Venus and Adonis - Handel

Very enchanting interpretations of the Handel's sonatas op. 2 HWV 388, 390a, 392 and 393; the cantata "Mi palpita il cor" HWV 132b and the air "Meine seele Hort im Sehen" HWV 207; whose softness and clarity give a parallel view alike from other recordings.

Special mention must be done to the first world recording "Venus and Adonis" and the great work that sure it was its reconstruction carried out by Luca Guglielmi. Although the voice part was extent, wasn't the most part of the instrumental passages and likewise were the recitatives, but at the end his work resulted exceptional

"Thanks to the original releaser"

Enjoy  :)

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Arianna - Marcello

‘Arianna’ was first performed in Venice, in the winter of 1726, when Marcello had turned forty and was at the height of his fame. He had just published his ‘L’estro poetico-armonico’, and enjoyed the success in Vienna of a eulogising serenata commissioned for the birthday of the emperor Charles VI.

Marcello was a high-born amateur musician, who had a clear competitive streak in him, he wanted to shine in everything that he did, particularly in the field of music and against the professional musicians with whom he felt he was competing. His ‘Canzoni madrigalesche’, for example, were written with the objective of perfecting the style of Antonio Lotti’s ‘Duetti’, and the title of his own magnum opus (‘L’estro poetico-armonico’) not only recalls, but also goes one better than, Antonio Vivaldi’s Op. 3 (‘L’estro armonico’). It is striking that in the year following his important Viennese commission coincidences can be observed which link his most important works to events that occurred in the Austrian capital. In 1726 Antonio Caldara’s oratorio ‘Joaz’ had been performed at court, and at almost the same time Marcello set the same text.

‘Arianna’ is almost contemporary with ‘Joaz’, and here too the subject is identical to a stage play performed in Vienna the same year, ‘La corona d’Arianna’, with music by the court Kapell-meister Johann Joseph Fux. It was typical of eighteenth-century librettists to insert a wealth of references to contemporary life which frequently resulted in the accretion of many layers of motifs around a single dramatic nucleus, enriching it to the extent that the survival of the work was guaranteed despite the changes in public taste and that of the commissioning patrons.

Enjoy  :)

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Cantate da Camera - Domenico Scarlatti

Hi! my friends. All this time I've been too busy, an state that have impeded me to post some wonderful cd's that I want you to know.

Now it is the turn of Domenico Scarlatti, a very prolific composer that composed mainly for the harpschord, his favorite instrument. He also traveled through the cantata genre, a genre that attained its climax in the final stages of his father's life, Alessandro Scarlatti. Domenico composed about sixty cantatas (not at all inconsiderable number) even though his father composed more than 10 times more than him. 

Domenico Scarlatti had nothing to envy others composers since his skillfulness for writing music was unique. In particular, his cantatas have not much to do with the antique stile in which the bass continuo parts were very contrapunctual. In another hand,they  have very little to do with the classical stile also, since the violins and vocal parts are merely harmonious rather than melodious. But at any rate, we all now how big his Domenico's Scarlatti print in music and in his developing.

Enjoy   :)

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Acis y Galatea - Literes

The complicate fable which narrates the love between the shepherd Acis and the nymph Galatea and the rivalry with Polyphemus is more than a Zarzuela narrating a mythological topic, but a parody about the events that were happening in the Spain of Felipe V. 

Al Ayre Espanol and Eduardo López Banzo bring back to light a masterpiece of the great master Literes with the stylized music that he represents, an interpretation with lots of freshness and points with remarkable energy, denotes the irony suggested.

