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A Store Housse of Treasure

Musicke & Mirth

Klassiek - Verschijnt op 4 februari 2022 | Ramée

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Mirabilia Musica. Echoes From Late Medieval Cracow

La Morra

Klassiek - Verschenen op 7 januari 2022 | Ramée

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The city of Cracow, until 1596 the political, commercial and cultural capital of Poland, rose to prominence in Central Europe in the course of the fourteenth and fifteenth centuries under the rule of the Jagiellon dynasty. Although repertoire both performed and composed in Cracow exists from before to that period, it is the manuscripts from the first half of the fifteenth century that capture an impression of the city’s soundscape in a period when it was reportedly “gripped by the greatest enthusiasm” for music. On the one hand, they reveal an intense involvement with Italian and French art music, and on the other, rare glimpses of local musical production ranging from simple, often archaic-sounding polyphony to more complex works of Mikołaj Radomski, a mysterious Polish composer whose music is not known from other sources. The recorded programme is a musical panorama of a vibrant early fifteenth-century city in the East of Latin Europe which, six centuries later, still enchants with its medieval-renaissance aura. © Ramée
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An Evening at the Theatre

The Theater of Music

Klassiek - Verschenen op 12 november 2021 | Ramée

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"An Evening at the Theatre" reconstructs the musical part of a masque as it might have been performed in a London theatre around 1680. As courtly entertainment, the masque combined instrumental music, dance, theatre, song and pantomime and flourished in England from the early sixteenth to the late seventeenth century. English art music, John Playford’s country dances and Scottish folk music had their place in the same musical event. In the middle of the programme, The Theater of Music gives prominence to the oddity known as the "anti-masque", a genuine comic interlude within the masque itself. Its aim was to cheer up or even parody the king or some other person of high rank through scenic and instrumental antics, before returning to a more polite level of discourse, thus emphasising the subservience of subjects to their ruler. © Ramée
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Bach for Two

Romina Lischka

Klassiek - Verschenen op 1 oktober 2021 | Ramée

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Johann Sebastian Bach left us three sonatas for viola da gamba and harpsichord. He made various transcriptions of the gamba sonata in G major, one of which was of the last movement as a trio sonata for organ. Several movements of the six organ trio sonatas themselves are also reworkings of previously composed material from his cantatas, organ and chamber works. This practice inspired the "Bach for Two" programme by Romina Lischka and Marnix De Cat, in which they have assembled the most beautiful combinations of viola da gamba and organ in both original and arranged versions of Bach’s chorale preludes and trios. Bach is a master of both the head and the heart. With text and melody as his starting point, he created small musical worlds in his chorale preludes for organ and takes the listener on the most varied of inner journeys. To experience musical joy, to find inner peace through every possible emotion, to be comforted in one’s search or sorrow, to be moved to the depths of one’s being - this is the art of Bach, the magician of sound. © Ramée
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Grand Tour

Korneel Bernolet

Klassiek - Verschenen op 17 september 2021 | Ramée

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"The harpsichord maker of the greatest eminence ... was Joannes Daniel Dulcken". With this quote from Charles Burney, Dulcken stands as one of the most important Flemish harpsichord makers of the 18th century in the tradition of the Ruckers-Couchet dynasty of the previous century. This recording explores the sound of the magnificent single-manual Dulcken harpsichord from 1747, now in the collection of the Royal Conservatoire of Antwerp on permanent loan at the Museum Vleeshuis. Korneel Bernolet proposes an imaginary Grand Tour of the year 1747, with music written in or around the year the instrument was built; as if a Flemish harpsichordist of the time put some first publications of foreign works on the music stand of the Antwerp harpsichord and started to play. © Ramée
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The Musical Universe of Andreas Pevernage

