The Art of the Baroque Trumpet � Vol. 5

"[Eklund's] virtuoso skills, consistently sweet tone, purity of intonation, and sense of ease rank him as the world's best." --American Record Guide, August 2002

Reviewing the first volume in Naxos's "The Art of the Baroque Trumpet", Gramophone magazine said of Eklund, "let me rejoice at playing of rare technical ability and musical panache."

The Art of the Baroque Trumpet � Vol. 4

"After three wonderful recordings by Niklas Eklund (Sept/Oct 1998:284), it is no surprise to hear more of the same here. Performing on baroque trumpet (valveless but with one or more tone holes for trills and intonation correction), Eklund shows exquisite taste, elegance of articulation, tonal purity, and virtuoso technique in these accounts of works by German composers. Each is given a reading full of nuance and attention to detail. This account of Telemann's familiar Concerto 2 has the best balance between trumpet, two oboes, and bassoon I have heard." --American Record Guide, August 2000

La Voce Nel Violino

Music by CIMA, UCCELINI, FONTANA, MONTEVERDI, ROGNANO, CASTELLO, GESUALDO, BASSANO, FRESCOBALDI, MEALLI, F. M. VERACINI

Violinist Enrico Onofri, well-known concertmaster of Il Giardino Armonico, explains in his notes to the selection of works he and Imaginarium present that the early 17th century constituted a magical �borderland� between the vocal world and the instrumental one to come. In it, Giovanni Paolo Cima�s sometimes solemn and vocally conceived Sonatas (1610) 

rub shoulders with Giovanni Marco Uccelini�s more virtuosic type from 1645 (Uccelini would explore the sixth position in one of his works), with its fluttering rapid notes and its bolder declamation. Fontana�s sonatas from 1641, with long-breathed ornamented melodies punctuated by rustling passages, fall somewhere in between.

Drama spices the arching songfulness of these pieces, as it does in Cima�s Sonata for Cornet or Violin�the second of his sonatas in this collection�the last section�s scalar lines of which sweep upward�or as in Claudio Monteverdi�s piece from his 1638 collection of Madrigali guerrieri, et amorosi from 1636, with its exuberantly rushing parts for two violins (Onofri is joined in this work by Alessandro Tampieri) and the pathos of its chromatic descending lines.

Richardo Rognano�s passegiato from his Passaggi, libro secondo precedes Monteverdi�s work by almost half a century, but in its swirling figuration it, too, though modal, sounds modern, especially by the standards of, say, Corelli�s solo sonatas as they�ve been so often played (without embellishments). The title of Dario Castello�s Sonata from 1640, with its passages in echo and the dramatic sighs near its end, explicitly identifies it as being written �in stil moderno.� It�s clearly instrumental in conception. Carlo Gesualdo�s work from Madrigali, libro quinto , 1613, brings Onofri together again with Tampieri in a chromatic fantasy that clearly offers a reworking of a searingly dramatic vocal piece. Giovanni Bassano�s Ricercata seconda , played by solo violin, the earliest piece (1585) on the program, sounds spare and regimented in this lavishly imaginative company, especially in such close proximity to Monterverdi�s brief Armato il cor d�adamantina fede . Frescobaldi�s �aria� features a solo part by Onofri on violino piccolo.

Giovanni Antonio Pandolfi Mealli, whose sonatas Andrew Manze has recorded twice�Channel Classics 5894, which I had the privilege of reviewing in 17:6, and Harmonia Mundi 907241, which I also had the privilege of reviewing, in 23:2�may come near the end of this procession of Italian violinists, but the Sonata �La cesta,� from his op. 3, while it may demonstrate more obvious structural design (there�s a passacaglia at its heart), seemed almost crack-brained in its originality when Manze first championed it. Onofri plays it with rapturous ecstasy. The program ends with a work based on the ascending hexachord, an antique canonic fantasy by Francesco Maria Veracini from the next century (1744) that reflects on instrumental music�s vocal roots.

Onofri, who has demonstrated so rich an imagination in his performances with Il Giardino Armonico, endows these works, in collaboration with his ensemble, with an equally vibrant exploratory sense, not only of the richly varied forms, but also of the similarly kaleidoscopic instrumental colors and brilliant virtuosity. The colors may be generated by period instruments, but they flash so brightly that the message almost obliterates the medium. I�ve reviewed several collections of music from this period during the last decade and a half (for example, the brief 45-odd-minute survey, �Il violino in San Marco,� by the Trio Arcangelo Corelli, MDG 3476, which I urgently recommended in 17:1), and each time I�ve marveled at the music�s inventiveness�though never more so than in this recording. So again, urgently recommended.

