Described as the ‘Pianists’ Old Testament’, The Well-Tempered Clavier is a collection of pieces of exceptional artistic quality. No other work from the baroque period has been as valued, performed and studied as this collection whose objectives were musical, theoretical and didactic.

Both books of The Well-Tempered Clavier feature a prelude and fugue in each of the 12 semitones of the chromatic scale, covering each of the 24 major and minor modes – a unique body of works. No two preludes or fugues are alike; they display the full range of contrapuntal devices, while the preludes offer an infinite variety of melodic, rhythmic and constructional possibilities. Each of these pieces demonstrates a mastery of counterpoint that never takes precedence over emotion, beauty and aesthetics. With the two books of The Well-Tempered Clavier, Bach established himself as the unrivalled master of the fugue genre.

Following his recordings of Bach’s concertos for one and two harpsichords (BIS-2041, BIS 2051 and BIS-2481), which reviewers have praised for his unaffected playing and acute musicianship, Masato Suzuki now offers us his take on this Bach monument.

Since 2010 the Associazione La Cantoria has dedicated its energies to the rediscovery of unpublished musical compositions from Rome, transcribing, studying and performing these both live and recording them under the Tactus record label. This cd is dedicated to the musician, composer and organist Francesco Giovannini who was chapelmeister at the Church of Santa Maria in Portico in Campitelli in the 18th century, and whose works are conserved in the archives of the Order of the Clerics Regular of the Mother of God in Rome. The best way to understand and appreciate a liturgical musical composition is to savor it the very same context where it was born and for which it was conceived. This is what this cd intends to do.Composer: to allow us to live the sonorous experience of an ancient mass of the Roman rite. These late-Baroque compositions by Francesco Giovannini shine like precious gems set in an antique piece of jewelry made of Gregorian chant, readings, and orations where the organ is heard almost fleetingly in those moments when the sound of the voice and other instruments is superfluous or even prohibited.

Among the motivations of this disc, the most important one is the wish to present the various styles and periods in a clear, simple way, endeavoring to avoid superabundance and the accumulation of crossover deposits that are often heard where it seems that the music of the past cannot be self-sufficient and needs an extra chromatic and rhythmic shove in order to catch the listeners’ attention, inducing them to compare it with the commercial, repetitive entertainment repertoire. In this musical journey between Italy and Spain of the Baroque era, Paolo Rigano on the archlute and baroque guitar and Cinzia Guarino on the harpsichord are interpreting a singular anthology of pieces enriching the playing through the practice of the basso continuo that marked the entire musical period from the Renaissance to the late Baroque.

By its title and its twelve violin concertos, Vivaldi’s L’estro armonico immediately captures the imagination. Rinaldo Alessandrini and his Concerto Italiano, with the addition of high-calibre keyboardists, present the full collection with the six additional adaptations for keyboard by Bach. This Opus 3 published by Vivaldi in 1711 vibrates with the virtues of a poetic energy taken to the highest level of expressivity, embodied in the subtle and virtuosic exchanges between a string orchestra and four, two, then one solo violins. The stylistic principles developed in each piece were completely new and inspired for the time, the virtuosity intense, and the success considerable, rapidly reaching beyond the frontiers of La Serenissima. Which is how Bach, seven years younger than Vivaldi and drawn to the polyphonic dimension of these “multi-voiced” pieces, adapted several of them for organ and harpsichord.

Serendipia Ensemble, Rita Rógar, and Moisés Maroto, together with their ensemble of musicians—Darío Tamayo on the harpsichord, Calia Álvarez on the viola da gamba, José Arsenio Rueda on the baroque bassoon, and Jon Wasserman exchanging his plucked string instruments (theorbo and baroque guitar)—have recorded the complete sonatas. Premiering worldwide with the record label IBS Classical.

With this large continuo group, Serendipia Ensemble seeks a unique musical approach to the concept of the triosonata, finding the common ground between the concerto form conceived by Corelli and the sonata form arranged by Schickhardt. We are now able to hear, with layering of different instruments, the triosonatas approach the concerti in sections such as the tutti-soli that we appreciate in the Corellian originals.

During the 17th and 18th centuries, Naples’ fame as a musical center attracted travelers, composers, instrumentalists and virtuoso singers alike. Among the aspiring musicians, the most highly-trained and sought-after were the castrati, promising boys aged between 8 and 12 who were subjected to an operation intended to preserve the exceptionally pure timbre of their treble voice. Forever virginal beings whose superhuman voices mesmerized their listeners, they were nicknamed angiolilli, ‘little angels’, and sang in the most important churches and theatres of ‘Castrapolis’, a term coined to describe the southern capital and its high concentration of castrato sopranos.

Nicolò Balducci is one of the rapidly rising countertenors and sopranists of his generation. Together with the ensemble Dolci Affetti, directed by the renowned recorder player Dan Laurin, he here performs arias and cantatas by Hasse, Porsile, Sarro and Alessandro Scarlatti. All four composers were associated with Naples and knew how to highlight these extraordinary voices, at a time when opera and the chamber cantata represented the most fashionable musical genres both in Italy and abroad. The program is completed with a concerto for harpsichord by Domenico Auletta, with Anna Paradiso performing the solo part.

Keyboardist Steven Devine continues this complete survey of Johann Ludwig Krebs’ significant contribution to the keyboard genre with the third volume in this series dedicated to the composer’s keyboard works. Featuring one of the three surviving Partitas from a presumed set of six, this album also includes the world premiere recording of Krebs’ Six Keyboard Sonatas (Krebs-WV 832-837), that only came to light during the historic restoration of the archive of the Sing-Akademie to Berlin following its removal to Ukraine during the war in 1943. With a compositional style that points to a period later in Krebs’s life, these charming, witty and sometimes quirky works clearly demonstrate the composer’s confident yet straightforward charm.

