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Image Symphony No. 4; Alto Rhapsody; Schicksalslied
Although the symphony was the most prestigious instrumental genre of his time, Brahms avoided it for many years. In 1872, when he was already more than forty years old and was widely acknowledged for his chamber and choral music, he observed: ‘I will never write a symphony! You can’t imagine what it’s like to hear a giant treading behind you.’ The giant was of course Beethoven, at once an inspiration and a source of intimidation for composers of Brahms’s generation. Fortunately, however, he went back on his promise a few years later with his First Symphony, followed by three more composed between 1876 and 1885. The two works presented here are the Second Symphony, sometimes sombre, sometimes radiant, and the Fourth, a genuine masterpiece of the genre. This disc, recorded on period instruments under the masterly direction of Philippe Herreweghe, is released to coincide with a double anniversary: as a prelude to the Flemish conductor’s seventieth birthday, it also celebrates the twenty-fifth year of existence of one of his favourite ensembles: the Orchestre des Champs-Élysées.

80 kr (159 kr)
Image Music at the Time of Louis XIV (8 CD)
This journey through the Baroque era focuses on the music of France during the reign of Louis XIV. With roots in the Renaissance polyphonic tradition, this music imposed itself as an alternative to the Italian Baroque style. + All of the powerful identities of French music came to be during Louis XIV’s reign (which lasted an astonishing 72 years), including the suite, the overture, the tragedie en musique, the grand motet, and solo motets. + This eight disc set also includes an informative book, outlining the history of the music, biographies of the composers, and information on the performers.

300 kr (599 kr)
Image Premier Livre des Pièces de Viole (4 CD)
Here is the start of a great adventure: the complete recording of the five books of pièces de viole of Marin Marais. The First Book, published in 1686, contains a dozen suites, two of which are scored for two bass viols and continuo. It also features a very moving Tombeau for ‘Monsieur Méliton’, probably one of Marais’s teachers, and a set of variations on a theme given to the composer by an ‘estranger’, which foreshadows one of the principal compositions of his Second Book, the Couplets des Folies d’Espagne.

180 kr (359 kr)
Image Organ Works (complete) (16CD)
355 kr (709 kr)
Image Symphonies Nos. 1, 3 & 4
Royal Flemish Philharmonic / Philippe Herreweghe

Although Franz Schubert's earliest symphonies are sometimes considered youthful works of a composer still learning his trade, they nonetheless attest to a genius of symphonic construction such as few musicians could boast at, respectively, 16 (Symphony No. 1), 18 (Symphony No. 3) or 19 years of age (Symphony No. 4).

Despite these promising beginnings, Schubert would be only sporadically published during his lifetime - approximately one tenth of his total output and primarily his lieder -, and his symphonic works would not be printed until sixty years after his death.

Here, Philippe Herreweghe and the Royal Flemish Philharmonic pay a superb tribute to these works of the composer that are less well known and rarely recorded, in interpretations of refinement, precision and sensitivity.

145 kr (289 kr)
Image Philippe Herreweghe: A Conversation with Camille D
In a series of interviews with Camille De Rijck, Philippe Herreweghe sums up his musical trajectory by offering the reader his reflections, intermingling musical and personal considerations. A selection of archive illustrations to delight the eyes and an updated biography complete the contents of the book, which is published in four languages (English, French, German and Dutch). A five-disc compilation of extracts chosen and discussed by the conductor himself provides an musical counterpoint to the text. The selection enables you to explore a whole life through the finest works of such composers as Lassus, Schein, Bach, Beethoven, Mahler, Dvorák and Stravinsky. Thanks to the longstanding close collaboration between Philippe Herreweghe and his favourite ensembles – Collegium Vocale Gent, the Orchestre des ChampsÉlysées and the Royal Flemish Philharmonic – this anthology of his most remarkable interpretations is also an opportunity to experience at leisure the extraordinary palette of colours and timbres that he invariably succeeds in obtaining from them, and transports us to the very heart of the Flemish conductor’s inner world. This magnificent object is released to mark Philippe Herreweghe’s seventieth birthday!

180 kr (359 kr)
Image Responsoria 1611
Carlo Gesualdo:
Responsoria 1611
[Responsoria et alia ad Officium Hebdomadae Sanctae spectantia (Feria Quinta, Feria Sexta, Sabbato Sancto)]

Collegium Vocale Gent
Philippe Herreweghe, conductor

The second project of Collegium Vocale Gent and Philippe Herreweghe for Phi to focus on Renaissance music is devoted to one of the most remarkable of all composers: Carlo Gesualdo. Both his life, characterised by extravagant and excessive behaviour, and his compositions left their mark on the history of music. Although best known for his secular music, he also wrote an almost equivalent number of sacred works that demonstrate his fervent faith. The Tenebrae Responsories comprise a set of pieces for Holy Week, in all twenty-seven motets for six voices, a psalm, and a hymn, published under his own supervision in 1611. As in his madrigals, the music is underpinned by many unexpected chromatic variations that create expressive images evoking tears, the earthquake, the despair of Christ on the cross, etc. The acoustics of the church of the village of Asciano in Tuscany, where the programme was recorded in 2011, create the perfect soundscape for this music.

