and a composer. The chronic dearth of further information about this musicians is evidently the reason why music historians have either completely passed him by or relegated him to mere footnote, in the shadow of his contemporaries Marin Marais and Antoine Forqueray who are generally regarded as representing the best and technically most difficult works for viola da gamba. Petr Wagner get Dollé's music out of his undeserved shadowy existence.

The music in this programme, featuring two vocal top soloists, Claron McFadden and Nora Fischer, reigns from the turn of the 16th to the 17th century, the transition from the Renaissance to the Baroque era, a musically interesting and exciting time! Claudio Monteverdi is without any doubt the biggest Stella Lucente (shining star) of this album. He has always been considered the great master of this period and the title of the album could have been Monteverdi and his time. The highest goal is to touch the listener’s soul. This leads, among other things, to an enormous amount of publications with compositions for solo voice, two sopranos and basso continuo and, subsequently, the birth of the opera. Many musicians work in the courts of the great city-states (such as Ferrara, Florence, Mantua, Venice) and the papal residence in Rome. The Duke of Ferrara employs three sopranos under the name Concerto delle Donne. They are the pride of the court and perform in special concerts attended only by high-ranking courtiers and important guests. Composers are inspired by them, Luzzaschi in particular, who worked as the musical director at the same court. Not only were they highly skilled singers, they were also adept at playing various instruments, some of which you can hear on this album; the harp, viola da gamba and guitar.

Within this new album the Armonia delle Sfere ensemble is delivering to us the complete Produzioni Armoniche work by Antonia Bembo, a collection of 41 motets dedicated in 1701 to Louis XIV, in whose court she landed after a series of vicissitudes occurred in Venice, her hometown, including the failure of a marriage and important family disputes, for which she was deprived of her paternal inheritance. After being trained under the musical guidance of Francesco Cavalli (1602-1676), organist of the ducal chapel of San Marco, Antonia secretly married Lorenzo Bembo, a Venetian nobleman, from whom she had two children, and from whom in 1672 she herself asked divorce, due to the continuing absence of her husband, whom she also accused of continuing abuse and betrayal. She then moved to Paris, perhaps following the guitarist Francesco Corbetta, where she concentrated on music and composition, and where she had the opportunity to perform in the presence of Louis xiv, at the court of which she would find acceptance and protection until the end of her life. It is the fascinating story of a strong personality that sought and found its way overcoming the difficult condition of a seventeenth century woman artist.

Five years after the publication of his first book of sonatas, Jean-Marie Leclair, the great exponent of the emerging French violin school, released his second book. He had continued to be influenced by the lyricism and virtuosity of Italian models but, concerned that the technical demands of his writing might prove excessive, ensured that a handful could be played either on the flute or the violin. Yet he continued to make considerable advances and the level of melodic invention and expressive intensity remained untouched, the result of a fusion of Italianate fire and French elegance. Together with Naxos 8.572866 this is the first complete recording of Leclair’s Op 2 Sonatas.

This release is dedicated to one of the most esteemed musical practices of the Renaissance: the art of accompanying the voice with the viola da gamba. Cantare alla viola (singing with a viol) is the name for this practice, which was quite common at the time. The art of this practice lies in the ability of the “viola” player to arrange and play madrigals to accompany one single voice, as a lutenist or vihuela player commonly does. Cantar alla Viola has careful selected some of the finest pieces of the Italian Renaissance in order to illustrate the intimate and skillful musical practice of Cantare alla viola. The pieces vary from the subtle and transparent trecento 2-voice ballades of Magister Piero and Andrea da Firenze played on the viella, to the exquisite and virtuous madrigals for one soprano by Luzzascho Luzasschi, accompanied by the viola da gamba. The Renaissance villanelle and 3-voice madrigals by Luca Marenzio and Costanzo Festa, are adapted for the polyphonic playing of two different bowed vihuelas. Solo pieces have been added to the release to show the instrumental practice on a bowed vihuela through arrangements of lute and keyboard pieces by composers such as Marco Antonio Cavazzoni or Francesco da Milano.

The Hamburger Ratsmusik – an ensemble looking back on a five-hundred-year history – teams up with the young countertenor Benno Schachtner on this recording of Georg Philipp Telemann’s Six Moral Cantatas. During the decades between 1720 and 1750 the middle class of the early Enlightenment sought moral education and ethical improvement deriving from human nature and reason as part of its never-ending quest for earthly happiness. It was with wit and charm that in his Moral Cantatas of 1735 Telemann set to music a poetic document conveying the spirit of this Enlightenment period. His only recently rediscovered Fantasies for Solo Viola da Gamba, published at the same time, are presented here in alternation with his Moral Cantatas, the title with which they were announced in a catalogue dating from August 1735. These two collections first performed together during a concert of the Hamburger Ratsmusik at the last Telemann Festival are now being presented here for the first time. These two works by Telemann were intended for professional and amateur musicians alike, and they seem to have met with special resonance among those interested parties who wanted to perform at home in smaller ensembles.