With a catalogue of acclaimed albums for Brilliant Classics stretching well into double figures, the Dutch recorder virtuoso Erik Bosgraaf goes back to Bach for his latest release, with an album of arrangements as imaginatively conceived and as stylishly executed as Volume 1 (94296), released in 2011, which won glowing reviews from the international music press. Bach wrote as inventively and idiomatically for the recorder throughout his career as he did for every other instrument at his disposal, but he left no concertos in which the instrument takes the spotlight.

Thus Bosgraaf and his colleagues have attempted to answer the question, what might Bach have done, or could he have done, if he had written concertos for the recorder? They have looked for inspiration to the cantatas, and not only those where Bach composed memorable recorder parts such as the Actus Tragicus. For example, the album’s opening G major concerto is compiled from a tenor aria of dazzling runs in BWV74, followed by the sorrowful opening Sinfonia of BWV12 (in which the oboe originally takes the starring role), and then another tenor aria from BWV81 which graphically illustrates the foaming waves of a stormy sea. In both aria transcriptions, Bosgraaf’s recorder takes over the vocal line, and paints vivid sound pictures with his remarkable palette of tone colors. A second concerto in D major draws its music from similar sources, followed by a Partita which the Dutch musicologist has arranged from movements of the Fifth French Suite. A further concerto is supplied by a relatively ‘straight’ transcription of the familiar (but sublime) A minor Concerto for violin, BWV1041.

This album allows us to appreciate the versatility of the young performer Anna Urpina, whose goal has been to approach each score from a historically informed perspective. The compositions of c. XVII and XVIII (Castello, Biber, Corelli and Telemann) are recorded with Baroque violin (with gut strings) and bow next to the harpsichord. In addition, the tuning is half a tone lower (415 Hz) than is usually used in the current repertoire (442 Hz). Period techniques have also been put into practice, as well as Baroque flexibility in ornamentation and improvisation. Summoning a single key instrument to give life to the basso continuo allows us to compare in a more direct way the works belonging to the two historical periods, since the scores of c. XX and XXI (Webern, Pärt, José Luis Turina and Guix) are performed with modern violin and piano. In fact, following this idea of highlighting to the maximum the contrasts and constants that relate the eight compositions, the pieces have been ordered by combining one of each period instead of following a chronological order, thus generating quite a stimulating hybrid narration. An original proposal which highlights the sophisticated sound and artistic potential of the “four-chord lyre”, as Biber used to call the violin.

Richard Jones (1680?-1744) was an English composer and violinist of whom lamentably little is known. Jones' first publication appeared in 1720, a solo cantata While in a Lovely Rurall Seat. In 1732 he was associated with the Drury Lane Theater Orchestra in London, succeeding Stefano Carbonelli as the orchestra's leader. He was a stage composer at a time when George Frideric Handel's music dominated the British stage, and much of his music, or what of it survives, shows clear Italianate influence. Like the details of his life, little of Jones's music survives. His pantomime stage works and ballad operas are all lost. His keyboard and violin suites however did survive and are noted for their wide, angular leaps and unconventional structure.

The 6 Harpsichord Suites (or Lessons), possible inspired by the great keyboard suites by Handel, are of a very high quality, beautifully written, original and enormously appealing, with inventive handling of sweeping melodies, unexpected cadenzas and frequent changes of direction. They are also rich in harmony, with some bold inventions and plenty of vigorous rhythm that can be quite challenging from a technical point of view. In other words, they are compositions that on occasion rival those of Purcell and Handel.

Francesco Fornasaro followed master classes with Luigi Ferdinando Tagliavini, Giulia Nuti, Bob van Asperen, Pierre Hantaï, Christophe Rousset, Skip Sempé, Menno van Delft, Francesco, while he further improved his skills in baroque ensemble music and baroque instrumental techniques and practices at the Maggio Fiorentino Formazione under the guidance of Alan Curtis, Federico Maria Sardelli and Federico Bardazzi.

Christophe Moyreau (1700-1774) was born and spent most of his life in Orléans. He became organist at Orléans Collégiale Saint-Aignan in February 1719 and at Orléans Cathedral in January 1738 and occupied this position until around 1772. In French music of his era (secular and also religious), an important place was reserved for the rhythms and structures of the dance. In 1753 Moyreau published his “Pièces de clavecin”, 124 pieces grouped in 6 books. The dances Allemande, Courante, Sarabande, Gigue, Rigaudon, Menuet are part of Suites, while these books also include concertos and sonatas. Some of the pieces bear titles (in the style of Couperin and Rameau) like La Flotante, Le Baccante, Le Jaloux, La Coquette, Le Preludant, L'Euridice, La Comique, L'Orphée and Le Caprice. Book 6, uniquely for French harpsichord music, consists of several three-movement keyboard simphonies written in Italian style.

Played by Fernando De Luca, one of Italy’s foremost harpsichord players, who recorded to great critical acclaim the complete keyboard works by Graupner, published by Brilliant Classics. The first-ever survey on record of the complete surviving output by a significant contemporary of Rameau: a missing piece in the jigsaw of the French Baroque.

This is a collection of superb works for viola d'amore and small chamber ensemble performed on period instruments by Paul Miller and Chatham Baroque. The viola d'amore has six to seven strings, unlike the four of the modern viola, with each string paired with a string that is played sympathetically.