145 kr (289 kr)
Image The Seasons
Christina Landshamer
Maximilian Schmitt
Florian Boesch

Collegium Vocale Gent & Orchestre des Champs-Elysees
Philippe Herreweghe, conductor

Impressed by the Handel works that he heard in London, Haydn felt the need to compose oratorios. First came Die Schopfung (The Creation) Which met with resounding success; then Baron Gottfried van Swieten proposed to Haydn an arrangement of James Thompson's poem 'The Seasons'. Initially, Hadyn was little attracted by the text, which deviates from the classic oratorio based on a religious text, but subsequently let himself be convinced. The result, for three soloists, chorus and an orchestra, is a vast pictorial fresco of Nature that describes landscapes and the feelings that they arouse. For the first time, Philippe Herreweghe gives us his own vision of an oratorium by Haydn. This recording is also the first in a Haydn cycle with Philippe Herreweghe for Phi, of which the next project is... Die Schopfung!

80 kr (159 kr)
Image Octet
80 kr (159 kr)
Image Last Symphonies (The)
Orchestre des Champs-Elysées, Philippe Herreweghe

Written one after the other in the space of just three months and with unprecedented energy, Mozart's last three symphonies carry within them the aesthetic ideal of their composer, touched by a grace that is already pre-Romantic, and thus form an exemplary musical testament. The Orchestre des Champs-Élysées, a pioneering collective among period-instrument orchestras, reveals a richness, a modernity, a visionary complexity that prepares the way for the Beethovenian revolution.

The approach of the orchestra founded and conducted by Philippe Herreweghe is to explore in depth the sonority and the motor rhythms of the symphonic writing of a Mozart here at the height of his powers.

To record this Mozart trilogy is a bold undertaking for any musician, and always an extraordinary event for the public!

145 kr (289 kr)
Image Creation (The)
Christina Landshamer, soprano
Maximilian Schmitt, tenor
Rudolf Rosen, baritone

Collegium Vocale Gent & Orchestre des Champs-Élysées / Philippe Herreweghe

After his years in London and the discovery of Handel's Messiah, which had profoundly moved him, Joseph Haydn embarked on writing a large-scale religious work.

For this very devout composer, this veritable act of faith would torment him for two years and from it would come an oratorio of penetrating intensity.

After enjoying immediate success in Vienna, Die Schöpfung (The Creation) conquered the whole of Europe in less than a year.

With this work, a few months after the release of Die Jahreszeiten (The Seasons), Philippe Herreweghe continues the exploration of Haydn's vocal works, accompanied by soloists Christina Landshamer, Maximilian Schmitt and Rudolf Rosen.

Thanks to the complicity of two of his favourite ensembles - the Collegium Vocale Gent and the Orchestre des Champs-Élysées - and the extraordinary palette of colours and timbres that he succeeds in inspiring once again, he transports us with refinement and intelligence into the Viennese master's inner universe.

145 kr (289 kr)
Image Symphonies Nos. 2 & 5
"After the success of his recordings of Symphonies nos. 1, 3 and 4, released on the Phi label in 2016, Philippe Herreweghe offers us the next instalment of Schubert’s orchestral output with the Royal Flemish Philharmonic: the Symphony no.2 D. 125 and Symphony no.5 D. 485 – both in B flat major. Like those on the previous disc, these works from his youth – written when the Viennese composer was not yet twenty years old – mark the promising beginnings of an already highly accomplished composer. They demonstrate finesse of large-scale symphonic construction, even though the Fifth is the least heavily scored of the cycle – it is the only one that does not call for clarinets, trumpets and timpani. The Second, with its light character, requires just as much subtlety from the orchestra – which Philippe Herreweghe and the Philharmonic provide with their accurate and intelligent playing throughout this album. A new homage from the Belgian conductor to the genius of the Viennese composer, whose later symphonies are better-known to us, while his earlier works are – quite unfairly - not played or recorded enough!"

80 kr (159 kr)
Image Infelix ego
80 kr (159 kr)
Image Leipzig Organ Works
Maude Gratton, organ

The talented organist and harpsichordist Maude Gratton is an artist constantly seeking perfection. A graduate of the Paris Conservatoire, she trained with such great masters as Pierre Hantaï (harpsichord) and Louis Robilliard (organ), as well as with Olivier Baumont, Blandine Rannou, Kenneth Weiss, Michel Bouvard, Olivier Latry, and Olivier Trachier. It was quite natural that Philippe Herreweghe, concerned with promoting the talent of promising young musicians, should invite her to record an album in the ‘Amis de Phi’ (Friends of Phi) collection. On this disc, the young organist has chosen an ideal programme for demonstrating her art, proposing an intelligent panorama of organ works by Johann Sebastian Bach: between the Preludes and Fugues in E minor and E flat major, BWV 548 and 552, Jesus Christus, unser Heiland, BWV 665, the Canonic Variations on ‘Vom Himmel hoch’, BWV 769, and the Organ Sonata no. 4, BWV 528, come and discover well-known and less well-known pieces by the Kantor of Leipzig.

80 kr (159 kr)
Image Requiem
The Collegium Vocale Gent,the Royal Flemish Philharmonic and Philippe Herreweghe join forces once again for a monument of the sacred choral repertoire: Antonin Dvorak's Requiem,Op.89.This work, dating from 1890, is one of those that marked a new phase in the composer's musical creation, in which he recognized himself as much a poet as well as a musician.In addition,this reveals the veritable nature of a composer without constraint, probably being neither a commission nor an occasional work.Philippe Herreweghe offers us an interpretation as dense and concentrated as the writing of this masterpiece requires.

