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Nicholas McGegan, Pal Nemeth, Capella Savaria - Handel: Terpsicore, Alcina (orchestral parts), Ariodante (ballet music) (1993)

Posted By: ArlegZ
Nicholas McGegan, Pal Nemeth, Capella Savaria - Handel: Terpsicore, Alcina (orchestral parts), Ariodante (ballet music) (1993)

Nicholas McGegan, Pál Németh, Capella Savaria - Handel: Terpsicore, Alcina (orchestral parts), Ariodante (ballet music) (1993)
EAC | FLAC | Image (Cue & Log) ~ 293 Mb | Total time: 61:20 | Scans included
Classical | Label: Hungaroton | # HCD31193 | Recorded: 1993

Terpsicore (HWV)(8b) is a prologue in the form of an opéra-ballet by George Frideric Handel. Handel composed it in 1734 for a revision of his opera Il pastor fido which had first been presented in 1712. The revision of Il pastor fido with Terpsicore as the prologue was first performed on 9 November 1734 at Covent Garden theatre in London, opening Handel's first season in that newly built theatre. Terpsicore mixes dance along with solo and choral singing and was patterned after models in French operas, a particular source being Les festes grecques et romaines by Louis Fuzelier and Colin de Blamont, first presented in Paris in 1723. The work featured the celebrated French dancer Marie Sallé as well as stars of Handel's Italian operas and was a success with audiences of the day.

Nicholas McGegan, Philharmonia Baroque Orchestra - George Frideric Handel: Water Musick (1988)

Posted By: ArlegZ
Nicholas McGegan, Philharmonia Baroque Orchestra - George Frideric Handel: Water Musick (1988)

Nicholas McGegan, Philharmonia Baroque Orchestra - George Frideric Handel: Water Musick (1988)
EAC | FLAC | Image (Cue & Log) ~ 286 Mb | Total time: 56:38 | Scans included
Classical | Label: Harmonia Mundi | # HMU 907010 | Recorded: 1987

Nicholas McGegan and the Philharmonia Baroque Orchestra's account of Handel's three Water Musick Suites is as light, as lively, as grand, and as thoroughly enjoyable as any recording of the works ever made. Performed here on period instruments and in a historically informed manner, the playing here is amazingly expert and astoundingly experienced. There are no flubs from the trumpets, bleats from the horn, squawks from the woodwinds, or scrapes from the strings. Instead, every note is exactly where it should be doing exactly what it should do: providing infectiously melodic and irresistibly rhythmic performances of these well-loved works. McGegan's direction stresses the brilliance and beauty of the music by clarifying textures, polishing the colors, and bringing out the big tunes.

Hervé Niquet, Le Concert Spirituel ‎- George Frideric Handel: Water Music & Fireworks (2003)

Posted By: ArlegZ
Hervé Niquet, Le Concert Spirituel ‎- George Frideric Handel: Water Music & Fireworks (2003)

Hervé Niquet, Le Concert Spirituel ‎- George Frideric Handel: Water Music & Fireworks (2008)
EAC | FLAC | Image (Cue & Log) ~ 358 Mb | Total time: 64:54 | Scans included
Classical | Label: Glossa | # GCDSA 921616 | Recorded: 2002

After half a century of musicological, organological and scientific investigation, the different guidelines we use for interpreting the Baroque repertoire have become very precise. If so, why are we still suspicious of the results of these investigations? It has been the intention of the hundred (!!!) musicians gathered here for the performance of the Water Music and Fireworks suites, in celebration of the 15th anniversary of Le Concert Spirituel, to put into practice, without any concessions, what they know of these early techniques, each one according to his or her field of specialization. […] The sound is unusual in its colours and its energy; some ears, unaccostumed to meantone temperament, can expect to be surprised.