Utopia Ensemble

Klassiek - Verschenen op 3 september 2021 | Ramée

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Andreas Pevernage (1542/3–1591) is best remembered today as the choirmaster of Antwerp Cathedral and as the composer of several picture motets that are now classified as masterpieces of Flemish culture. Whilst Pevernage spent his entire professional career in Flanders, which may well have contributed to his music being less well known today, he was nonetheless considered as the equal of Orlandus Lassus, Clemens non Papa and Giaches de Wert during his lifetime: the quality of his music is in no wise inferior to the works of his more famous contemporaries. Pevernage adopted the innovations of the Italian madrigal and also breathed new life into the chansons of the Low Countries. This selection of works, mostly for five parts, is an invitation to discover his stylistic and creative diversity. © Ramée
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Bach: The Well-Tempered Clavier I

Cristiano Holtz

Klassiek - Verschenen op 20 augustus 2021 | Ramée

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Which "Clavier" did Bach have in mind? Apart from a "grand clavessin" by Michael Mietke, which he probably had at his disposal at the court in Cöthen, there is evidence that he knew instruments by Gottfried Silbermann. A harpsichord with a 16’ stop by Johann Heinrich Harrass (today in the Berlin Musikinstrumenten-Museum) is also assumed to have been in Bach’s possession. A large instrument similar to this supposed "Bach harpsichord" was built by Zacharias Hildebrandt, who was closely associated with the composer during his Leipzig years. Since Bach travelled to Hamburg on various occasions, it can be assumed that he was familiar with the famous harpsichord building tradition of that city, represented by the workshops of Zell, Fleischer and Hass. Since he was known for using rich and unusual registrations on the organ, we can assume that he used equally flamboyant registrations on the harpsichord. Cristiano Holtz has therefore chosen a large instrument by Matthias Kramer after Christian Zell (Hamburg 1728). © Ramée
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Per il Salterio

La Gioia Armonica

Klassiek - Verschenen op 21 mei 2021 | Ramée

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Philippe De Monte: Madrigals and Chansons

Ratas del viejo Mundo

Klassiek - Verschenen op 16 april 2021 | Ramée

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Heinrich Albert's Pumpkin Hut

Dorothee Mields

Klassiek - Verschenen op 19 maart 2021 | Ramée

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Königsberg in East Prussia (now Kaliningrad, Russia) was a rare haven of peace during the Thirty Years’ War thanks to its geographical location. Many people, including artists and musicians, fled there from the horrors of plague and war. Heinrich Albert, a pupil of Heinrich Schütz (his cousin) and Johann Hermann Schein, the Thomaskantor in Leipzig, was appointed cathedral organist in the city in 1630. His garden hut, overgrown with pumpkin vines and suitably dubbed the ‘pumpkin hut’ (Kürbishütte), became the meeting place of the Königsberg Circle of Poets: a refuge and a space for cutting-edge creativity, spared from direct involvement in the war. Five musical tableaux, depicting different stages in the war, take the listener on an emotional journey and reflect the everyday emotions people of the period experienced: hope, fear, a longing for peace – but also despair and wrestling with faith in the face of the devastation of war. © Ramée
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Johann Sebastian Bach: Sonate e Partite per il Flauto Traversiere

Frank Theuns

Klassiek - Verschenen op 19 februari 2021 | Ramée

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Unlike many of his contemporaries, Johann Sebastian Bach never intended to compose flute sonatas or partitas in sets of 6 or 12, as was customary at the time (and as he himself did for violin, cello and harpsichord). Bach's flute sonatas evolved over a roughly 30-year period between ca. 1717–1747 as he encountered the different types of flute in fashion at the time, and met several greatly skilled flautists. The question of which flautist and flute makers Bach may have known played a decisive role in choosing the programme on this recording. In preparation, Frank Theuns compared and assessed the playing qualities of various early eighteenth-century flute types. Eventually, he decided on a copy of a flute made by Pierre-Gabriel Buffardin. The balanced, brilliant, Italianate sound of this instrument was a perfect match for the demands of this repertoire. As well as being an unequalled flautist and an accomplished composer, Buffardin was also a renowned flute maker whom Bach may have met in Dresden in 1717. © Ramée
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Yuu: Gentleness and Melancholy