145 kr (289 kr)
Image Symphony No. 4
Rosemary Joshua (soprano)
Orchestre des Champs-Elysees / Philippe Herreweghe

After a 30 year-long partnership with harmonia mundi, Philippe Herreweghe has founded his own label, PHI, coproduced with Outhere. For his first CD, he presents Mahler's Fourth Symphony.

Under the leadership of Philippe Herreweghe, l'Orchestre des Champs-Élysées has made a feature of modern interpretations, in a far from standard manner, on period instruments.

Beyond the sumptuous colours of l'Orchestre des Champs-Élysées, beyond the meticulous work on the musical score, this recording confirms Herreweghe's intimacy with the world of the Viennese composers of the turn of the century.

80 kr (159 kr)
Image Threni / Requiem Canticles
Christina Landshamer, soprano
Ewa Wolak, contralto
Maximilian Schmitt, tenor

Collegium Vocale Gent, Royal Flemish Philharmonic / Philippe Herreweghe

Threni (1957-58) is his longest, most ambitious and complex dodecaphonic score, and probably one of its summits. A work like the Requiem Canticles (1966) goes even further in this direction: the composer’s last masterpiece, it seems to summarise in itself the evolution of an entire lifetime, combining elements from the different stylistic periods that punctuated his career – whilst marking a highpoint in the spiritual quest that became increasingly important in Stravinsky’s life. In this major album, Philippe Herreweghe reveals with conviction his love for the composer’s music, and under his sure, inspired direction, the Collegium Vocale Gent and the Royal Flemish Philharmonic reveal their pure poetry.

80 kr (159 kr)
Image Ich elender Mensch
80 kr (159 kr)
Image Du treuer Gott: Leipzig Cantatas BWV 101, 103 & 11
For the third time on the Phi label, Philippe Herreweghe gives us the opportunity to (re)discover three cantatas by Johann Sebastian Bach – Nimm von uns, Herr, du treuer Gott, BWV 101, Ihr werdet weinen und heulen, BWV 103 and Mache dich, mein Geist, bereit, BWV 115. After two albums of cantatas written during the composer’s first year in Leipzig (LPH006 and LPH012), the Belgian conductor and his Collegium Vocale Gent, orchestra and choir, will be performing three cantatas he composed during his second year as Kantor at St Thomas’s. The choir and vocal soloists are once again challenged to produce performances of subtlety and refined virtuosity, and the instrumentarium is as rich and colourful as those heard previously in this series.

80 kr (159 kr)
Image Officium Defunctorum
Collegium Vocale Gent / Philippe Herreweghe

Tomás Luis de Victoria is definitely one of the most important composers in the music history of Spain. His masterpiece is the 'Officium Defunctorum', published in Madrid in 1605. In this requiem - written for the funeral of Maria of Austria, daughter of Emperor Charles V - the composer reached a mystical intensity of expression.

Philippe Herreweghe just loves composers "who know how to build entire worlds with sounds, recognizable from the first notes, profound and full of richness". For him Tomás Luis de Victoria is one of them, "one of the greatest musical minds ever".

So it was an obvious choice for Philippe Herreweghe to make a recording of this heavenly 'Officium Defunctorum'. And... of course Collegium Vocale Gent - with its cristal clear sound - is the perfect instrument to perform such music. Looking forward to the first renaissance project of Philippe Herreweghe and Collegium Vocale Gent for the label Phi!

80 kr (159 kr)
Image Works for Chorus & Orchestra
Ann Hallenberg
Collegium Vocale Gent, Orchestre des Champs-Elysées / Philippe Herreweghe

For his 3rd album on Phi, his new label published by the group Outhere, Philippe Herreweghe has brought together a splendid set of artists in the Lutoslawski hall in Warsaw. Ann Hallenberg, whose voice won over the public of some of the world's most prestigious concert halls, takes on the Rhapsody for contralto solo and men's chorus by Brahms while the rest of the programme leads the listener through his essential works for chorus and orchestra. Herreweghe's long-time affinity with the composer of A German Requiem has enabled him to provide a coherent and personal vision of those musical pages in which Brahms gave free course to his most intimate thoughts.

Collegium Vocale Gent is joined in this endeavour by the members of the Accademia Chigiana of Sienna with whom it formed a European ensemble that was officially recognised as Cultural Ambassador of the European Union just a few months ago. Together with the Orchestre des Champs-Elysées and its authentic instrumentarium, this great choir interprets the Burial Song, the Song of Destiny, the Song of the Fates and the motet Warum ist das Licht gegeben. A great moment for all admirers of Brahms and fans of choral singing at its very best!

80 kr (159 kr)
Image String Quartet No. 13 & Quintet for piano & Winds
The pairing of the two works on this album is unique in that one comes from the dawn, the other from the dusk of Ludwig van Beethoven’s career. Indeed, whereas the composer wrote the Quintet for winds and piano, Op. 16 when he was only 26- the talented young man also excelled as a successful pianist- he did not finish his String Quartet Op. 130 until a year before his death. The Edding quartet proposes here the original version of the work, with the Grosse Fuge, op.130, as final. The direct comparison of these two works on the same disc intelligently sheds light on the fantastic distance the composer covered between these two points in time. Two years after their successful Schubert album, which was warmly received by the press and public, the Edding Quartet and Northernlight felicitously join together once again on the same album to give new readings of these masterpieces of the chamber music repertoire. Having become major interpreters of the Classical and Romantic repertoires, the two ensembles offer expert performances, refined and precise, of two of the German composer’s finest scores.