Trevor Pinnock, The English Concert - Bach: Die Ouverturen / The Orchestral Suites, BWV1066-1069 (1999)

Posted By: ArlegZ
Trevor Pinnock, The English Concert - Bach: Die Ouverturen / The Orchestral Suites, BWV1066-1069 (1999)

Trevor Pinnock, The English Concert - Bach: Die Ouvertüren / The Orchestral Suites, BWV1066-1069 (1999)
EAC | FLAC | Image (Cue & Log) ~ 381 Mb | Total time: 76:24 | Scans included
Classical | Label: Deutsche Grammophon | # 463 013-2 | Recorded: 1978-1979

Originally recorded in stereo in 1978 and 1979 and released on two separate LPs, these performances of Bach's Orchestral Suites (also known as the Overtures) with Trevor Pinnock leading his English Consort were as good as it got at the time for period instrument performances. And this 2007 single-disc re-release does not change that assessment. The Consort's strings are dry but warm – check out the Air from the Third Suite – the winds are colorful and quirky – check out the Forlane from the First Suite – the brass is controlled but cutting – check out the Ouverture from the Fourth Suite – and the timpani is vivacious but thankfully not overwhelming – check out the Réjouissance, also from the Fourth Suite.

Orpheus Chamber Orchestra Complete Recordings on Deutsche Grammophon [55CDs] Part 4 (2021)

Posted By: ArlegZ
Orpheus Chamber Orchestra Complete Recordings on Deutsche Grammophon [55CDs] Part 4 (2021)

Orpheus Chamber Orchestra Complete Recordings on Deutsche Grammophon [55CDs] Part 4 (2021)
EAC | FLAC | Image (Cue & Log) ~ 1.04 Gb | Total time: 03:48:05 | Scans included
Classical | Label: Deutsche Grammophon | # 483 9948 | Recorded: 1982-2018

Anticipating the 50th anniversary of Orpheus Chamber Orchestra in 2022, we present their complete recordings on DG. The intriguing sound culture of Orpheus, especially of the string section, is often explained as a result of the cooperative mindset of the orchestra and its artistic process of rehearsing.

Akademie fur Alte Musik Berlin - Johann Sebastian Bach: Orchestral Suites (2008)

Posted By: ArlegZ
Akademie fur Alte Musik Berlin - Johann Sebastian Bach: Orchestral Suites (2008)

Akademie für Alte Musik Berlin - Johann Sebastian Bach: Orchestral Suites (2008)
EAC | FLAC | Image (Cue & Log) ~ 466 Mb | Total time: 74:56+22:46 | Scans included
Classical | Label: Harmonia Mundi | # HMX 2901578.79 | Recorded: 1996

The work of another relatively new antiquarian group, the Akademie fur Alte Musik Berlin, is altogether more interesting. Performing with no set director and alternating concertmasters, the academy applies fuller instrumentation to the suites and takes a compleatist approach to repeats.

Jean-Louis Charbonnier - Marin Marais: Suitte d'un Goût Etranger (1997)

Posted By: ArlegZ
Jean-Louis Charbonnier - Marin Marais: Suitte d'un Goût Etranger (1997)

Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier, Magali Imbert - Marin Marais: Suitte d'un Goût Etranger (1997)
EAC | FLAC | Image (Cue & Log) ~ 555 Mb | Total time: 46:00+61:24 | Scans included
Classical | Label: Pierre Verany | # PV797022/23 | Recorded: 1996

Compositeur, pédagogue et joueur de basse de viole à la cour, Marin Marais haussa le jeu de la viole soliste au plus haut niveau de raffinement. Il composa plus de cinq cents pièces, toutes annotées avec précision, sur lesquelles se mesurèrent tous les joueurs de viole de l’époque. Il publia cinq livres pour cet instrument dont certains en duo ou trio.

Jean-Louis Charbonnier - Marin Marais: Suite à 3 violes du Quatrième Livre (1992)

Posted By: ArlegZ
Jean-Louis Charbonnier - Marin Marais: Suite à 3 violes du Quatrième Livre (1992)

Jean-Louis Charbonnier, Anne-Marie Lasla, Marion Middenway, Mauricio Buraglia, Mirella Giardelli - Marin Marais: Suite à 3 violes du Quatrième Livre (1992)
EAC | FLAC | Image (Cue & Log) ~ 321 Mb | Total time: 52:53 | Scans included
Classical | Label: Pierre Verany | # PV.792112 | Recorded: 1992

