Categories :

Albums

HI-RES£16.49
CD£10.99

Classical - To be released August 21, 2020 | Ricercar

Hi-Res Booklet
HI-RES£16.49
CD£10.99

Classical - To be released August 14, 2020 | Ricercar

Hi-Res Booklet
François Devienne (1759-1803), sometimes nicknamed the ‘French Mozart’, was equalled famed for his talents as a flautist and a bassoonist. He was one of the first professors at the Paris Conservatoire, established in the early years of the Republic. Devienne devoted a large proportion of his compositions, in several different forms, to the two instruments of which he was a virtuoso exponent. The programme presents several of his trios, which combine the violin and the cello with the two wind instruments in turn. These works possess all the charm of the galant aesthetic that developed in the late eighteenth century, along with a certain penchant for virtuosity. © Ricercar
CD£15.99

Classical - To be released August 14, 2020 | Ricercar

Booklet
HI-RES£16.49
CD£10.99

Classical - Released April 17, 2020 | Ricercar

Hi-Res Booklet
With its ciaconna bass, Hammerschmidt’s sacred concerto Nun danket alle Gott perfectly exemplifies the programme of this recording devoted to the influences of the Italian Baroque on the works of seventeenth-century Lutheran composers. The vast majority of the repertory gathered here comes once again from the exceptionally rich library assembled at the end of the seventeenth century by Gustav Düben, organist of the German Church in Stockholm. His collection contains the only known copy of a Confitebor tibi, Domine by Claudio Monteverdi. Other composers such as Bernhard and Rosenmüller had very close links with Italy and were among those who helped to disseminate Italian practices in the German-speaking lands. In all this sacred repertory, the role of instruments, and particularly that of the violin (the emblematic instrument of Italy), is highly developed. The instruments accompany the voice and comment on the texts in most expressive fashion. This programme also offers a chance to discover some gems by lesser-known composers such as Hanff, Pfleger and Pohle. © Ricercar
HI-RES£16.49
CD£10.99

Classical - Released April 3, 2020 | Ricercar

Hi-Res Booklet
In his Musick’s Monument of 1676, Thomas Mace described in great detail numerous aspects of contemporary musical life in London. This volume evokes all the characteristics of English music, going back to the most glorious years of the Renaissance, with a particular emphasis on the repertory written for consort of viols. While his writings describe the performing practices of the time, they also provide invaluable information on instrument making, which has enabled L’Achéron to build a ‘set’ of six viols following Mace’s indications. For this new project of English music, the ensemble inaugurates a new virginal and an organ made in accordance with the famous theorist’s specifications. The programme comprises fantasias, ayres and dances by composers who brought this viol consort tradition to its peak, including Alfonso Ferrabosco, John Ward, William White, Thomas Lupo, Richard Dering, Giovanni Coperario, William Lawes, John Jenkins and Christopher Simpson. © Ricercar
CD£10.99

Classical - Released March 13, 2020 | Ricercar

Booklet
The sudden death of Henri Ledroit in 1988, at the age of just forty-two, left music-lovers in a state of shock. His voice was new and unique among the French singers of the time and during his first encounter with Alfred Deller at a training course in Lacoste, the two of them hit it off immediately. The famous English countertenor was impressed by his trainee’s exceptional talent and strongly encouraged the young singer. From then on, Henri Ledroit’s career took off, both in concert as well as on stage with Nikolaus Harnoncourt and René Jacobs. In 1986, he sang as Ottone in Claudio Monteverdi’s The Coronation of Poppaea at the Lausanne Opera (Théâtre du Jorat), which had just opened under the direction of Renée Auphan. The production, directed by Michel Corboz and staged by Patrice Caurier and Moshe Leiser, would go down in history and the visual recordings of the performance are a testament to this. The great work of Du Mont is now being rediscovered thanks to the tireless efforts of Belgian musicologist Jérôme Lejeune under the Ricercar label and is intended to be played by the ensemble with the same name, under the direction of Jean Tubéry and Philippe Pierlot. This recording of Henry Du Mont’s Motets à voix seule from the early 1980s also features the vocals of the early Gérard Lesne. A pioneering work that can be heard today with all its original emotion intact. © François Hudry/Qobuz
CD£10.99