80 kr (159 kr)
Image O dolce mio tesoro
A personality has who provoked considerable controversy over the centuries, Carlo Gesualdo (1566- 1613), aristocrat, musician and murderer of his first wife, is no less a composer whose music is marked by subtlety and refinement. His innovative Sixth Book of Madrigals, written two years before his death, exploits all harmonic, chromatic, and textural possibilities to meet the texts’ expressive requirements and proves to be a veritable masterpiece of the genre. After a first release devoted to the Italian composer’s sacred works, the Tenebrae Responsoria, Philippe Herreweghe and his Collegium Vocale Gent invite us to (re)discover his secular music for the 450th anniversary of his birth. In masterful fashion, they propose a delicate, expressive reading of this complex music, doing justice to the modernity of the musical language of the Prince of Venosa. The acoustics of the church in the little Tuscan village of Asciano, where the programme was recorded in 2015, provides an ideal sound setting for this music.

80 kr (159 kr)
Image Stabat Mater (2 LP)
For its second vinyl release, PHI has chosen to reissue one of Philippe Herreweghe’s most masterly interpretations: Antonín Dvorak’s ineffable Stabat Mater, for which the conductor and his ensembles, the Collegium Vocale Gent and the Royal Flemish Philharmonic, were praised by public and press alike – Editor’s Choice in Gramophone, 4F Telerama, 4* in Classica, Le Choix de France Musique, and 10 in Luister and Klara, to name but a few of the distinctions it earned. ‘With the Royal Flemish Philharmonic, [Philippe Herreweghe and his Collegium Vocale Gent] rid this rarely recorded work of all Romantic excess. The result is a spiritual journey... highlighting the universal greatness of this major work of sacred music.” CHOIX de France Musique ‘All of Herreweghe’s performers clearly love this ravishing music, relishing every detail of this beautifully nuanced score... This new release must be the top choice.’ Gramophone Editor’s Choice, Recording of the Month ‘The serenity Dvorak succeeded in reclaiming is particularly present in the movements reserved for the choir, and especially so here with the interventions of Collegium Vocale Gent, possibly the only European ensemble . . . that currently offers such purity of timbre, perfection of intonation and accuracy of expression.’ 4F TeleramaFor its second vinyl release, PHI has chosen to reissue one of Philippe Herreweghe’s most masterly interpretations: Antonín Dvorak’s ineffable Stabat Mater, for which the conductor and his ensembles, the Collegium Vocale Gent and the Royal Flemish Philharmonic, were praised by public and press alike – Editor’s Choice in Gramophone, 4F Telerama, 4* in Classica, Le Choix de France Musique, and 10 in Luister and Klara, to name but a few of the distinctions it earned. ‘With the Royal Flemish Philharmonic, [Philippe Herreweghe and his Collegium Vocale Gent] rid this rarely recorded work of all Romantic excess. The result is a spiritual journey... highlighting the universal greatness of this major work of sacred music.” CHOIX de France Musique ‘All of Herreweghe’s performers clearly love this ravishing music, relishing every detail of this beautifully nuanced score... This new release must be the top choice.’ Gramophone Editor’s Choice, Recording of the Month ‘The serenity Dvorak succeeded in reclaiming is particularly present in the movements reserved for the choir, and especially so here with the interventions of Collegium Vocale Gent, possibly the only European ensemble . . . that currently offers such purity of timbre, perfection of intonation and accuracy of expression.’ 4F Telerama

329 kr
Image Motetten BWV 225-230 (2 LP)
To launch Philippe Herreweghe’s birthday year, we turn the spotlight once more on one of his most accomplished recordings: Bach’s Motets BWV 225-230. Recorded in 2011 in the splendid acoustics of the Jesus-Christus-Kirche in Berlin, this interpretation is accompanied by period instruments and is the result of intense reflection concerning the performing forces: Philippe Herreweghe sometimes uses a small number of singers per part, sometimes a larger group, according to the needs of the motet in question. He sees these pieces in terms of continuous research, in which ‘several approaches are possible and even necessary if one wishes to make this marvellous music sound its best, and especially for a recording’. For the greater pleasure of the eyes and ears of turntable lovers, these masterpieces by the Kantor of Leipzig now appear in a novel incarnation, subtly combining the label’s new and modern graphic line with the timeless style of the vinyl format.

349 kr
Image Sonatas & Partitas for Violin
Christine Busch, baroque violin

Over the past 40 years Philippe Herreweghe has been working with some extraordinary soloists with whom he has had very fertile and stimulating dialogues, both musically and personally. Philippe Herreweghe: "It seems important to give these musicians the opportunity to express themselves on the label PHI in works they are particularly fond of." This is the case of the present recording. Christine Busch, leader of the orchestra of Collegium Vocale Gent, recorded the Sonatas & Partitas for solo violin by J. S. Bach - a work she admires, and she has been playing since her childhood. Philippe Herreweghe: "Christine Busch inspires by her technical perfection, her strength, her humility, her sense for poetry, as well as by her qualities needed to serve the greatest of all composer."

145 kr (289 kr)
Image Guide to Musical Instruments, Vol. 2 (1800-1950) (
This second volume of the Guide to Musical/Period/Early Instruments explores the history of musical instruments in the period from 1800 to 1950. Its purpose is both to discuss improvements and transformations of instruments dating from before 1800 and to investigate all the novelties thought up by instrument makers during this era.