FANFARE: Robert Maxham 

Serenata Hungarica

The tradicional Hungarian music had a significant influence on the Austrian baroque music in the 16th and 17th century. By exploring the native Austrian tradition and the musical styles of Transylvania (Romania) and Hungary, this CD brings back to light rarely played yet fascinating works that show the intriguing fusion of those nations.

Great Baroque Masterpieces (10-CD Box Set)

Baroque music describes the period in Western classical music dating from approximately 1600 to 1750. The Baroque period saw the development of functional tonality, as well as new instrumental playing techniques and musical notation. It was during this time that opera was established as a musical genre, and the period also saw the expansion of the range and complexity of instrumental performance.

This collection concentrates on the instrumental music of the period. No survey of the Baroque would be complete without the music of JS Bach, whose Brandenburg concertos are commonly regarded as the apex of Baroque music. The radiant concertos of Vivaldi demonstrate the exhilarating range of instrumental colour that flourished at this time and contrast with the orchestral zest of Handel�s robust Water Music. From classical favourites such Pachelbel�s Canon and Albinoni�s Adagio, to Concerti Grossi from composers as diverse as Corelli, Handel, Locatelli and Geminiani, this set is the perfect compilation of works from this most fascinating of eras.

Lute music by Lauffensteiner and Weichenberger

1676 was an important year for European lute music � Thomas Mace published his famous volume Musick�s Monument, and the two Austrian composers and lutenists Wolff Jacob Lauffensteiner and Johann Georg Weichenberger were born.

Although these composers� works were stylistically similar to the German school of lute music, they carved out a distinct and independent Austrian movement; this new recording by acclaimed lutenist Miguel Yisrael celebrates their achievements through a programme dedicated to their partitas.

Lute music was, in fact, a central part of Austrian culture in the 17th and 18th centuries: the Habsburgs, for example, played the instrument and employed virtuoso musicians to compose and perform for them. In addition to this, Lauffensteiner and Weichenberger were also exposed a wealth of stylistic influences, primarily the intricate French style of lute playing and the emerging Italian style, which featured a greater emphasis on melody. This rich combination of influences is embodied in their music � idiomatic works blending French textures with song-like melodies that foreshadow the 18th-century galant style. This recording is a valuable snapshot of the uniquely Austrian style of lute playing that Lauffensteiner and Weichenberger established. Miguel Yisrael�s performances demonstrate a deep resonance with this repertoire, and reveal his exemplary approach to the technical and stylistic intricacies of his instrument.

Neapolitan Flute Concertos II

�[Ipata's] virtuosity is, as always, exceptional, and there's fine playing from his own period band, Auser Musici. The close recording captures Ipata's occasionally heavy breathing and the sound of his fingers tapping his flute.� --The Guardian, 9th May 2013 ***

�Auser Musici play quick music with brio, slower movements have a graceful lyrical sweep and Ipata's flute-playing is always shapely; there's no disputing the easy charm of these skilfully crafted concertos.� --Gramophone Magazine, July 2013

Neapolitan Flute Concertos I

A second volume of flute concertos from eighteenth-century Naples from period band Auser Musici. Their first album of this repertoire was particularly praised for the impeccably stylish playing of flautist Carlo Ipata, and for the discovery of the music itself, which despite its obscurity is delightfully appealing.

The works are placed in their historical context in the booklet note by Stefano Aresi, who writes: �To listen to the flute concertos of these composers is to be transported to the atmosphere of everyday music-making in Naples, that of the private concerts in the aristocratic palaces. They give a good idea of the extremely high average quality of the compositions habitually consumed by the cream of Neapolitan society, perfectly representing the taste of an era and the outstanding virtuosity of the performers who were regularly employed there�.

Music from the court of Frederick the Great

As a specialist in historical violin techniques of the seventeenth and eighteenth centuries, Simon Standage has performed with many of the world's leading period instrument orchestras.Standage and Richard Hickox founded the group Collegium Musicum 90. Under contract with Chandos Records, Collegium Musicum 90 produced more than 40 recordings in its first decade, from large-scale dramatic works to acclaimed trio sonata recordings.

