Fabio Missaggia founded the period instrument ensemble I Musicali Affetti in 1997, and the group has since been performing in numerous concerts and festivals both in Italy and abroad. Giovanni Lorenzo Lulier's 1700 composition La Gloria, Roma e Valore is a solemn cantata composed for the inauguration of the new Venetian ambassador in Rome. Commissions for such occasions were often viewed as special opportunities for a composer to showcase their abilities as the audience often contained many musical experts, and Lullier's composition, as well as it's current performance by I Musicali Affetti does not disappoint.

English text version of first edition used - 1803 Philipp von Steinaecker leads the Musica Saeculorum. Live recording.

"• A live 1943 wartime recording of Haydn's Creation oratorio. • “Clemens Krauß both delighted and enthralled with a vivid performance of Haydn‘s Creation oratorio.. Three outstanding singers from his Munich entourage, Trude Eipperle, Julius Patzak and Georg Hann, together with the opera choir and Vienna Philharmonic, followed his unaffected musical direction as a masterly ensemble, lending this utterly native and yet world-famous work the musical honour it deserves.” - Wiener Krone Zeitung, March 1943"

The�Toccate�e Corrente by Michelangelo Rossi (1601/2-1656), published in Rome in 1657, is characterized by an exuberant richness of ideas and surprising twists and turns, further spiced by a bold use of chromaticism that pushes the limits of tonality. Lorenzo Feder plays the pieces on an exquisite instrument inspired by Bartolomeo�Stefanini�(1694). Lorenzo Feder, born in�Schio�(Italy) in 1980, started studying piano at the age of 8 with Renato�Maioli. After his piano diploma (2000), he studied harpsichord with Patrizia�Marisaldi�at the Conservatory in Vicenza. He was the recipient of the Huygens�Programme�scholarship from the Dutch government, after which he took postgraduate studies at the Royal Conservatory in The Hague with Ton Koopman,�Tini�Mathot�and Patrick Ayrton. He performs as a soloist and continuo player on harpsichord and organ in international festivals throughout Europe and Mexico playing with soloists like Emma�Kirkby, Frank Theuns, Michael Chance, Monica Huggett and with the baroque ensembles "Il�Tempio�Armonico" (Verona) and "I Musicali Affetti" (Vicenza).

A very special recording and interpretation of the famous Vespers of the Virgin Mary; "Vespro della Beata Vergine": Roberto Zarpellon leads the vocal ensemble "Venice Monteverdi Academy"; his ensemble "Lorenzo da Ponte" and the chorale schola "Reale Corte Armonica Caterina Cornaro" - all of them genuine Italians - in a recording that took place in the church where Monteverdi worked for three decades as Kapellmeister; namely the famous Basilica of San Marco in Venice. As far as music is concerned; this church with its magnificent mosaics and domes as well as its very transparent room acoustics was a place of pilgrimage for musicians and composers from near and far during the Renaissance and Baroque periods; with such illustrious names as Adrian Willaert; the organists Giovanni and Andrea Gabrieli and Monteverdi as maestro di capella.

In THE EARLY MUSIC LOG fra bernardo presents milestones in the interpretation of music from earlier centuries. In 1954, music history was written in Vienna. Behind the high altar of the Franciscan Church, a crowd of young musicians gathered in front of the city's oldest organ with harpsichordist and organist Gustav Leonhardt to record sacred music by Johann Sebastian Bach with countertenor Alfred Deller. According to Leonhardt's revolutionary idea and research, it was not to be an orchestra accompanying the singing star, but a new ensemble with soloists. So the Leonhardt Baroque Ensemble brought together young committed musician friends who played on period instruments. Today, the list of performers reads like a Who's Who of early music: Gustav Leonhardt played the historic Wöckherl organ, Nikolaus Harnoncourt the cello, Eduard Melkus and Marie Leonhardt violins and Harnoncourt's later wife Alice Hoffelner viola. This exemplary recording is complemented by the premiere recording of the 4th Brandenburg Concerto on period instruments conducted by Josef Mertin, the doyen of early music in Vienna from the Bach year 1950.