All these developments took place in a context in which the process of instrument making moved from artisans' workshops to commercial firms which became veritable factories, typical of the 'age of industrialisation'. The majority of the musical examples are recordings of individual instruments that allow us to hear timbres often lost under the weight of the orchestral mass.This second volume of the Guide follows the same principles as the first. The text by Jérôme Lejeune is illustrated by numerous photos of instruments and other iconographic sources; a set of eight CDs, arranged in thematic programmes ('The orchestra of Berlioz', 'Salon music', 'Vienna in the time of Beethoven', 'Wagner and instrumental innovations', 'The Sax workshop', etc.), illustrates all these instrumental discoveries in sound.

Unlike the first Guide, this second volume will be released in two versions, one in French, the other in English. Merely developed the instruments of Beethoven's orchestra will be surprised to discover an incredible number of instruments that enjoyed only a short lease of life, but also many that brought new colours to the orchestra.

315 kr (629 kr)
Image The Time of Monteverdi (8CD)

Works By
Agostini - Bassano - Bovicelli - Buonamente - Caccini - Capuana - Carissimi - Grandi - Cavalieri Cavalli -
Cazzati - Cima - Fantini - Farina - Frescobaldi - Gabrieli - Kapsberger - Landi - Legrenzi Luzzaschi - Malvezzi - Marazzoli - Marini - Mazzocchi - Merula - Monteverdi - Peri - Picchi Piccinini - Rossi - Salaverde - Sances - Terzi - Trombetti - Uccellini

A Sei Voci (Bernard Fabre-Garrus) - Accademia Strumentale Italiana - Akadêmia (Françoise Lasserre) Capella Sancti Michaelis (Erik Van Nevel) - Cappella Mediterranea (Leonardo García Alarcón) Choeur De Chambre De Namur ( Jean Tubéry & Leonardo García Alarcón) - Clematis (Stéphanie De Failly) Concerto Italiano (Rinaldo Alessandrini) - Concerto Palatino - Concerto Soave Doulce Mémoire (Denis Raisin Dadre) -
Ensemble Aurora (Enrico Gatti) - L'achéron (François Joubert-Caillet) La Fenice ( Jean Tubéry) - La Venexiana - La Villanella Basel - Les Arts Florissants (William Christie) Le Miroir De Musique - Le Poême Harmonique (Vincent Dumestre) - Mare Nostrum (Andrea De Carlo) Odhecaton (Paolo Da Col) - Romanesca - Scherzi Musicali (Nicolas Achten) Taverner Consort, Choir & Players (Andrew Parrott)

Jean - Marc Aymes - Omas Dunford - John Elwes - Mariana Flores - Bernard Foccroulle Ellen Hargis - Siebe Henstra - Marco Horvat - Roberta Invernizzi - Maria Cristina Kiehr Henri Ledroit - Gustav Leonhardt - Nigel North - Anna Reinhold

The successor to Music in Europe at the time of the Renaissance, this second volume in our History of Early Music is devoted to the music of the first part of the Baroque period in Italy, from the Florentine Camerata and the first operas to the heirs of Monteverdi; it was at that time that the freedom of structure characteristic of the beginning of the 17th century began to give way to the first traces of formalism.

This period covers almost an entire century, beginning with the performances of La Pellegrina mounted in Florence in 1589 and ending with the final operas of Francesco Cavalli in the early 1670s. The sacred and the profane mingled and met during this period, which also saw the birth of accompanied monody, opera and oratorio, virtuoso performance and the sonata; it is precisely this same mix that we see in the Nativity by Caravaggio that appears on the cover of this set. The musical expression of this Baroque aesthetic is the subject of Jérome Lejeune's accompanying dissertation.

285 kr (569 kr)
Image Music in Europe at the Time of the Renaissance (8C


Jérôme Lejeune continues his History of Music series with this boxed set devoted to the Renaissance. The next volume in the series after Flemish Polyphony (RIC 102), this set explores the music of the 16th century from Josquin Desprez to Roland de Lassus. After all of the various turnings that music took during the Middle Ages, the music of the Renaissance seems to be a first step towards a common European musical style. Josquin Desprez's example was followed by every composer in every part of Europe and in every musical genre, including the Mass setting, the motet and all of the various new types of solo song. Instrumental music was also to develop considerably from the beginning of the 16th century onwards. The musical excerpts that we have chosen include works by the most important composers of France, Italy, Germany, England, Spain and the Netherlands active during the 16th century. This boxed set is released in collaboration with the Château d'Écouen (Musée national de la Renaissance) in connection with the exhibition devoted to Renaissance music that will open there in September 2013.

300 kr (599 kr)
Image Pour les Dames religieuses
Choeur de chambre de Namur / Bruno Boterf

Henri Du Mont first made provision for the performance of a number of his compositions by women's voices in his Cantica Sacra (1652) and thus made it possible for these works to be sung in convents. This recording includes not only the motets intended for these institutions but also one of the Messes Royales in plainsong and several organ pieces from his Meslanges composed for the Dames religieuses qui touchent l'orgue.

This recording is the second in a systematic exploration of the several collections of music by Henry du Mont that were published in Paris. The first recording in this series was devoted to the Cantica Sacra and was released in 2010 to mark the 400th anniversary of the composer's birth.

