Tamminga plays fresh and colorful. A fine recording in which historical Bewusstein and making music combine in the most beautiful. The design is great, and the instruments sound glorious, the CD is a small treasure chest of surprises and artistic skills from beginning to end.

Unlike many of it's employees as cantors fellow composers who had to compose cantatas for liturgical use in worship, allowed the non-liturgical L�beck Abendmusiken Diet [e] Buxtehude, also sometimes musically experimenting with this genre. The result is the extraordinary diversity of the 112 surviving sacred cantatas. For example, rich occupations of the solo voice with continuo to six vocal and instrumental choirs. The ensemble Currende headed by Eric van Nevel show these magnificent diversity in this recording on a very emphatic manner.

Some musicologists have proposed that many of Bach's sacred vocal works were actually written for solo voices and not a choir. Accent's critically-acclaimed cantata series provides a strong justification for this theory. Each disc features one cantata for each Sunday and the great feasts of the ecclesiastical year. Here, Sigiswald Kuijken and La Petite Bande are joined by a quartet of superb soloists for volume seventeen, which features cantatas for the seventh and ninth Sundays after Trinity, the third day of Easter and the third Sunday in Lent, also know as Oculi.

Sonatas With Cornett, Buxtehude (Artist, Composer), Le Concert Brise (Artist, Orchestra), William Dongois (Conductor) customer review: "There's a certain sparkle and spirit of adventure about the baroque programs of William Dongois and his Le Concert Bris� ensemble - an air of spontaneity, daring, even mischief-making, all of which are entirely appropriate to the music of the baroque. Here we have three instruments - cornetto, trombone and organ - creating a remarkable variety of sounds to interpret and enhance the already brilliant music of Buxtehude."

Giovanni Domenico Ferrandini was Director of Chamber Music at the Munich Court. A contemporary of far better-known masters such as Galuppi, Pergolesi and Gluck, he developed his very own variant of the gallant style. Ferrandini also enjoyed international fame as a vocal pedagogue. This collection of secular cantatas featuring mezzo soprano Olivia Vermeulen accompanied by Florian Deuter and Harmonie Universelle provides eloquent testimony to his special affinity for vocal music. The fact that his passion cantata Il pianto di Maria was long considered a work of Handel's demonstrates the depth of Ferrandini's compositional skill.

Corellimania / Harmonie Universelle, Corelli / Deuter / Waisman / Harmonie Universelle, Release Date: 04/30/2013. Composer: Arcangelo Corelli, Giovanni Mossi, Pietro Antonio Locatelli, Antonio Vivaldi, Orchestra/Ensemble: Harmonie Universelle. Number of Discs: 1. Corelli's Concerti grossi attained great fame already during his lifetime and were models for numerous European composers - especially in England, enthusiasm for his works assumed the characteristics of a true "mania". In Rome, contemporary colleagues and critics were particularly struck by their unusually large ensembles. In contemporary sources which go into precise detail concerning the performing musicians, one also finds references to the expansion of the orchestra by two trumpets and one trombone. The otherwise well-known works of Corelli are rarely heard in this expansive, brilliant orchestration. Harmonie Universelle now aims to fill this gap with the present recording. Alongside Corelli's Concerti grossi, Op. 6 Nos. 1, 4 and 7 in the version for trumpets and trombone, other concerti grossi can be heard by Locatelli, Geminiani und Mossi, composed without exception under the influence of their model Corelli and supplemented by an unknown Double Concerto by Antonio Vivaldi. As already demonstrated in their outstanding Vivaldi recording (ACC 24266), the interpretations of Harmonie Universelle are particularly distinguished for their richly colorful continuo group, their spirited but never gruff fast movements as well as dreamily floating slow movements.

Mozart: Piano Concertos No 18 And 19 / Schoonderwoerd, Ensemble Cristofori, Mozart / Schooderwoerd / Ensemble Cristofori, Release Date: 02/26/2013, Composer: Wolfgang Amadeus Mozart, Performer: Arthur Schoonderwoerd, Orchestra/Ensemble: Cristofori, Number of Discs: 1. On this disc, Arthur Schoonderwoerd plays a fortepiano that sounds like a harpsichord in front of a small orchestra (six strings, winds, and timpani) on period instruments. With the clipped phrasing he demands from the orchestra and the glassy sound he gets from his own instrument, Schoonderwoerd performs delicate, but convincing versions of these two concertos. The first movement of Concerto No. 18, for instance, sounds not hilariously good tempered or intense, but pleasantly jaunty. The timbres are light, and deliberately so. In his notes Schoonderwoerd bemoans the fact that "even current historical performance practice for Mozart's music continues to be subjugated by the tonal idiom of the nineteenth century." With it's light textures and carefully accented phrases, his little orchestra attempts to evade that presumably romantic influence.

Responsoria pro Hebdomada Sancta; Lamentatio / Jan Dismas Zelenka, Number of Discs: 2. Customer review - It is known that J.S. Bach admired Zelenka, and this fine album will show why. The performances are great, and the music by the Bohemian composer is superb-and different from anyone else I have encountered. If you're a Baroque person, you'll really appreciate this splendid performance of great music.