The Trio Sonata in 18th-Century Germany

�with the exception of Goldberg's sonata these compositions are not that well-known and that makes this disc a worthwhile addition to the discography. That is even more the case in consideration of the performances. London Baroque is one of the older ensembles in the world of historical performance practice. It is still going strong, and it is remarkable how it has kept its high standard over so many years.� --MusicWeb International, 6th September 2013

London Baroque

The closing disc in London Baroque�s survey of the rise and fall of the trio sonata.

Looking back over this eight-disc series, which opened with three Fantasias composed before 1620 by Orlando Gibbons, it becomes clear how far London Baroque has travelled. The series has taken in both staples of the repertoire and more or less unknown jewels, by composers still revered today or awaiting rediscovery.

The Musical Treasures of Leufsta Bruk II

In the 18th century, Leufsta Bruk � some 140 kilometres northwest of Stockholm � was the centre of a major industry producing iron both for Swedish needs and for export. It was a little principality in the middle of the forest governed by the descendants of Louis De Geer, the Belgian financier who had developed the ironworks. Highly cultured and musical, the family gathered together a remarkable collection of musical scores, a collection which mirrors the development of music and music publishing on the Continent, as well as the musical activities at a flourishing Swedish manor of the period.

Presenting a sample from the Leufsta collection, this disc contains music by international stars � Tartini and Handel � as well as less familiar names, such as the London-based German composer Gottfried Keller and the Swedish composers Johan Helmich Roman and Hinrich Philip Johnsen. Concertos, keyboard solos, sonatas and duets bear testament to the entertainments � often with the active participation of members of the De Geer family themselves � that enlivened the evenings at Leufsta in the mid-18th century. The programme closes with music that has a special connection to the church of Leufsta Bruk and its famous organ from 1728: excerpts from Johnsen�s Church Music, composed for the Easter Day service of 1757.

Bringing these musical treasures to life is the Drottningholm Baroque Ensemble, whose many recordings on BIS have created a following around the world. Released in 1985 their version of Vivaldi's Four Seasons, with soloist Nils-Erik Sparf, is still considered one of the classic recordings of this work. More recently the forerunner of the present disc (Musical Treasures of Leufsta Bruk I, BIS-CD-1526) was described as a �superbly performed � unique collection of pieces demonstrating an eclectic and aristocratic taste of the early 18th century� by the reviewer on the website MusicWeb International.

The Musical Treasures of Leufsta Bruk I

In the 18th century, Leufsta Bruk � some 140 kilometres northwest of Stockholm � was the centre of a major industry producing iron both for Swedish needs and for export. It was a little principality in the middle of the forest governed by the descendants of Louis De Geer, a Belgian financier who developed the ironworks. The family was highly cultured and musical, and in particular Charles De Geer, a noted scientist as well as industrialist, contributed greatly to the remarkable collection of musical scores at Leufsta. These scores were to a large extent brought from Amsterdam and mirror the development of music and music publishing on the continent, as well as the musical activities at a flourishing Swedish manor of the period.

Not surprisingly the collection � and this disc � contains music by well-known composers such as Vivaldi and Tartini, but there are also rarely heard works, for various instrumental combinations. Duets, keyboard solos, trio sonatas and the charming collection of �Boer Dances� bear testament to the entertainments � often with the active participation of members of the De Geer family themselves � that enlivened the evenings at Leufsta in the mid-18th century.

Bringing these musical treasures to life is the Drottningholm Baroque Ensemble, whose many recordings on BIS have created a following around the world. Released in 1985 their version of Vivaldi's Four Seasons, with soloist Nils-Erik Sparf, is considered one of the classic recordings of this work. A much later disc, Telemann�s Don Quixotte (BIS-CD-1226) was recommended by the Spanish magazine CD Compact, and received a 5 star review in BBC Music Magazine, containing the following words of praise: 'the Drottningholm musicians capture all with admirable esprit and no breaches of stylistic decorum.' The same may safely be said about the present recording.

His Majestys Sagbutts and Cornetts Grand Tour

'Very stylish and well-informed performances of some fascinating repertoire' --Classic CD

'This is everything a grand tour should be: educating, entertaining and enriching. Well worth exploring' --BBC Music Magazine

'A strong recommendation' --Gramophone

'A thoroughly recommendable issue' --Fanfare, USA

This is the first record in a projected series on Hyperion by His Majestys Sagbutts and Cornetts. The works featured comprehensively survey the remarkable repertoire composed over two hundred years in Italy, Germany and Spain and reveal an astonishing breadth of atmosphere. The musical pomp and splendour of bygone royal ceremony can be answered by the most tender and delicate of chamber music: all legitimate repertoire for what was in the past recognized as the most versatile of all instrumental ensembles.