35 kr (69 kr)
Image Canticum Canticorum
The music of Orlande de Lassus was exceedingly popular during the height of the Renaissance. His work combines the emotion of secular music with the text and intention of sacred works. + The texts of The Song of Songs are a perfect merging ground for these two worlds, with their biblical origin and their erotic connotations. The sacred and profane feelings mix perfectly in these works. + This release also includes de Lassus’s Magnificat as well as his Missa super Susanne un jour a.

80 kr (159 kr)
Image Sonate & Balletti

After Carlo Farina and the Vitalis, Clematis continues its exploration of the Italian Baroque instrumental repertoire with Giovanni Legrenzi. The Sonatas taken from the collections he published in Venice between 1655 and 1673 feature highly diverse forms ranging from the trio sonata up to larger forms for 4, 5, or 6 parts and even double choir. His final collection of instrumental music, Balletti e Correnti, published in 1691, offers us a very different view of instrumental music in which certain French influences cannot be denied. Here, Clematis gives us the first complete anthology of his instrumental works. The variety of forms and forces ensures this disc with a fine diversity of styles from sonatas still close in spirit to those of Biagio Marini up to those for four violins foreshadowing the generation of Vivaldi. Recorded in two different locations, this anthology lets us discover these compositions in the sonority either of the church with its choir organ or, more intimate, the chamber.

80 kr (159 kr)
Image Balli & Sonate
When Claudio Monteverdi arrived at the court of Mantua, he was initially engaged as a viol player. This is an aspect of his musical personality that is too often forgotten. Yet his brother Giulio Cesare reminds us in a letter that his improvisations on the viol alla bastarda were remarkable. At the time of his arrival, instrumental music played an important role at the court, which was dominated by the personalities of several musicians, chief among them the violinist Salomone Rossi. This programme illustrates the richness of the instrumental repertory at the Mantua court with the compositions of this virtuoso. But Monteverdi too was a master in the domain of instrumental music, which he handled with exceptional skill, as may be heard in the ballets of L’Orfeo, in the Ballo delle ingrate and in certain madrigals, such as Tempro la cetra, where the concertante role of instruments is fundamental. This evocation of music in Mantua at the time of Monteverdi also includes the irresistible Ballo di Mantova, a popular song that went through countless instrumental arrangements.

80 kr (159 kr)
Image Heroines of the Venetian Baroque
Mariana Flores, soprano
Anna Reinhold, mezzo-soprano
Cappella Mediterranea / Leonardo Garcia Alarcon

The opening of Venice's first opera house, the Teatro di San Cassiano, in 1637, was one of the major events in the history of opera. The protagonists of these new operas henceforth represented all the social categories making up this public and who, in fact, had to be able to find themselves onstage. The gods were no longer the only ones to lay down the law, challenged by the Vices and Virtues who preached in the Prologues. The new heroes are kings, emperors, dictators, courtesans, as well as nurses, valets, soldiers, philosophers, and, above all, lovers. Whoever they might be, we find them sympathetic or antipathetic - all are glorified, all are ridiculed.

With his 27 existing operas, Francesco Cavalli gives us a fascinating version of this theatre of life. A single main thread runs through the excerpts drawn from each of them by Leonardo García Alarcón: the expression of human passions. They are all there, from ingenuousness to ecstasy, joy to anger, passionate love (and its erotic, sensual expression) to despair.

This fascinating programme represents a new contribution to the knowledge of Cavalli's operas and helps unveil part of the mystery still surrounding his works.

160 kr (319 kr)
Image The Vienna Concert
On March 23, 1783, an important concert took place in Vienna, playing a considerable role for Mozart’s reputation in the imperial capital, where he had resided since 1781. It is obvious that Mozart wanted to be herad in both what he had composed prior to his move to Vienna, as well as I his more recent works. From the Salzburg repertoire, he borrowed the ‘Haffner’ Symphony. To this he added the long concertant movement for wind instruments from the ‘Posthorn’ Serenade. Here we also find two piano concertos, one from Salzburg and one which was composed likely for this specific occasion. Several arias are also included from his earlier operas. The Millenium Orchestra with Jodie Devos and Sebastian Wienand have painstakingly recorded this release to mimic this historic concert, so that the listener can rediscover this monumental night as if they were there.

115 kr (229 kr)
Image Music In Germany From Schütz To Bach (8 CD + Book)
After exploring the evolution of Italian and French music in the seventeenth century, Jerôme Lejeune devotes a new volume in his History of Early Music to Germany. During this century in which the Lutheran musical tradition developed further, Germany lived through a particularly enthralling period, bringing the musical world a highly original language, but also assimilating Italian and French models with talent and imagination; all of this unquestionably prepared the way that leads to Johann Sebastian Bach.

298 kr (596 kr)
Image Caravane Du Caire
Premiered in 1784 at the Académie Royale de Musique, where it ensured the institutions fortune, La Caravane du Caire was oneof Grétrys most famous operas, its popularity continuing into the 19th century.After the recording made under the direction of Marc Minkowski in 1991, Guy Van Waas proposes an energetic new version that enables us to discover a few variants in relation to the previous version. This production, realized by the Palazzetto Bru Zane of Venice, benefits from a fascinating musicological presentation by Alexandre and Benoît Dratwicki. The libretto is typical of the oriental subjects that were so highly prized in the late 18th century. Here, the beautiful Zélime, sold as a slave to a pasha, is rescued from the seraglio thanks to the courage of her beloved Saint-Phar and the loyalty of another Frenchman, Florestan.

