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Johann Michael Bach: Ein Orgelbuchlein
$20.99CDRicercar
Feb 27, 2026RIC491 -
Ubi caritas - Italian Laude in Early Renaissance
$20.99CDRicercar
Apr 03, 2026RIC486 -
Organ Music from the Low Countries
$20.99CDRicercar
May 08, 2026RIC478 -
Pomponio Nenna: Il primo libro de madrigali
$20.99CDRicercar
May 08, 2026RIC488
Le parfaict danser - Dance Music, 1300-1500
The perfect dancing is memory, tempo, style, how the body is held, the diversity of things and the sharing of space...". So begins one of the first dance treatises in history, written by the Italian dancing master Antonio Cornazzano in the 15th century. To go beyond the steps and figures he describes is to understand the symbolic role of this art, its aim to unite earthbound humanity with the kingdom of God. This recording echoes this universalist vision, following the thread of the first notated dances and exploring the songs or pieces that were sometimes also the source and inspiration of more refined compositions: Estampies and other forgotten dances of the Middle Ages; aristocratic basse-danses that were in vogue at the court of Burgundy; saltarelli of the bourgeoning Italian Renaissance; allemandes and heady branles danced at the revels of François I. On this recording, Into the Winds gleefully explores a great variety of spaces and aesthetics and reveal the timelessness of this art more than ever.
Bach: Die Kunst der Fuge / Les Récréations
The Art of Fugue, Bach’s final and most quintessential work, while a monument, is far from being a monolith! Here, Les Récréations present a new version using different combinations of instruments that best suit each individual movement, from the piccolo violin to the cello with a detour via the violoncello piccolo; such revelations of the work’s extraordinary variety, from the Stile antico to the beginnings of the Empfindsamer Stil, refresh our perception of this masterpiece.
Gosswin: Selected Works / Romain, Le Miroir de Musique
Born in the Prince-Bishopric of Liège, Antoine Gosswin was recruited at a very young age by the Bavarian court chapel, where he was in frequent contact with Orlando di Lasso and accompanied the Emperor Maximilian II on his travels. Esteemed as a singer and composer, he was also part of the violin band employed by Duke Albert V at the legendary wedding of Prince William in 1568. Gosswin would go on to conduct the chapel of Prince Ernest, Bishop of Freising and later of Liège, to whom he dedicated his Newe teutsche Lieder. Extremely prolific, Gosswin produced several masses and motets as well as madrigals and German songs in which he continued the musical developments initiated by his master Lasso.
Marais: Cinquieme livre de pieces de viole / Joubert-Caillet, L'Acheron
Marin Marais published his last collection in 1725, eight years after the appearance of his Quatrième Livre de Pièces de Viole. He was no longer playing in the Chambre du Roi by that time and had moved to a house in the Faubourg Saint-Marceau where he cultivated plants and flowers in his garden. He continued, however, to give lessons to people who wanted to improve their viol playing. The Cinquième Livre de Pièces de Viole reflects this image of a peaceful life; today we regard it as the final testament of a musician who was looking back upon his past years as their undisputed master — and which he remains today.
Le berger innocent - Music for Hurdy-Gurdy & Musette / Danguy, Miller
Imitations of country life enjoyed great success during the reign of Louis XV. In musical terms, popular instruments such as the hurdy-gurdy and the musette enjoyed a truly golden age and inspired a vast repertoire that often evoked rural pleasures. These instruments were not only played by aristocratic amateurs but also by professional virtuosi such as l’illustre Danguy and Colin Charpentier, who delighted the French court as well as the audiences of the Concert spirituel. These imitations of rural life combine with instrumental virtuosity to form the basis of this programme, in which we hear the hurdy-gurdy and the musette in instrumental works and cantatas.