"On peut dire que Marais a porté la Viole à son plus haut degré de perfection , et qu'il est le premier qui en a fait connoître toute l'étendue et toute les beautés par le grand nombre d'excellentes pièces qu'il a composées pour cet Instrument, et par la manière admirable dont il les exécutoît", écrivait Evrard Titon du Tillet dans ses "Vies des Musiciens (..) du règne de Louis le Grand"(1), avant de rappeler que Sainte Colombe, Maître de Marais, ne manquait pas de "rendre toujours justice [à son élève] sur le progrès étonnant qu'il avoit fait sur la Viole ; et étant un jour dans une compagnie où Marais jouoit de la Viole, ayant été interrogé par des personnes de distinction sur ce qu'il pensoit de sa manière de jouer, il leur répondit qu'il y avoit des Elèves qui pouvoient surpasser leur Maître, mais que le jeune Marais n'en trouverais jamais qui le surpassât. Pour rendre la Viole plus sonore Marais est le premier qui ait imaginé de faire filer en laiton les trois dernières cordes des Basses."

Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier - Marais: Six suites d'un goût français (1996)

Posted By: ArlegZ
Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier - Marais: Six suites d'un goût français (1996)

Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier - Marin Marais: Six suites d'un goût français (1996)
EAC | FLAC | Image (Cue & Log) ~ 590 Mb | Total time: 53:01+53:04 | Scans included
Classical | Label: Pierre Verany | # PV796012/13 | Recorded: 1994

"On peut dire que Marais a porté la Viole à son plus haut degré de perfection , et qu'il est le premier qui en a fait connoître toute l'étendue et toute les beautés par le grand nombre d'excellentes pièces qu'il a composées pour cet Instrument, et par la manière admirable dont il les exécutoît", écrivait Evrard Titon du Tillet dans ses "Vies des Musiciens (..) du règne de Louis le Grand"(1), avant de rappeler que Sainte Colombe, Maître de Marais, ne manquait pas de "rendre toujours justice [à son élève] sur le progrès étonnant qu'il avoit fait sur la Viole ; et étant un jour dans une compagnie où Marais jouoit de la Viole, ayant été interrogé par des personnes de distinction sur ce qu'il pensoit de sa manière de jouer, il leur répondit qu'il y avoit des Elèves qui pouvoient surpasser leur Maître, mais que le jeune Marais n'en trouverais jamais qui le surpassât. Pour rendre la Viole plus sonore Marais est le premier qui ait imaginé de faire filer en laiton les trois dernières cordes des Basses."

Jean-Louis Charbonnier - Marin Marais: Pièces de Viole: Troisième Livre (1711) - Première Partie (2004)

Posted By: ArlegZ
Jean-Louis Charbonnier - Marin Marais: Pièces de Viole: Troisième Livre (1711) - Première Partie (2004)

Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier - Marin Marais: Pièces de Viole: Troisième Livre (1711) - Première Partie (2004)
EAC | FLAC | Image (Cue & Log) ~ 753 Mb | Total time: 77:59+72:02 | Scans included
Classical | Label: Pierre Verany | # PV 704101/02 | Recorded: 2003

Le Troisième Livre de Pièces de Viole (1711) « composées par M. Marais, Ordinaire de la musique de la Chambre du Roy » outre le fait qu’elles sont composées pendant les dix années les plus prolifiques de son compositeur, montre parfaitement le style français du début du XVIIIe siècle. Reconnu, il est joué dans toutes les cours d’Europe, où l’on s’imprègne du « goût français ». Si la majorité des morceaux sont issus de la danse, avec des sarabandes, menuets, gigues, allemandes, préludes ou fantaisies, s’y ajoutent des pièces plus originales ne provenant pas de ce domaine : une Fugue gay, le Moulinet, la Saillie du Café, les Contrefaiseurs.

Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier - Marin Marais: Folies d'Espagne (2008)

Posted By: ArlegZ
Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier - Marin Marais: Folies d'Espagne (2008)

Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocellier - Marin Marais: Folies d'Espagne (2008)
EAC | FLAC | Image (Cue & Log) ~ 622 Mb | Total time: 65:45+58:55 | Scans included
Classical | Label: Ligia Digital | # Lidia 0301195-08 | Recorded: 2008

Compositeur, pédagogue et joueur de basse de viole à la cour, Marin Marais haussa le jeu de la viole soliste au plus haut niveau de raffinement. Il composa plus de cinq cents pièces, toutes annotées avec précision, sur lesquelles se mesurèrent tous les joueurs de viole de l’époque. Il publia cinq livres pour cet instrument dont certains en duo ou trio.