Kaori Uemura

Klassiek - Verschenen op 15 januari 2021 | Ramée

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‘Music for a while / Shall all your cares beguile’ : in this famous song, Purcell invokes the power of music to soothe – at least temporarily – our pain and suffering. But do we really want to be soothed? Or do we prefer to cultivate our melancholy, in the company of Michel Lambert: ‘No, I sing not to charm away my sadness, but rather to maintain it’? In the St. John Passion, Bach associates the funereal sweetness of the viol with the death of Christ. Like him, many other composers have chosen the instrument to evoke mourning. The pieces recorded on this album form a frame of melancholy music, just as the Japanese character 優(Yuu) expresses the gentleness of ‘a person who stands next to someone who is sad’. Through the vector of these melancholy pieces, the Japanese gambist Kaori Uemura makes her viol sing to maintain, but also to console sadness. © Ramée
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Serenissima: A Musical Portrait of Venice Around 1726

Perrine Devillers

Klassiek - Verschenen op 8 januari 2021 | Ramée

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The 1750 Project proposes a journey from 1720 to 1750, each stage of which will allow us to discover the richness and specificity of a city’s musical life at a key juncture in its history. For the first episode in the 1750 Project, we stop off in Venice around 1726, at a pivotal moment in the history of music when the meeting of two styles led to an aesthetic turning point. The city, then dominated by Antonio Vivaldi (1678-1741), also welcomed several other leading Italian composers, including the Neapolitan Nicola Porpora (1686-1768) and the Milanese Giuseppe Sammartini (1695-1750), who was about to revolutionise the world of wind instruments. The city on the lagoon was a cultural hub and a mandatory destination in the itinerary of many nobles and musicians from northern Europe who wished to round off their training and culture. Several German composers, including Pisendel, Quantz, Hasse and Handel, passed through Venice in the early eighteenth century before returning to their native regions to spread the gospel of Italian music. Let us therefore, for a short while, put ourselves in the shoes of an imaginary traveller discovering the musical life of Venice around 1726. © Ramée
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Song of Beasts. Fantastic Creatures in Medieval Song

Ensemble Dragma

Klassiek - Verschenen op 30 oktober 2020 | Ramée

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Medieval interest in animals and mythical creatures was not limited to the visual arts and literature. At the same time that bestiaries – manuscripts depicting animals and mythical creatures – were being compiled, composers were producing innumerable pieces that describe these same beasts from a musical point of view. "Song of Beasts" combines medieval iconography with texts and music, immersing a modern audience in this fascinating world of verbal, visual and aural imagery. Ensemble Dragma paints a multifaceted, moving and indepth portrait of the bestiaries, giving a glimpse of a long lost medieval mindset. Various mythical and real animals are introduced, including the panther, the viper, the phoenix and the basilisk. These pieces by both renowned and less well-known composers are musical jewels, combining artful poetry with engaging melodies. © Ramée
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D'Astorga & Lalli: Cantatas and Sonatas

Les Abbagliati

Klassiek - Verschenen op 16 oktober 2020 | Ramée

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Can one imagine a more unusual and colourful character than Baron Emanuele d’Astorga? Reading the various biographies concerning him, one has the impression he lived a thousand lives ... He fled Sicily around 1707 and met the Neapolitan poet and librettist Domenico Lalli, hailed by Goldoni as a ‘poetic genius’, who was to collaborate with many of the most important composers of the time, including Alessandro Scarlatti, Handel, Vivaldi, Albinoni and Caldara. The two men then forged a firm friendship in their travels across Italy with Rome as their destination. The ensemble Les Abbagliati has devised a programme built around these two protagonists. Three cantatas by d'Astorga and Giovanni Battista Bononcini respectively, recorded here for the first time, alternate with instrumental pieces by composers who had a close relationship with Lalli. © Ramée
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Chansons à boire et à danser: Airs de cour