Classical - Released March 13, 2020 | Ricercar

Booklet
HI-RES£16.49
CD£10.99

Classical - Released March 6, 2020 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or
Johann Paul von Westhoff (1656-1705) was one of the most brilliant members of the significant school of violinists that flourished in seventeenth-century Dresden. This impressive virtuoso, who was even applauded by Louis XIV at Versailles, wrote the very first compositions for unaccompanied violin, which of course foreshadow the later masterpieces of Johann Sebastian Bach. The programme recorded here includes some suites from his collection published in Dresden in 1696, as well as the suite that was printed in the Mercure galant of Paris in 1683, following his visit to Versailles. © Ricercar
HI-RES£16.49
CD£10.99

Chamber Music - Released January 17, 2020 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
A short-lived instrument which has long since disappeared, the arpeggione is a weird and wonderful creation. Dreamt up with the wild imagination of the Austrian luthier Johann Georg Stauffer, who specialized in guitars, this instrument which was invented in 1823 is a kind of 6-string guitar that is played with a bow. It was rather awkward to play, the six strings and the shape of the bridge making the bowing particularly delicate. The arpeggione has long since joined the cohort of instrumental oddities forever populating dusty museum windows, testimony to the creativity of curious inventors. A guitarist himself, like many young romantic men, Schubert became so interested in this instrument that he dedicated a sonata to it. Mainly played today on the cello, it was made famous in the 20th century by the legendary recordings of Emmanuel Feuermann in 1937 and then of Rostropovitch with Benjamin Britten in the early 1960s. It is now commonly played by cellists. Guido Balestracci has crafted a programme around this famous sonata with transcriptions of works by Schubert for rare instruments: fortepiano, terz guitar, archlute and, of course, an arpeggione reconstructed by the Italian luthier Paolo Giuseppe Rabino in 2011 based on an instrument made in Prague in the 19th century. Although this rehabilitation is not the first on record, it nevertheless allows us to recover a strange sound that we thought had been lost. © François Hudry/Qobuz
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released November 1, 2019 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
Giovanni Battista Colonna (1637-95) spent most of his career in Bologna as maestro di cappella of the basilica of San Petronio. Since he had at his disposal this imposing building with its two choir organs, well known to lovers of the instrument, and its very generous acoustics, Colonna wrote a large number of sacred compositions for imposing vocal and instrumental forces. But, in a more intimate vein, he also devoted two collections to the repertory of ‘small motets’. The pieces recorded here come from the 1681 set of Motetti a due e tre voci (1681). They display a wide variety of formulas, combining traditional elements and innovative aspects that were to be further developed in the following generations. These gems are highly representative of the style of small motets that heralds the stile concertante. They are characterised by various combinations of voices (from solo recitative to a mixture of vocal duets or trios in different scorings) and a broad range of formal structures bound up with the very nature of the texts. © Ricercar
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released October 25, 2019 | Ricercar

Hi-Res Booklet
HI-RES£26.24£37.49(30%)
CD£17.49£24.99(30%)