Beauty farm founded 2014 by Markus Muntean and Bernhard Trebuch is a vocal group focused to the Franco-Flemish polyphony of the renaissance. The international ensemble is based in the Carthusian monastery at Mauerbach (Austria). The singers are members of well known ensembles like "Capilla flamenca", "Huelgas Ensemble", "Vox Luminis", "Collegium Vocale Gent" and "Graindelavoix". Beauty Farm exclusively records for frabernardo.

With his second solo album, the young Swiss harpsichordist Titian Naef follows in the footsteps of Johann Sebastian Bach to the year 1722. As Suites pour le Clavessin, the later Thomaskantor wrote five of today's so-called "French Suites" in the famous clavier booklet for his wife Anna Magdalena. Fresh, melancholy-elegiac, virtuosic-artistic, the music scans the states of mind in shimmering colours.

With his second solo album, the young Swiss harpsichordist Titian Naef follows in the footsteps of Johann Sebastian Bach to the year 1722. As Suites pour le Clavessin, the later Thomaskantor wrote five of today's so-called "French Suites" in the famous clavier booklet for his wife Anna Magdalena. Fresh, melancholy-elegiac, virtuosic-artistic, the music scans the states of mind in shimmering colours.

The manuscript MS 73 Klagenfurt was found by baroque-violinist Veronika Skulpik and is a little treasure of baroque violin music. Almost all of the manuscript pieces are for a violin in scordatura tuning, although this is not always indicated. With some degree of certainty, the above-mentioned manuscripts can prove that the anonymous authors moved in the circle of Heinrich Ignaz Franz Biber and Johann Heinrich Schmelzer.

Henrich Biber's Trombett, undt musikalischer Taffeldienst Sonata was the inspiration for this disc of brass pieces, with particular attention given to the trumpet. Also included are several works from the Kromeriz Archive performed by baroque orchestra Concerto Stella Matutina.

Beauty Farm is a 2014 founded vocal group focused on the Franco-Flemish polyphony of the renaissance. The international ensemble is based in the Carthusian Monastery at Mauerbach (Austria). The singers are members of well known ensembles like Capilla flamenca, Huelgas Ensemble, Vox Luminis, Collegium Vocale Gent and Graindelavoix. On this extensive release, the ever-acclaimed vocal quartet presents four masses of Pierre de la Rue, all composed during the composer's last creative period. Pierre de la Rue is one of the most fascinating and yet most elusive members of the talented generation of composers from around 1500. On the works recorded here he demonstrates his complete polyphonic skills and thus gives the melancholy an intellectual, complex nuance. The necessary lightness is provided by the voices of Bart Uvyn, Hans Jörg Mammel, Hannes Wagner and Joachim Höchbauer.

This album emerged from the idea of bringing together some very different works by Kapsberger for solo theorbo in order to present a more diverse overview of the German-Italian virtuoso performer and composer. The pieces of music are taken from Books I, III and IV d’intavolatura di chitarrone, currently the only printed sources of theorbo music by Kapsberger available to us. Book I was printed in Venice in 1604, Books III and IV in 1626 and 1640 respectively. - Fra Bernardo

It was clearly of great importance at the start of the 18th century, both to the free imperial city of M�hlhausen in Thuringia and to distant Vienna, metropolis of the Holy Roman Empire, to be recognized and to record signs of both independence and affiliation to the empire and it's ruler. Two musical documents have survived in testimony. One owes it's prominence to the composer, Johann Sebastian Bach, the other, preserved in M�hlhausen's municipal archives and revived in performance today after more than three hundred years, is from the hand of Philipp Heinrich Erlebach.

The chamber music with flute by Johann Nepomuk Hummel (1778-1837) is, although always elegant and cheerful, never merely trivially smooth. Rather, it continues to surprise with it's great melodic charm and winning ideas. It is light music in the best sense, calculated to excite connoisseurs and enthusiasts alike. For making music in private, the works prove to be as equally suitable for performance in the bourgeois and aristocratic salons as the public concert hall. The convincing use of historical instruments aims not only at perfect balance, but additional aural appeal.