Italian Virtuosi of the Chitarrone

The chitarrone is one of the more spectacular instruments of the early baroque. The name probably means �large kithara�, after the instrument played by the Classical Greek poets, and it was first developed as a bass lute to accompany singing and recitative Between 1604 and 1640, Giovanni Girolamo Kapsperger (also known as Johann Hieronymus Kapsberger), Alessandro Piccinini and Bellerofonte Castaldi published a number of collections of chitarrone music, from which Jakob Lindberg has chosen some favourite dances, arias, toccatas and passacaglias.

Combined into seven suites, they provide rich opportunity to enjoy the particular timbre and the special playing techniques of this instrument.

Jakob Lindberg has a long-standing interest in the many varieties of lutes and has now dedicated himself to researching their relative � research which informs both the performances and Lindberg�s own liner notes.

A Noble Entertainment

The young, vibrant musicians of The Parnassian Ensemble spotted a gap in the early music market and have filled it with flair, producing a debut album of original music for two recorders and continuo from the time of Queen Anne, most of it not previously available on disc. The only ensemble in England concentrating on this repertoire, the Parnassians relish in introducing to audiences this fine, original, early eighteenth-century English recorder music which would otherwise remain virtually unknown. 

The enthusiastic reception led them to commit their expertise to disc. Since its formation in 1998, The Parnassian Ensemble has gained a reputation for its virtuostic performances and innovative programming.

The Harp of Luduvico

Fantasias, arias and toccatas by Frescobaldi and his predecessors

GRAMOPHONE CRITICS' CHOICE

'This is a quite stunning record. Treat yourself to it, even if it means pawning something you can live without' --Gramophone

'This is a stunning record' --Fanfare, USA

Spanish Dances: Selections from Ruiz de Ribayaz's 'Luz y Norte'

�Concerts with The Harp Consort have the spontaneity of improvised jazz and the perfection of state-of-the-art Early Music� a stupendous mixture of historical accuracy and improvisatory freedom� breaking the concert mould� Music-theatrical fascination� gypsy dances� Spanish Humour� French elegance� thrilling �a magical collage of text, sound and dance: The fabulous Harp Consort� -- Frankfurter Allgemeine, Rundschau, Neue Presse & Main-Ech

Francesca Caccini: Sacred & Secular Songs

Francesca Caccini (no relative of the male composer with the same name) was a remarkable composer, singer, lutenist and poet in the Italian Baroque, serving at the prestigious court of the Medicis. She was a celebrated soprano, wrote a full scale opera and excelled in her own works. This recording features sacred and secular songs, music of deep emotional impact, dealing with the joys and sorrows of earthly and heavenly love.

New recording with the celebrated Italian soprano Elena Cecchi Fedi, accompanied by a colourful and rich instrumental group featuring cittern, theorbo, viola d�amore, guitars and strings.

Francesca Caccini was certainly an exceptional woman. Not only was she a 'diva' of the Baroque world who had the voice 'of a nightingale', but she was also a lutenist, poet, and the first ever female to compose a full-scale opera (La liberazione di Ruggiero). She first rose to fame at just thirteen years old when she performed in scenes of Peri's Euridice to widespread acclaim, earning the nickname 'La Cecchina' (Little Francesca) by which she would be known for the rest of her life.

The songs in this collection would more than likely have been performed by La Cecchina herself at the Medici court, where she was employed as a musician, and many are representative of her florid style of composition; Caccini was known to be meticulous in the notation of her works, ensuring that each emphasis, syllable and melisma fell in exactly the right place. Fluid melisma and ornamentation are indeed characteristics of the works O vive rose, Non so se quel sorriso and Ch'Amor sia nudo, with those of the latter offset by lilting dance rhythms in the accompaniment. However, these are a stark contrast to the penitent Maria, dolce Maria, and pensive Dov'io credea. A highlight of the recording is undoubtedly Lasciatemi qui solo, a dramatic jewel, in which a lamenting vocal line and false relation in the accompaniment are joined by a mournful, singing theorbo part. These songs are just a glimpse of the skill and versatility of this special composer.

Soprano Elena Cecchi Fedi has performed in concert halls and festivals throughout Europe and has made several recordings. She is joined by the critically-acclaimed lutenist and theorbist Gian Luca Lastraioli, whose career has allowed him to appear in some of the most prestigious performance venues around the world, and who directs the Cappella di Santa Maria degli Angiolini on this recording.