159 kr (318 kr)
Image Ancor Che Col Partire
80 kr (159 kr)
Image Think Subtilior
The Ensemble Santenay invites us on an enthralling journey through the French Ars Subtilior repertory of the fourteenth century. These pieces with their often esoteric texts are presented here as a genuine sound project. Just as works of art are framed with the greatest care, the musicians have devised sound frames for the compositions on this album, in order to introduce them, link them with each other, take them further than usual, and above all make sure our ears and our consciousness are alert at the moment when the art makes its appearance. These sonic atmospheres are realised with the aid of sounds produced by instruments, scraps of pieces of music, sometimes a single voice.

80 kr (159 kr)
Image Rendez-moi mes plaisirs
Ricercar Consort / Henri Ledroit

It is now twenty years ago that Henri Ledroit left us. He had been one of the first artists to have faith in the grand enterprise that Ricercar launched in 1980; the recordings that we then took such great delight in making now enshrine priceless memories of him and his art. Henri Ledroit personified the both the joy of singing and the intelligent delivery of the text; these qualities, combined with his richly warm and yet so delicate and fragile voice, created his magic. This recording -- our 2009 catalogue is included with it - is devoted in the main to repertoire that is indeed seldom performed: the cantatas and airs de cour by Marc-Antoine Charpentier. We are now proud to present it for re-release, accompanied by an introductory text by Catherine Cessac.

The recording has been completed with several sacred compositions that were amongst Henri Ledroit's first recordings. This compilation also marks the re-release of the complete recordings made by this wonderful musician.

This recording offers the listener the pleasure of rediscovering the unique moments of emotion that Henri Ledroit shared with such generosity with all who had the pleasure of hearing him. These same emotions are still alive today: those that he brought to us and those that we experienced as we listened to him.

35 kr (69 kr)
Image Toccaten & Passacaglia
Johann Sebastian Bach composed his most renowned organ works — the Toccatas, the Fantasia in G minor and the Passacaglia in C minor — in Weimar, in the stylus fantasticus so beloved of his Northern German masters Buxtehude and Reinken. Bach here follows in his predecessors’ footsteps in all of these large-scale works: the freely inventive writing in the preludes is linked to the rigour of the fugal construction and so brings them to a majestic conclusion. This recording includes all of these magnificent masterpieces.

60 kr (119 kr)
Image Thésée
Tragédie lyrique en 4 actes
créée à l'Académie royale de musique à Paris en 1782


Frédéric Antoun: tenor (Thésée)
Virginie Pochon: soprano (Églé)
Jennifer Borghi: mezzo-soprano (Médée)
Tassis Christoyannis: baritone (le Roi Égée)
Katia Velletaz: soprano (la Grande Prêtresse / Minerve)
Caroline Weynants: soprano (Dorine / 1e Prêtresse)
Aurélie Franck: soprano (2e Prêtresse)
Bénédicte Fadeux: mezzo-soprano (3e Prêtresse)
Mélodie Ruvio: mezzo-soprano (Cléone / une Vieille)
Philippe Favette: bass (Arcas / 2e Vieillard)
Thibaut Lenaerts: tenor (1er Vieillard / 2e Suivant du roi)
Renaud Tripathi: tenor (un Coryphée / 1er Suivant du roi)

Les Agrémens
Choeur de Chambre de Namur
Guy Van Waas: direction

"The father of the symphony"; "bard of the Revolution": these two phrases sufficed to describe Gossec from the beginning of the 19th century onwards and created a reputation for him that musicographers and music historians of the following century made almost unalterable. Gossec had, however, always been interested in the operatic stage, as can be seen from his works in the more modern genre of opéra comique as well as in the more traditional tragédie en musique. Appointed to provide music for the largest musical institutions of his time, Gossec created more than twenty theatrical works; these enjoyed varying degrees of success but nonetheless reveal a dramatic composer of the first water. They were inspired by various sources, the diversity of which can be seen by their titles: Le Périgourdin, Le Tonnelier, Le Faux Lord, Les Pêcheurs, Toinon & Toinette, Le Double Déguisement (opéra comique), Alexis & Daphné, Philémon & Baucis, La Fête de Village (operas in one act), Berthe, Rosine ou l'Épouse abandonnée (opera semiseria), Les Scythes enchaînés (an addition to Gluck's Iphigénie en Tauride), Les Petits Riens, Mirza (ballets in collaboration with Gardel and Noverre), intermezzi for Racine's Athalie and, when the moment arrived, operas of the Revolution such as L'Offrande à la Liberté and Le Triomphe de la République. His operatic masterpieces, however, are indisputably the two tragédies lyriques Sabinus (1773) and Thésée (1782). Thanks to a superb cast and the talent of Guy Van Waas in this repertoire, Gossec's tragedy here reveals its full dramatic power.

159 kr (318 kr)
Image Ludi Musici
L'Achéron / François Joubert-Caillet

Samuel Scheidt was one of the most complete composers of his generation. Organist, he composed sacred music and instrumental music that is at a crossroads, combining the Lutheran polyphonic tradition and all the influences of Italian music and the style of Monteverdi.

The dances and canzone contained in his Ludi Musici (1621) do not avoid this mixture of styles, being both the legacy of late-Renaissance models and the reflection of the new virtuosity initiated by the Italians. These pieces are indeed intended for viola da gamba, which still enjoyed considerable success in Germany at that time.