Alfabeto Songs - Guitar Songs From 17th-century Italy / Anduezza, Pitzl, Private Musicke, Andueza, Raquel / Private Musicke / Pitzl, Release Date: 01/22/2013, Composer: Giovanni Stefani, Giovanni Kapsberger, Giovanni Paolo Foscarini, Marcantonio Aldigiatti de Cesena, Performer: Raquel Andueza, Conductor: Pierre Pitzl, Orchestra/Ensemble: Private Musicke, Number of Discs: 1. This new program from Private Musicke, with the young Spanish soprano Raquel Andueza, is dedicated to the light Italian delights of the early Baroque period. Everything centres on love in The labyrinth of hope, sorrow, optimism, disappointment and joy. This music is a small selection of the utterly incalculable amount of printed music that appeared between 1610 and 1640. At the sonic centre is the "chitarra espanola" which was explicitly conceived as the accompanying instrument for all the pieces? during these years, it began it's soaring flight which has continued up to the present day.

One of the leading performers of his generation on historical keyboard instruments, Arthur Schoonderwoerd specializes in music of the eighteenth and nineteenth centuries. For his new set of Mozart's complete Piano Sonatas, Schoonderwoerd has selected three different instruments, each of which provides a variety of tone colors and unexpected insights into familiar repertoire. The keyboards include a tangent-action piano based on Spaeth & Schmahl (ca. 1770), a fortepiano with uncovered hammerheads based on Johann Andreas Stein (ca. 1780) and an unfretted clavichord (model dating from ca. 1780). Schoonderwoerd's witty and freely improvisatory performances display a greater freedom than many other historically accurate Mozart interpreters.

Cornettist William Dongois performs nine sonatas by Giovanni Battista Fontana. Born in Brescia, Fontana was active in Venice, Rome and Padua, where he died in 1630 during a plague epidemic. He was an outstanding violinist, and his only surviving opus with 18 instrumental sonatas is an important testimonial for the emergence of autonomous instrumental music. In addition, three instrumental canzonas for large ensembles are included, as well as an instrumental version of the great motet Exaudi Domine by Giovanni Gabrieli.

The one-eyed and three-fingered Cyclops Polyphemos from the ancient Greek myths has become a central figure in many mythical stories and their settings by Baroque composers. One of the best-known stories about this son of Poseidon and giant of insurmountable strength is about the duel with Odysseus on his return home; another is about Theseos, who kills Polyphemos. The Italian bass Luigi De Donato's voice and charisma make him the ideal embodiment of Polyphemus. Together with the Collegium 1704 under the direction of Vaclav Luks, he presents a programme that breathes new life into the traditional Greek legends.

The Sepolcro is a piece of Good Friday music that was only performed in this form by the court chapel at the Habsburg imperial court in Vienna. In order to have splendid music on the festive days despite the ban on opera during Holy Week, oratorios were staged in front of the Holy Sepulchre that dealt theologically and poetically with the Passion of Christ without depicting the Passion itself. In 1706, it was the court kapellmeister Marc'Antonio Ziani who wrote magnificent "opera" music for Good Friday with his Sepolcro "La morte vinta sul Calvario". It features various allegorical figures such as "Faith", "Human Nature" and "The Soul of Adam", who enter into a rhetorical dispute with the "Devil", who rejoices in the death of Christ. Ziani's two-part work alternates between expressive recitatives and arias. The text is of great poetic power, underlined by Ziani's magnificent music, which is very colourful and rich in contrast with five-part string sections accompanied by cornetts, trombones and bassoons, with obligatory instrumental parts and sometimes sophisticated counterpoint.

It was a sensational find in many respects when Gunar Letzbor discovered the Passion by the composer and Augustinian canon Franz Joseph Aumann in the archives of St. Florian's Abbey (near Linz, Austria) and other monasteries. This oratorio de Passione Domini nostri Jesu Christi was not only a highly expressive work from the early classical period, but also, contrary to what the Latin title might suggest, the only known surviving Catholic Passion composition in German. And: the work, which lasts around two hours, does not recount the Passion of Christ as is usually the case; instead, its atmospheric images and reflections focus on the emotional coping with the incomprehensible - Jesus' death on the cross. The Aumann Passion was probably performed on Good Friday in St. Florian's Abbey. Its music is reminiscent of compositions by Carl Philipp Emanuel Bach or Joseph Haydn's The Seven Last Words of Our Saviour on the Cross. Daring harmonic turns repeatedly heighten the expression, impressive choral movements sung by the four soloists and complex fugues make the suffering of Christ and the grief of the faithful sound impressive.

Sigiswald Kuijken, one of the most important pioneers of the early music scene, celebrates his 80th birthday on 16 February 2024. As a musician, he was active in many fields and his vision went far beyond "classical violin playing". In addition to his main instrument, the violin, he also played the viola da gamba and the "shoulder cello" violoncello da spalla. Sigiswald Kuijken has recorded around 100 discs with his ensemble La Petite Bande. As a violinist, Sigiswald Kuijken has influenced generations of musicians: During his studies, he already focussed on baroque playing techniques and developed a milestone in historical violin playing without a support or chin rest, with the instrument resting freely on his shoulder. In addition to his interest in baroque music, Kuijken was also particularly fond of the music of Wolfgang Amadeus Mozart. To mark his anniversary, the ACCENT label is now bringing together all of Sigiswald Kuijken's Mozart chamber music recordings in an 8-CD box set. The recordings date from 1982 to 2021 and include Mozart's complete violin sonatas, as well as flute quartets, serenades, divertimenti and cassations.