Enjoy :)

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Concertos - Johann Gottlieb Graun (Wiener Akademie)

Concerning the requirements of posterity, the work of German court composer Johann Gottlieb Graun has spent much of its time trying to extract itself from the long shadow of the music of Graun's much better-known younger brother, Carl Heinrich Graun. In addition, this is the reverse from the usual modus operandi of historic valuation; Carl Heinrich Graun was primarily known as a composer of opera and vocal music, whereas Johann Gottlieb Graun concentrated on instrumental music, and led the band for the court King Frederick the Great in Berlin. This distinction does not help much in some cases, as both brothers belonged to the court of the Prussian King, and surviving manuscripts are often signed "Graun" without any additional distinction as to which of the two produced a given work in question. However, there are some clues -- Carl Heinrich Graun's instrumental music is precious, courtly, and reflects the influence of operatic melody, which was his strongest suit. By comparison, Johann Gottlieb Graun's orchestral and chamber music is more muscular, sinewy, and demonstrates that he was a true master of instrumental forms in a way that his brother never could be.

Martin Haselböck and the Wiener Akademie make a splendid case for the enduring qualities of the elder Graun with the CPO disc Johann Gottlieb Graun: Concertos. Actually, it contains a symphony, as well, one of 97 or so that Graun wrote, and this Sinfonia Grosso in D major is widely believed to be the best work that Graun has to offer in the genre of symphony. It is succinct, rhythmically propulsive, and engaging, but the Violin Concerto in D minor that follows is an extraordinary, turbulent, and deeply emotional work. The Violin Concerto in A major is scarcely less so, and the concluding Concerto per la Viola da Gamba in A major is practically a riot of instrumental color, brimming with variety of texture. Haselböck, the Wiener Akademie, and soloists Ilja Korol, Daniel Sepec, and Vittorio Ghielmi all put their backs into this music and once in the player, this disc never lets you go.

It is a well-ingrained idea that little of the music of the Classical Era beyond the "big three" (Haydn, Beethoven, and Mozart) has much to offer in terms of heterogeneousness. Johann Gottlieb Graun: Concertos is an entry in an ever-growing field of recordings that blow the lid off that myth, but this one is especially exciting and revelatory.                               Uncle Dave Lewis

Enjoy :)

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Cantatas for the Esterházys - Haydn

A world premiere recording of festive cantatas to the glory of Prince Nicolaus esterházy. Two of these three works have never been played since their first performances in 1763 and 1764. Haydn composed them in the relative isolation of the princely court, and they display the full artistic resources of the Vice-Kapellmeister, and he then was. "There was nobody in my vicinity to confuse and annoy me in my course, and so I had to become original". (Joseph Haydn)

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Grosse Passion - Graun

Although Der tod Jesu is the most popular Graun's passion, he composes three more, one of which is represented her under the title “Grosse Passion” or Grand Passion, whose expressiveness and great diversity in the instrumentation, allowed it to be regarded as a masterpiece. 

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Sonatas and Trio Sonatas - Hasse

Hasse compositions are among the finest of all history. In his lifetime Hasse dominated great part of the musical scene in Europe, especially for his operatic output. His grace and spontaneous melody render the music astonishing pleasant.

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Der Tod Jesu - Graun

There are two major works under the title "Der tod Jesu", two compositions of a very high degree in inventiveness that emerged over the hand of two great masters, Telemann and Graun that premiered almost simultaneously, just one week of separation between each other.  Unfortunately, history have judge unequal both works, dismissing Telemann’s one and covering of glory Graun’s one. But which were the facts to this to happen been Telemann the God of music by that time? One explication is perhaps the stylistic changes that were growing to welcome the new stile “Gallant” that characterized the classicism, in which Graun’s composition is made of.  Another possibility that is stated into the the booklet is the fact that Graun’s Der tod Jesu along History have been compared with Bach’s Mathews Passion, so, Graun’s work hung of Bach’s work success, but that do not discredict the greath quality of Graun's work.

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El Gran Barroco de Bolivia

Once again, following my last post (El gran Barroco del Perú and A Latin-American BaroqueChristmas) of Hispano-American Baroque, where the Cuban Coro Exaudi touches this hidden exotic repertoire with splendid pleasure and extraordinary grace, leading us to the époques when America was conquered, for good or for bad, but that’s History with "H".

Enjoy :)

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