Albums

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Classical - Released December 1, 2017 | Ricercar

Hi-Res Booklet
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Chamber Music - Released October 18, 2017 | Ricercar

Hi-Res Booklet
Orlando Gibbons (1583-1625) was one of the most complete musicians of the Elizabethan era. He made talented contributions to every genre of vocal and instrumental music. In the domain of the fantasia for viols, he wrote for numerous combinations of between two and six instruments and elaborated endlessly inventive formal structures, in which traces of Italianism are by no means absent. L’Achéron offers us a wide selection from this repertory, which it has recorded on viols based on early seventeenth-century English models. © Ricercar
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Classical - Released August 25, 2017 | Ricercar

Hi-Res Booklet
Hildegard von Bingen is a threefold miracle: miracle that there even existed a woman composer in the twelfth century, miracle that she wrote down (or had a secretary write them) her quite numerous compositions as well as signing them, and a miracle that the manuscripts survived the ordeal of eight hundred centuries and came down to us in perfect shape. We know the names of only very few twelfth-century composers, and in most cases the name is the only information we have, not linked to any scores. Hildegard is a revelation from this perspective as well. Her works of sacred music, which consist of 77 pieces, and the liturgical drama Ordo Virtutum constitute a separate compositional approach inspired by the monophonic tradition of Gregorian chant, but which was like nothing else in its time, a distinctive approach that no one was able to continue. Although Hildegard denies having had any tuition in neumes and singing, it can be supposed that this was merely a gesture of a person who simply could not admit her own skill. But from her Vita we know that Mistress Jutta, her tutoring abbess, taught her to sing the psalms and led her to give praise on the ten-stringed psaltery. We also know that the nuns at the Rupertsberg cloister had mandatory singing lessons. It is not clear what singing tuition consisted of in those days, but noting Hildegard’s difficult melismatic, often virtuoso compositions requiring a vast vocal range, it can be presumed that the lessons must have fulfilled at least some of the requirements of our day and age. She composed her chants for both important and local feast days of the liturgical year. Her music beckons to be experimented with. As something of a challenge, the Tiburtina Ensemble chose an improvised accompaniment of the monophonic vocals on the most ancient plucked string instruments – the harp and the zither (dulce melos).
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Classical - Released August 25, 2017 | Ricercar

Hi-Res Booklet
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.
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Classical - Released June 23, 2017 | Ricercar

Hi-Res Booklet
If Johannes Tinctoris (1435-1511) is today widely recognised as one of the most renowned music theorists of his time, he was also a perceptive observer of the musical practices of the Renaissance. After studying in Orléans, he held several positions in Cambrai, Liège and finally Naples. Here his gifts as a composer could flourish at the court of King Ferrante of Aragon as a chaplain, legal advisor and music tutor of Ferrante’s daughter Beatrice. This programme retraces his career through his extremely varied output: French and Italian songs, Mass movements, and instrumental pieces. © Arcana/Outhere
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Chamber Music - Released May 26, 2017 | Ricercar

Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
Joseph Bodin de Boismortier didn't exactly begin his career as a musician: in 1713 he was a receiver for the Royal Tobacco Office for soldiers in Roussillon. But, feeling drawn to music, he took a chance and sent a Parisian publisher several sheets of music. This proved to be a great success, which saw Boismortier leave Perpignan for Paris, where he would set up in 1723 as a composer and virtuoso. After that, he never ceased to produce and produce: to the extent that he was able to live from his music, without the need for aristocratic patronage. His first compositions, which were almost exclusively duets for transverse flute, show the deep attachment which he would always have to this instrument, which the French were said to play "with an unparalleled subtlety", according to a chronicler of their time. Averaging a rate of four collections a year from 1724 to 1747, he would eventually write 102 numbered works, within which he would combine, in all possible musical forms (solos, duets, trios, quartets, sonatas, suites and concertos), all the timbres which were then in vogue in the salons of the capital. Violins, flutes, cellos, violas de gamba, bassoons, oboes, accordions, hurdy gurdies, and harpsichords vied for his attentions, to the joy of enlightened music-lovers and their salons. It is clear that the years 1732 to 1736 marked the height of the artist's powers in relation to instrumental music (he would later turn to ballet, opera, cantata, motet, etc.). In this period a large number of collections were published, which included the trios recorded here, almost all inspired by the Italian Sonata da chiesa: slow-quick-slow-quick. The Petit Trianon, with Amandine Solano on violin, Olivier Riehl on flute, Cyril Poulet on cello, Xavier Marquis on bassoon and Paolo Corsi on harpsichord has interpreted these devilishly charming works, with an infectious cheer. © SM/Qobuz
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Classical - Released May 26, 2017 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
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Chamber Music - Released May 12, 2017 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
These Pièces de viole by Marin Marais first appeared in five volumes, dated 1686-9, 1701, 1711, 1717 and 1725 respectively. The small world of viol players was in full ferment when he published his first Livre: alongside this tradition of the solo viol there developed a highly original practice of two or three viols playing together. Furthermore, one of the great novelties of this volume is the addition of the continuo. However, the continuo part was not ready when the edition itself was published in 1686. We may therefore imagine that these pieces were also played without continuo, as is also the case with other pieces that still only exist in manuscript and that have no continuo line. We should, however, admit that the continuo adds considerable harmonic and expressive support to these pieces. The continuo part was not printed finally until 1689: ”When I gave the Public my Book of Pièces for one and two Viols, I intended to include the parts for bass continuo, for they are an essential part of it. Given, however, that music engraving is a very time-consuming enterprise, I was obliged to delay their appearance until today. I have figured them completely, so that they may be played on the Harpsichord or the Theorbo, two instruments that go very well with the solo Viol”.This Premier Livre contains 93 pieces grouped by key according to the lute and harpsichord traditions. The pieces were published following the order of the classic French Suite, i.e. Prelude and/or Fantasia, Allemande, Courante, Sarabande and Gigue, followed by the “petites danses”, Minuet, Gavotte, one or two Rondeaux and finally a Passacaglia or Chaconne. François Joubert-Caillet and his colleagues of the ensemble L'Achéron have chosen the instruments for the continuo group according to the moods and emotions of the various suites: the more intimate works use only a theorbo or a guitar, the more flowery works employ a theorbo and a guitar or archlute, while the radiant, virile and many-hued works have been allotted the harpsichord. Given the extreme length of the Suites in D minor, we have divided each of these into two suites so that they can be more easily appreciated. For the same reason, the order of the Suites on this recording does not follow the order of the 93 pieces in the Premier Livre; given that the volume was not compiled with the intention that it be either played or heard in order from start to finish, we have attempted to make the listener’sexperience as comfortable as possible with the use of contrasting colours and instrumentation.
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Chamber Music - Released April 23, 2017 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica
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Masses, Passions, Requiems - Released March 24, 2017 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released March 10, 2017 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
Although Girolamo Frescobaldi’s organ works draw on the polyphonic tradition of the Renaissance, few virtuosos of the early 17th century tackled with as much originality the expressive movement that opened the way for what we consider ‘Baroque music’. He transposed for the keyboard this sense of the affect and virtuosity that, in the sphere of opera, overturned all the conventions of vocal music. He recommended flexible playing, freed of any overly strict constraints, insisting on the fact that the musician must play ‘con affetti cantabili’ (with the affects of singing). (Text from Ricercar)
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Classical - Released February 24, 2017 | Ricercar

Booklet
Georg Philipp Telemann is one of the composers whose cause Ricercar has always championed with fervour. To commemorate the 250th anniversary of his death, Ricercar now presents a reissue of its vast repertory, which makes up a complete portrait of the output of this inspired contemporary of Johann Sebastian Bach: his sonatas, trios, fantasias, concertos and suites written for all sorts of instruments are accompanied by several sacred compositions, cantatas, and a St Matthew Passion which, like a number of other works in the set, is released on disc for the first time.
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Classical - Released February 10, 2017 | Ricercar

Booklet Distinctions 5 de Diapason
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Classical - Released February 10, 2017 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
A two-CD set devoted to the Lutheran liturgical repertory from Martin Luther himself to Heinrich Schütz. The first disc comprises compositions specific to the Lutheran liturgy: Deutsche Messe, Deutsches Magnificat, Deutsche Passion (the first German polyphonic Passion, by Joachim von Burck) and even a reconstruction of a Deutsches Requiem drawn from polyphonic works that set the same texts as those Brahms was later to use for his Deutsches Requiem. The second disc presents a selection of motets arranged according to the liturgical calendar, from Advent to Trinity. These polyphonic pieces were written by a wide range of composers including Martin Luther, Andreas Hammerschmidt, Michael raetorius, Joachim von Burck, Christoph Bernhardt, Heinrich Schütz, Thomas Selle, Melchior Franck, Caspar Othmayr, Michael Altenburg, Samuel Scheidt, Johann Hermann Schein and Johann Walter. The organist Bart Jacobs completes the programme with a few organ pieces by seventeenth-century composers.
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Classical - Released November 4, 2016 | Ricercar

Hi-Res Booklet