Classical - Released October 11, 2019 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or
The music of Marin Marais is now a part of the repertoire of all viola players, and here is graced with a royal visit, from Jordi Savall, on the opening track. This music displays all the melancholy of the closing years of the 17th Century, through the lens of the many pieces composed by Marais for the Chambre du Roi for which he was responsible. This Deuxième Livre de pièces de viole presented in the new album, recorded between 2015 and 2018, dates from 1701, well after the death of surintendant Lully, and during the bleak and final years of the reign of Louis XIV, who by then had become and austere religious zealot. In the Deuxième Livre, Marin Marais presents a whole catalogue of the human condition and renders moving homage to his departed masters, Lully and Sainte-Colombe. This voluminous Deuxième Livre contains no fewer than 142 pieces, ordered by key, allowing musicians to construct their suites as they please. The overall spirit is of grandeur and the monumental, with often very daring harmonies, as if Marin Marais wanted to drop them on his young competitors in the small Parisian world of viol da gamba. François Joubert-Caillet plays viola and leads the Belgian ensemble L’Achéron, made up of a bass viola and a rich continuo created by a harp, a theorbo, a guitar and a harpsichord. © François Hudry/Qobuz
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released October 4, 2019 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
Of those composers who held the highest positions at St Mark’s basilica in Venice, Natale Monferrato (1610-85) is manifestly one of the most thoroughly forgotten nowadays. After working with the leading musicians of this prestigious institution, he succeeded Francesco Cavalli as maestro di cappella in 1676. His output, consisting exclusively of sacred music, includes some twenty collections published between 1647 and 1681. Although he wrote a great deal of polyphonic music, he also produced three collections of Motetti a voce sola. Most unusually, these three books accord an important place to compositions for the often neglected alto voice. They are so voluminous that only the Libro Terzo of 1666 was used for this recording. The motets are divided into varied and contrasted sections that range from the spirit of recitative to that of the aria, using very diverse forms in a manner that is bound to remind us of the models of opera as it developed in Venice from 1637 onwards. This world premiere recording blazes the trail for discovery of an undeservedly neglected composer. © Ricercar/Outhere
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released September 27, 2019 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released September 6, 2019 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
Conceived with a thrilling view to history, this album tells the musical story of the invention of the violin in Cremorna and its development in Venice, where it came into use at the start of the baroque era, around 1600. Bit by bit, the "viola da braccio" was modified and perfected by luthiers like the Amatis, and later their heirs, the Guarneris and Stradivaris. These new instruments were coming out of the workshops of Cremona and Brescia in northern Italy. Before Corelli, whose works would inundate all of Europe, Giovanni Gabrieli, Biagio Marini, Salomone Rossi, Giovanni Legrenzi and Francesco Cavalli composed the first works for violin. Formed in 2001 in Belgium by the violinist Stéphanie de Failly, the Clematis ensemble (named for a nice-smelling flower that symbolises idealism and creativity) mainly concentrates on uncovering little-known repertoires from the 17th Century: Italian, German and French. The ensemble concentrates in particular on the Italian development of the violin repertoire, as illustrated by recordings dedicated to Carlo Farina on the one hand and Giovanni Battista and Tomaso Antonio Vitali on the other. Stéphanie de Failly also recorded the famous Ciaconna by Vitali, following the original manuscript, rendering this score in all its baroque originality. © François Hudry/Qobuz
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released June 21, 2019 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
A composer admired by his contemporaries, Josquin Desprez (ca 1450-1521) was a solitary artist who sublimated in his chansons the melancholy character and the elegance emblematic of the Renaissance. For their first recording, Dulces Exuviae explore the intimacy of these chansons in a fresh light: the sweet melodies are embellished by ornaments and accompanied on the lute, leaving ample room for improvisation, and thus allowing music to come out all the more alive, delicate and filled with emotion. © Ricercar
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released June 14, 2019 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
After having explored the remaining cantatas of Johann Sebastian Bach’s ancestors, Vox Luminis and Lionel Meunier have undertaken here a recording, accompanied by instrumentals, of these sacred vocal compositions. They are pieces that connect us to the principles of the “spiritual concert” (Geistliches Konzert) and that, through their multi-parted structure, belong to the origins of the sacred genre of the cantata. It was through Johann Sebastian himself that we owe the knowledge of his musical ancestors. Around the age of fifty, he felt the need to collate and retrace his family tree, most likely originating from Hungary where the miller Vitus Bach always brought a cittern with him on his way to grinding wheat. The works of the Bach family presented here represent the first of the sacred German cantatas along with those of Bruhns, Buxtehude and Pachelbel. We can hear here the predecessors’ works that led to one of the first similar works by Johann Sebastian, his cantata “Christ lag in Todesbanden BWV 4”, was considered for a long time as one of the first compositions of its genre. In addition to its striking likeness to the form of cantata eponymous to Pachelbel, this composition contains numerous elements which can notably be traced back to the works of his ancestors. © François Hudry/Qobuz
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released June 7, 2019 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
HI-RES£11.54£16.49(30%)
CD£7.69£10.99(30%)

Classical - Released April 5, 2019 | Ricercar

Hi-Res Booklet
Bernard Foccroulle devotes his latest recording — the last of the anthology of Northern German organ music of the Baroque period — to Jacob Praetorius and Melchior Schildt, both pupils of Sweelinck. Praetorius and Schildt’s music is not only strongly marked by Lutheran tradition, in which the chorale played a fundamental part, but also by other influences, principally Italian, that prepared the way for the explosion of the stylus fantasticus at the end of the 17th century. © Ricercar