Under der Linden: Songs of the Minnesingers / Bündgen, Ensemble Céladon
Like the Occitan troubadours and the trouvères of northern France, the Minnesänger celebrated courtly love and gave medieval German its letters of nobility. These "singers of love" — Minne is the old German word for love — thus perpetuated a poetic and musical tradition that had begun nearly two centuries earlier in Occitania. The Minnesänger, generally of noble and knightly blood, gradually emancipated themselves from their French models and developed their own styles and forms during the 13th century. We should, however, make a clear distinction between Minnesangand Spruchsang, given that they both existed within the German song genre during the high and late Middle Ages. The two disciplines differed not only in theme and form, but also in their creators: Minnesang was generally the dilettante love poetry of courtly nobility, while Spruchsang was practiced by travelling professional poets and singers. The present program offers a foray through these creative periods and of the Spruchsang in particular: no less than six of the twelve old masters are represented here, notably Konrad von Würzburg, Frauenlob, Brother Wernher, Konrad Marner, Tannhäuser and Walther von der Vogelweide.
O Jesulein...A German Baroque Christmas Oratorio / Clematis
This innovative program presents an imaginary Christmas oratorio made up of works by German composers of the 17th century. Many of these works are unpublished and come from the splendid Düben collection in the library of the University of Uppsala; they are arranged here in a sequence that introduces the scenes and the principal characters of the Nativity: Mary, Joseph, the Archangel Gabriel, the angels, the shepherds, the Magi and Simeon. These works belong to the genre of the historia sacra and depict the dialogue of the Annunciation between the archangel Gabriel and Mary, the arrival of the Magi — guided by angels — at the manger, and the scene where Mary and Joseph look for Jesus in the Temple.
These narrative scenes stand in contrast to the large ensembles that represent the angelic host, the shepherds, and the adoring multitudes before the manger. The instruments also play an important role in this celebration with their contrasting timbres. This recording features works by Andreas Hammerschmidt, Wolfgang Carl Briegel, Christian Flor, Christoph Bernhard, Heinrich Schütz, Franz Tunder, David Pohle, and Thomas Selle.
Passages - German Ritual Music 1600-1800 / Colson, InAlto
Ceremonies, both festive and solemn, lie at the heart of all the works in this program devoted to German music of the 17th century, beginning with music by Heinrich Schütz and ending with Johann Sebastian Bach. These occasional works make frequent use of brass instruments, whose sound is both the foundation and the identity of the InAlto ensemble. This 17th century tradition is reflected in Beethoven’s Aequales for trombone quartet; these are presented here together with their sung texts. InAlto aims to explore both vocal and instrumental music, bringing them to a sort of dialogue.
Ein Deutsches Barockrequiem / Meunier, Vox Luminus
Johannes Brahms drew texts from various Biblical sources for his Deutsches Requiem. As we hear in his choral music, he had a passion for polyphony and was inspired by models from the great Lutheran tradition of the late Renaissance and the Baroque. Ricercar and Vox Luminis have explored this early repertoire with the same passion for many years now, although with no less admiration for Brahms's masterpiece. It is no surprise that some of the texts that Brahms chose had already been set by his illustrious predecessors; it simply remained for us to trace a path through these earlier scores, so many meditations on death, and to assemble a very different Deutsches Requiem: one animated by the emotions of the Lutheran Baroque.
Handel: Salve Regina / Roset, Alarcón, Millennium Orchestra
Julie Roset, a young French soprano from Avignon, immediately attracted attention with her first recital for Ricercar (Nun danket alle Gott with Clematis) and went on to record a recital of works by Sigismondo d'India with Mariana Flores that met with great critical acclaim. In this new recording she tackles several of Handel’s masterpieces on religious themes: his Salve Regina, Gloria and the motet Silete venti were all composed at the time when the young Handel had been inspired to new heights by his discovery of Roman musical life.
Franck: Complete Organ & Harmonium Works / Verdin
Handel: Semele / Alarcon, Chœur de Chambre de Namur, Millenium Orchestra
Fantasia from Andrea Gabrieli to J.S. Bach / Buccarella
After a first recital devoted to the Toccata, Andrea Buccarella, winner of the MA Festival competition in Bruges in 2018, now presents an album devoted to the Fantasia. This album follows the same anthological principles as the first and includes both Italian and German compositions from the origins of the genre in Venice at the beginning of the 17th century to its apogee in the following century with Johann Sebastian Bach.
Desprez: Tant vous aime / Dadre, Doulce Mémoire
De Arauxo: Libro de Tientos / InAlto, Foccroulle
Gesualdo: The Prince's Archlute / Zuljan
Johann Michael Bach: Ein Orgelbuchlein
Ubi caritas - Italian Laude in Early Renaissance
Organ Music from the Low Countries
