This new release is the second volume in Delphian Records’ monumental collaboration with the European Music Archaeology Project. The series explores the earliest known music from Scandanavia. Together with partners from ten European countries, the European Music Archaeology Project has researched and brought to life ancient music from 40,000 BC to present day. The group will hold a series of international exhibitions, which will allow the public to more fully understand the crucial role that music played in ancient societies. This album includes songs improvised on Viking instruments, as well as notated songs from the earliest centuries of Christianity in Scandinavia.
Hildegard von Bingen has the magical ability to reach out and speak to us across the centuries. An avant-garde visionary of her day, the depth and range of her music lends itself to modern re-imaginings. Sequentiae Hildegardenses was written over a period of 12 years in a special collaboration between the composer Hugh Collins Rice and the medieval ensemble Mediva. Collins Rice, who has often been drawn to the ideas and techniques of early music, was inspired by Mediva s medieval instruments and developed a musical language for Sequentiae Hildegardenses which remains authentic and expressive in a 21st-century context, whilst also illuminating the 12th-century music of Hildegard. His music references the serene world of Hildegard's own compositions, but also reflects the darker strands in her writings.
What beautiful music! Kalhor draws so much drama out of every note from his kamancheh (an Iranian string instrument played with a bow). The plaintive vocals of Aynur accent this drama with rich emotional tones. Notes from Gambarov’s piano fall into place quietly, brilliantly, & so meaningfully! The same can be said for the subtle contributions of Qoçgiri’s tembûr (a fretted Iranian string instrument). Quietly remarkable.
Music clearly fascinated the great Dutch artist Hieronymus Bosch (c.1450-1516); his sketches and paintings are peppered with closely observed depictions of music-making and musical instruments. Bosch, a native of ’s-Hertogenbosch in the Duchy of Brabant, was a life-long brother of the city’s Brotherhood of Our Illustrious Lady, a large and prestigious organization for which sacred music was an essential and highly-valued part of its devotional life. Every Wednesday Bosch could gather with his Confraternity brothers in their opulent chapel in the church of St. John the Evangelist to celebrate a votive Mass in honour of the Blessed Virgin.
The violinist, Helene Schmitt, manifests herself completely in this new recording for the German label AEOLUS. A genuine accomplishment for the musician. The Rosary Sonatas not only deal with mysteries, they are a mystery themselves. With this violin cycle made up of fifteen sonatas and a solo passacaglia, Biber created one of the most astonishing works of the entire violin repertoire. Famous and even today not completely decrypted in terms of its significance is the assignment of the sonatas to the sacred Christian mysteries.
This new solo album of world-renowned Japanese lute master Toyohiko Satoh features music by the German baroque composer and lutenist Esaias Reusner (1639-1679), who published two volumes of compositions for solo lute. The pieces of this CD are taken from “Neue Lautenfrüchte”. Reusner’s style is as interesting as it is special and unusual, compared to works of his contemporaries. His pieces are mostly short, sober and pragmatic, showing a very clear and unostentatious attitude.
In 1724, Sébastien de Brossard hailed Jean-Baptiste Drouard de Bousset as ‘indisputably the best of our composer-authors’. Although, at the beginning of the 18th century, the Master of Music at the Académies des Sciences et des Inscriptions imposed himself as the unquestionable leader of the genre, his 875 airs sérieux are little known nowadays and deserve to be brought back into the light. Such is the desire of Elizabeth Dobbin and the ensemble Le Jardin Secret, who recreate with artistry and intelligence the ‘noble, pleasant and natural’ songs of the composer, described by Titon du Tillet in his Parnasse françois (1732). Reflecting the traditions of the 17th and 18th centuries, the musicians have included improvised passages in their performance of these airs and, in particular, chosen to accompany the voice with two theorbos and viola da gamba, instruments that Bousset owned when he died.
Ten years after the success of the Neapolitan cello concertos, accompanied by the Ensemble 415 conducted by Caccompanied by the Ensemble 415 conducted by Chiara Banchini (ZZT, here offered as a bonus), Gaetano Nasillo comes full circle with this collection of Neapolitan cello sonatas, a worthy sequel to the previous recording. Best known for its contributions to vocal music, Naples was also one of the birthplaces of the modern violoncello: the programme provides a fascinating overview of the Neapolitan repertoire for the instrument from its onset at the end of the 17th century to the second half of the 18th century.