Jeanne Lamon, Tafelmusik - W.F. Bach: Sinfonias; Suite in G minor; Concerto for Harpsichord in D major (1997)

Posted By: ArlegZ
Jeanne Lamon, Tafelmusik - W.F. Bach: Sinfonias; Suite in G minor; Concerto for Harpsichord in D major (1997)

Jeanne Lamon, Charlotte Nediger, Tafelmusik - Wilhelm Friedemann Bach: Sinfonias; Suite in G minor; Concerto for Harpsichord in D major (1997)
EAC | FLAC | Image (Cue & Log) ~ 348 Mb | Total time: 71:41 | Scans included
Classical | Label: Sony Classical | # SK 62720 | Recorded: 1996

The well-known painting of Wilhelm Friedemann Bach reproduced on the cover of this CD must be one of the most immediately attractive composer portraits ever made. The wide-brimmed hat, the fur-lined coat, the wisp of steely hair and, above all, the reddened but unmistakably genial face (displaying, if I’m not mistaken, his father’s nose) suggest a man one would want to accompany straightaway to the nearest coffee-house. But Friedemann was actually a little more complex than that, both as a person who could be lazy and argumentative and as a talented musician torn between the styles of the late baroque and early classical periods, so it is perhaps no surprise to find that there is considerable variety in the music on this disc.

François Joubert-Caillet, L'Achéron - Marin Marais: Deuxième Livre de Pièces de Viole [5CDs] (2019)

Posted By: ArlegZ
François Joubert-Caillet, L'Achéron - Marin Marais: Deuxième Livre de Pièces de Viole [5CDs] (2019)

François Joubert-Caillet, L'Achéron - Marin Marais: Deuxième Livre de Pièces de Viole (2019)
EAC | FLAC | Image (Cue & Log) ~ 1.86 Mb | Total time: 05:56:24 | Scans included
Classical | Label: Ricercar | # RIC408 | Recorded: 2015-2018

Compiled from pieces that were clearly composed much earlier as well as from more recent works, the Deuxième Livre pays homage to its two masters and calls for tonalities that it had not yet employed; it evokes the past and the great lutenists of that time with the Pavane and yet also contains important innovations. It is truly a transitional work: published at the very dawn of the century, it opened the doors to the important stylistic changes that French music would undergo during the Age of Enlightenment.

François Joubert-Caillet, L'Achéron - Marin Marais: Premier Livre de Pièces de Viole [4CDs] (2017)

Posted By: ArlegZ
François Joubert-Caillet, L'Achéron - Marin Marais: Premier Livre de Pièces de Viole [4CDs] (2017)

François Joubert-Caillet, L'Achéron - Marin Marais: Premier Livre de Pièces de Viole (2017)
EAC | FLAC | Image (Cue & Log) ~ 1.24 Gb | Total time: 04:16:17 | Scans included
Classical | Label: Ricercar | # RIC 379 | Recorded: 2015-2016

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.

Marko Ylönen - Johann Sebastian Bach: Six Suites for Solo Cello (2019)

Posted By: ArlegZ
Marko Ylönen - Johann Sebastian Bach: Six Suites for Solo Cello (2019)

Marko Ylönen - Johann Sebastian Bach: Six Suites for Solo Cello (2019)
EAC | FLAC | Image (Cue & Log) ~ 678 Mb | Total time: 143:07 | Scans included
Classical | Label: Alba Records | ABCD444 | Recorded: 2016, 2017

Cellist Marko Ylönen has recorded a beautiful double album containing Bach’s six suites for solo cello. On the album, Ylönen wants to emphasize the way in which the different series work together in a dialogue. That is why he does not play them in their numerical order, but creates an experience that takes the listener from the world of passion in the fifth series to the joyful tones of the last sixth series. The clear musical structure and the affect of the musical characters and gestures combine in Ylönen’s performance. His interpretation of the Bach suites tells the listener something invaluable, touching and timeless.