With this second contribution to the Vivaldi Edition, Fabio Biondi and his ensemble Europa Galante sign here the recording of the twentieth opera of the collection - a pasticcio in which Vivaldi ‘recycles’ hit tunes from the ‘World of Warcraft’ operas of his contemporaries.

Francisco Lopez Capillas was born in 1608 in Mexico City, and studied plainchant and polyphonic composition at the Royal and Pontifical University before assuming the post of chorister and second organist at Puebla Cathedral in 1641. Although most of his significant works were composed toward the end of his life–and thus well into what is generally regarded as the baroque period–the Messe de la Bataille is, like many of his other works, ambiguous in its relationship to the musical innovations that were taking place in the old world at the time.

Newcastle-born and -based, Charles Avison issued his string arrangements of harpsichord sonatas by Domenico Scarlatti in 1744. Forty-two of Scarlatti's sonatas had been published by Roseingrave in London five years earlier and it was these which, by and large, provided Avison with his material. 'By and large', since, as Stephen Roe remarks in his note, the sonatas included only two slow movements and Avison, planning 12 concertos in the slow-fast-slow-fast scheme favoured by his teacher, Geminiani, required 24.

World-premiere recording: Pietro Gnocchi was not only cathedral chapel master in the northern Italian city of Brescia, and indeed for over a half a century until his death at the advanced age of eighty-six, but also a priest, archeologist, geographer, and fluent in many languages. Apart from sacred vocal music, this impressive polymath also left behind several instrumental works: surprisingly, the present concertos for stringed instruments and basso continuo are heavily contrapuntal, much is inspired by the stilo antico.

Everything that could be desired in a historically informed performance of J.S. Bach's Brandenburg Concertos is presented in Philip Pickett's brilliant set with the New London Consort, released in 1993 on L'Oiseau Lyre. This version with period instruments and an ensemble of a size according to Baroque norms is much more than a dry run-through of these beloved works. It is a clever and highly expressive re-creation of Bach's most popular concertos, re-imagined through the artistic and philosophical connections and conventions that likely were found in them by Bach's contemporaries, most probably by Bach and the Margrave of Brandenburg himself.

This release comprises both a symphony and rarely recorded opera overtures by Dvořák. The chief conductor of the orchestra, Finnish maestro Pietari Inkinen, continues the Dvořák Cycle begun under the baton of Karel Mark Chichon. The Second Symphony, composed when Dvořák was 24, was certainly no masterpiece, neither was its revised version. Nevertheless, it is an extraordinary testament to Dvořák’s talent since it clearly bears his stamp, even though it shows the influence of others. “This man has more ideas than all of us put together”, Brahms said in appreciation of Dvořák’s output. This is certainly borne out when listening to the Second Symphony.

‘A thoughtful, well-recorded performance of one of the great monuments of Western music, on an instrument for which the composer conceived it, played by a dexterous, sympathetic, and well-informed musician.’ – FANFARE
‘This set shines revitalizing light on music we may have thought we knew inside out, but which is always loaded with surprises.’ – SOUND STAGE

With the Missa cuiusvis toni, Ockeghem achieves a veritable tour de force: a work having the advantage of being able to be executed in all church modes. In an era when composers vied with each other in virtuosity, this mass 'in whatever tone' became an unsurpassable model. Musica Nova recreates the four versions here for the first time on disc.

We sometimes forget how closely the didactic aspect of The Well-Tempered Clavier is bound up with the various upheavals of the 1720s which refocused Johann Sebastian Bach on his roles as father and teacher. His ambitious scheme for associating a prelude and a fugue with each of the major and minor keys could easily have become something of a tedious chore. But, on the contrary, it reveals Bach’s highly personal genius for constant creative renewal within the framework of two fixed forms. Richard Egarr presents the complete First Book on a copy by Joel Katzman of a 1638 Ruckers, using the temperament which recent research suggests Bach himself advocated.

François Ier, prince mécène, avait compris combien la musique pouvait servir sa politique de prestige : - musique officielle pour les grands événements diplomatiques comme l'incroyable match musical entre la Chapelle du roi de France et celle d Henri VIII d'Angleterre, lors de la messe du Camp du Drap d'Or restituée dans cet enregistrement ; - mais aussi musique de l'intime avec le répertoire le plus subtil, raffiné et savant entendu dans les châteaux du souverain Chambord, Fontainebleau… interprété par les meilleurs chanteurs et instrumentistes du royaume réunis au sein de la Chambre du Roy. Un festin de musiques inédites pour un roi François Ier, symbole d une Renaissance heureuse.

The setting by Alphonse D’Eve (1666-1727)‚ born in Brussels and Kapellmeister at the church of Our Lady in Antwerp‚ of the motet for the dead‚ O acerbi‚ is not without its moments. The plangent opening is striking‚ as is the use of high voices at the beginning of the final chorus‚ presumably to represent the heavenly hosts referred to in the text. If the music‚ thoroughly Italianate in style and often reminiscent of Vivaldi‚ is somewhat predictable – the cadences are rather formulaic and the sequential patterns overused – it is certainly worth dusting down: it represents the kind of work that must have been heard in so many of the larger musical institutions all over Europe in the early part of the 18th century.

Eero Heinonen has long been a champion of the composers neglected output for piano. With this recording he continues to make the case for music that does not easily give up its secrets but, in the right hands, sings with Sibeliuss unique voice. Sibelius was not himself an accomplished pianist, but he wrote for the instrument at which he composed throughout his career, and maintained that, while often overlooked, its time would come. In recent years his prophecy has come true, especially with the Op.75 suite of five pieces which he composed in 1914 and titled The Trees.

Ginastera (Buenos Aires) was married to a cellist, his inspiration to write numerous works for cello. He is a true master in integrating the folk-music of his country into his works, that show a great variety: symphonic music, chamber-music, ballet, opera, songs, choirmusic. Pampeana no. 2 (1950), a rhapsody for cello, inspired by the Argentinean pampa is an exuberant piece, full of virtuosity. In this version for cello-octet two soloists engage in a lively discussion.

George Philipp Telemann was a composer whose creative powers continued undiminished through his old age of eighty six years. The last decade of his life witnessed an astonishing creative surge, perhaps comparable only to that of Verdi. It was then that the eighty-year-old, with all the benefits of mature mastery at his command, penned some of his most beautiful vocal works. The oratorio "The Delivered Israel" is a work from this period.

Fourteen years after her victory at the XVI International Chopin Piano Competition, Yulianna Avdeeva documents her journey with the music of Frederic Chopin. Voyage focuses on his late works, all composed while surrounded by nature, and Avdeeva has recorded them at the rustic Tippet Rise Art Center in Montana, against the serene backdrop of the Beartooth Mountains. A pianist of fiery temperament and virtuosity, Avdeeva plays with power, conviction, and sensibility, having won over audiences all over the world. She returns to PENTATONE after her acclaimed label debut with Resilience (2023).