Ratas del viejo Mundo

Klassiek - Verschenen op 2 oktober 2020 | Ramée

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Parisian composer Jean Boyer’s Recueil d’airs à boire et danser from 1636 belongs to a genuinely French genre of drinking and dance songs, a more light-hearted offspring of the "Air de cour". The latter, a courtly secular strophic song, became one of the most important vocal genres in the first third of the seventeenth century in France. Among the many collections of chansons à boire et à danser of the time, Boyer’s are probably the most compelling, both rhythmically and harmonically, and the texts he chose to set to music are generally more refined than some of his contemporaries’. From the mere number of copies of most of these collections extant in many European libraries, we realize how well diffused and popular this type of repertoire was, while it has been left virtually untouched in the twenty-first century. © Ramée
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Biber: Requiem - Tůma: Stabat Mater

Romina Lischka

Klassiek - Verschenen op 28 augustus 2020 | Ramée

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With the world premiere recording of a rediscovered Stabat Mater, a late work by the Bohemian master František Tůma, Pluto-Ensemble and Hathor Consort expand the Baroque discography with an emotionally gripping work. The version presented here, one of Tůma’s five settings of the text, long lay forgotten in the Abbey library in Ottobeuren, until Marnix De Cat (artistic director of the Pluto-Ensemble) rediscovered this gem. It is heard here with the Requiem in F minor by Heinrich Ignaz Franz Biber and instrumental works by Biber, his teacher Johann Heinrich Schmelzer and his Salzburg colleague Andreas Christoph Clamer. Animam gementem cano (‘I hymn the grieving soul’ – the first two words quote the Stabat Mater text) takes us on a journey through many of life's most significant moments: we are confronted with life and death, but also with our personal path towards consciousness. The programme is intended not only to provide comfort for the ‘captive grieving soul’ of every flesh-and-blood human being, but also to offer every curious music lover a voyage of discovery. © Ramée
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Carl Philipp Emanuel Bach: Empfindsam

New Collegium

Klassiek - Verschenen op 22 mei 2020 | Ramée

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"Empfindsamer Stil" or "Empfindsamkeit" developed in Germany by the middle of the 18th century with the main goal of expressing emotions in order to move the spectator. Carl Philipp Emanuel Bach, Johann Sebastian’s second son, was the composer who best represented the style’s ideals. Christoph Friedrich Nicolai, a contemporary critic, aptly described the merit of C. P. E. Bach’s ingenious originality: “Anyone who would wish to see such a truly original composer as our Bach freely go his own way, untrammelled by custom or fashion, will find his heart’s desire in these splendid, unique symphonies”. These qualities probably explain why his symphonies kept being played up to modern days. Carl Philipp Emanuel Bach goes into the deepest of his sentimental expression, with delicate harmonies and well-designed melodic lines alternating with tortuous melodic leaps, painful harmonic progressions and outstanding cantabile writing. Tempests of notes and harmonies supported by temperamental accompaniments from the strings are followed by the most sublime cantabiles, passages in an almost galant style, with short and simple melodic motifs. Striking harmonies and dissonant leaps are combined with sudden fermatas to create the dramatic instability typical of Sturm und Drang. A veritable musical fireworks in a captivating rendering by New Collegium! © Ramée
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Kühl, nicht lau

Tami Krausz

Klassiek - Verschenen op 13 maart 2020 | Ramée

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The era of Ludwig van Beethoven and Friedrich Kuhlau was one of great stylistic changes in music, as composers searched for new forms of expression and tonal possibilities while stimulating a rapid pace of innovation in the field of instrument design and manufacturing. This recording is anchored by two pillars of the nineteenth century repertoire for flute and piano: Beethoven’s Serenade, originally conceived as a trio for flute, violin and viola, bends the boundaries of classicism with impulsive dynamic changes and measured attention to timing, while Kuhlau’s Grande Sonate concertante reaches eagerly for a more Romantic aesthetic, inviting expressive freedom in its virtuosic writing and rich harmonic textures. The juxtaposition of works of Beethoven and Kuhlau on this recording is inspired by the delightful account of their personal encounter in September 1825, after which Beethoven wrote a canon on the text "kühl, nicht lau" ("cool, not lukewarm"), a friendly pun on Kuhlau’s name. © Ramée
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D'Amor mormora il vento

La Boz Galana

Klassiek - Verschenen op 17 januari 2020 | Ramée

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