80 kr (159 kr)
Image Elena
Recorded live during the Aix-en-Provence Festival in July 2013,Cavalli's Elena had not been performed for more than 350 years.The international press hailed this rediscovery as one of the major events on the lyric scene.With Jean-Yves Ruf's imaginative staging,served by an exceptional cast made up of young singers brought together by the Academy of the Aix Festival,this work is also sublimated by the talent of the instrumentalists of the Cappella Mediterranea and the theatrical talent of Leonardo García Alarcón.Elena relates the first adventures of Helen,the most beautiful woman in the world,coveted by numerous men including Menelaus,who disguises himself as an Amazon to approach her,and Theseus,who abducts her and tries to seduce her to the great displeasure of his legitimate fiancée,Hippolyta.Numerous colourful or tragic characters come to complicate the situations in this mythological farce.

220 kr (439 kr)
Image Music for Weddings and other Festivities
Clematis / Leonardo Garcia Alarcon

Let us once more immerse ourselves in the musical life of Eisenach as it was at the end of the 1670s. One Sunday afternoon, after having played for the services in their respective churches, the cousins Johann Ambrosius Bach and Johann Christoph Bach were sitting in a Bierstube, each with a mug of beer and a meerschaum pipe. A moment of relaxation, with word games, laughter and a discussion about Johann Christoph's coming marriage. There would naturally be music for the wedding, with a cantata for the church service at the very least. That particular Sunday morning's cantata had been based on texts from the Song of Solomon - not Böhm's, of course, because Böhm had only been born in 1661. The sensual and at times erotic flavour of the words amuses them and, after several beers and pipefuls of tobacco, they have an idea for a secular cantata for the festivities that will follow the wedding ceremony. Christoph will compose the music, whilst Ambrosius will put together the text and instructions for its performance. Even though we do not know how this cantata was performed, its score has survived complete with all of its the puzzles and riddles. The sublime chaconne in which the beloved proclaims her love and in which the violin line (as demanded by Ambrosius) symbolises her dreams and desires is both sensual and strong, the image of love itself and its blend of tenderness and strength: it is indeed a love scene. The two other sections are more theatrical in character: an introduction in dialogue form that describes the clandestine meetings of the lovers and a finale that is an open invitation to the festivities and to the food and drink that will be served. But how can we convey something of the atmosphere of such festivities? It is difficult to imagine a performance that is based on the text alone. The musicians of the Clematis seize the opportunity to get into the spirit of the occasion: halfway through the wedding breakfast they get out their instruments, push the tables together and share the scores that have been placed wherever there is room - on the edge of a table, on a chair - and the party begins with Esset und trinket. The wine, however, has been flowing for some time and the tempi get slower... All of the above is of course accompanied by unceasing thanks to God for his gift of life! Johann Sebastian Bach must have heard talk of such festivities and their celebratory cantatas (the scores of which he knew) from his early childhood. It must have been very much in the same spirit that he was inspired to compose, heaven only knows for what occasion, the incredible Quodlibet that seems to be so out of place amongst all his other works. If, however we carefully examine how Bach composed his secular (and even a few sacred) cantatas, we can see that he had a great instinct for theatre and for amusement. Certain passages in his biography even reveal that he was not a man who would turn down a good glass of wine!

80 kr (159 kr)
Image Telemann, Müller,Fischer, Fasch: Lustige Feldmusik
80 kr (159 kr)
Image The Fruit of Love
Anthony Holborne published an important collection of works in five parts for viola da gamba and other instruments in 1599; this was the first publication of instrumental dances in England. A skilled lute player himself, he was also known for his mastery of the bandora and the cittern. The dances are mostly pavanes, galliards and allemandes, although they are all linked by titles that either suggest a particular musical character or that are deliberately more enigmatic…

After the recording of Johannes Schenk’s Le Nymphe di Rheno with Wieland Kuijken, we now present the first recording of François Joubert-Caillet with his Achéron ensemble. The ensemble’s viol players have here made a point of using copies of English violas da gamba from the beginning of the 17th century, for the extra length of the strings on these instruments gives them a truly remarkable depth and weight of sound. A few of these viols were made especially for this project. Accompanied by lutes, cittern, pandora, virginal and ottavino (a small spinet sounding an octave higher than notated), this highly individual consort of viols gives a new and exceptional timbre to the works here recorded.

80 kr (159 kr)
Image The Art of Fugue, BWV1080
130 kr (259 kr)
Image Messe pour le Sacre de l'empereur Matthias
Choeur de Chambre de Namur; La Fenice / Jean Tubéry

Born in the Principality of Liège, Lambert de Sayve spent his entire career in the service of the Hapsburgs in Vienna. His patron the Archduke Matthias was crowned Emperor in 1612; de Sayve composed splendid motets in the Venetian polychoral style for the occasion. These motets are associated with the Missa super Dominus Regnavit for four choirs and form the basis for the reconstruction of the office of Matthias' coronation.

35 kr (69 kr)
Image Requiems
Two Austrian requiems are featured on this release, each of an entirely different character. + Johann Joseph Fux’s Requiem was composed for the funeral of Eleonora von Neuburg, widow of the Holy Roman Emperor Leopold II, in 1720. Fux was known for his theoretical skill, and the rich instrumentation and polyphonic writing create a lush and virtuosic atmosphere. + Johann Casper Kerll’s Requiem is much more intimate. As he has stated, his requiem was written for his “soul’s peace.” The influence of his Roman master, Giacomo Carissimi, can be clearly heard in the writing.

80 kr (159 kr)
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