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Classical - To be released February 5, 2021 | Glossa

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Opera - Released January 15, 2021 | Glossa

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Today's music lovers associate L’Orfeo first and foremost with Claudio Monteverdi's famous opera from 1607, while the version by Luigi Rossi (1597-1653), premiered four decades later, has remained less well-known. Rossi had served as a musician first for the noble families Borghese and Barberini in Florence and Rome, respectively, before he moved to France in 1646, where he became the most respected composer at the court of Cardinal Mazarin. His L'Orfeo, with a libretto by Francesco Buti, was premiered on 2 March 1647 at the Théâtre du Palais-Royal in Paris. It was one of the first operas ever performed in France. The premiere was magnificently staged, full of magnificent sets and machinery, with over 200 people employed to work on the scenery. The performance lasted about six hours and was a great success for Rossi. Twenty years after the first recording by Les Arts Florissants and William Christie, Elena Sartori and her ensemble Allabastrina present now the second recording of this opera. The total playing time is slightly under four hours, almost Wagnerian proportions. Sartori uses exclusively Italian forces (17 solo singers and choristers), with the Baroque experts Francesca Lombardi Mazzulli (Orfeo) and Emanuela Galli (Euridice) in the main roles. © Glossa
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Chamber Music - Released January 1, 2021 | Glossa

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During his lifetime, Carl Friedrich Abel was fêted all over Europe both for his supreme skills as a performer of the viola da gamba as well as for the quality of his compositions, and was responsible (along with J.C. Bach) for setting up arguably the first series of subscription concerts in the history of Western music, the “Bach-Abel-Concerts”. Even the prodigy that was Mozart benefited from Abel’s teachings (and was claimed as the composer of one of Abel’s own symphonies). Twelve years after his recording of pieces from the Drexel Manuscript (for solo viola da gamba), Paolo Pandolfo teams up with an exquisite ensemble to record a fine selection of Abel’s sonatas, many of them recently discovered and being recorded here for the first time. Often adding his own cadenzas and ornamentations, Pandolfo and his team offer a breathtaking and colourful display of virtuosism and sensibility. The contemporary painter Thomas Gainsborough wrote that Abel “excelled at feeling upon the instrument”, while the writer of one of his obituaries likened him to Laurence Sterne, famous as the author of Tristram Shandy: “The death of Abel occasions a great loss to the musical world. Sensibility is the prevailing and beautiful characteristic of his compositions. He was the Sterne of Music.” Thus, this recording is aptly entitled “A Sentimental Journey” – an exploration of the world of feeling paralleling Sterne’s unfinished novel A Sentimental Journey though France and Italy. © Glossa
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Classical - Released November 6, 2020 | Glossa

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The incredible Josquin des Prés is played more and more every week. Renaissance music has gained a renewed interest in the wake of the baroque wave. As a contemporary of Leonardo da Vinci, the Franco-Flemish composer enjoyed a similar reputation and was described as the “genius of the century”. As a great master of the emerging polyphony, he left behind a large number of vocal works, particularly motets for Marian devotions.Recorded in various churches across Italy, this album by the Ensemble Cantica Symphonica conducted by Giuseppe Maletto features a selection of motets dedicated to the Virgin, sometimes enhanced by instrumental accompaniment in unison with the voices. The Stabat Mater for 5 Voices which opens the programme is well-constructed. The work features a lot of major thirds, an interval which sounds great to our ears today but which sounded dissonant to those of his contemporaries. It is hardly surprising that they are used to express Mary’s pain from witnessing her son nailed to the cross.The work alternates with instrumental pieces which originate from popular music. This gives it a varied feel while at the same time informing listeners of the sources of inspiration that were available to the composer. Many sacred pieces are in fact directly derived from popular songs sung by the believers who filled the churches at the time. © François Hudry/Qobuz
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Classical - Released October 2, 2020 | Glossa

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György Vashegyi and his Orfeo Orchestra and Purcell Choir offer up a recording of Boismortier’s Les Voyages de l’Amour of which this 1736 opéra-ballet has been in sore need, a score long and unjustly neglected. For this latest dramatic extravaganza on Glossa, Chantal Santon-Jeffery takes on the title role of lovesick Cupid, and the soprano is joined by two further widely experienced stars of the French Baroque opera revival in Katherine Watson (as the god of love’s sidekick and factotum Zéphire) and Judith van Wanroij as the shepherdess Daphné, smartly resistant to the god’s charms (until the end of the fourth act). By 1736, Joseph Bodin de Boismortier had become well-known in Parisian musical circles for his entertaining instrumental and vocal music and in his booklet essay Benoît Dratwicki (of the Centre de Musique Baroque de Versailles) explains how this fashionable composer came to have his first production for the Paris Opéra cast into the shadows, how the roles for Cupid and Zéphire may have originally been written for two prominent dessus of the time but were replaced by male singers for the première and how this new recorded edition aims to provide a performance as the composer would have wanted it. Katia Velletaz, Éléonore Pancrazi and Thomas Dolié also contribute to this lively entertainment, with this release also containing two differing versions of the second act about the arrow-firing god of love’s travels through village, city and court in search of true love for himself. © Glossa
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Chamber Music - Released October 2, 2020 | Glossa

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The so-called “Anna Maria Partbook” consists of an elegantly bound volume in red leather containing the violin parts of 31 violin concertos, of which 26 are by Antonio Vivaldi. It was the personal repertoire of Vivaldi's most gifted pupil, the famous “Anna Maria della Pietà”, who played also the viola d'amore, the mandolin, the theorbo, and the harpsichord. Anna Maria's partbook represents an extraordinary collection of violin concerts of high virtuosity. 20 of the 26 Vivaldi concerts are also known from other manuscript sources. The remaining 6 are known only from the source of Anna Maria, and therefore incomplete: they are divided into 3 concerts for violin and 3 concerts for violin and organ, a pair of instruments widely used by Vivaldi and the Pietà. Of these 6 concerts left out of the Vivaldi repertoire due to their incompleteness, Federico Maria Sardelli carried out a reconstruction based on many authentic concordant sources: this serious philological work allows us to enjoy 6 new concerts of Vivaldi, performed by leading Vivaldi interpreters of our days: violinist Federico Guglielmo and the ensemble Modo Antiquo under the direction of Sardelli, who give their debut on Glossa with this recording. © Glossa
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Classical - Released October 2, 2020 | Glossa

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For more than four decades now, Eric Hoeprich has specialized in performing on the historical clarinet. His expertise as a musician, scholar and instrument maker allows for a unique approach to the repertoire of the 18th and 19th centuries. Founding member and principal clarinet of the Orchestra of the Eighteenth Century, Hoeprich has performed frequently as a soloist with the orchestra, with his recording of Mozart’s Clarinet Concerto for Glossa, under the direction of Frans Brüggen (2001), being a major milestone. With his ensembles Nachtmusique and Stadler Trio he has also made frequent recordings for Glossa, while his collaborations with the London Haydn Quartet have yielded another handful of fine albums for the label, the latest of which, published just a few months ago in 2020, contains two Weber Clarinet Quintets and is a perfect companion for the current recording. With a copy of the historical clarinet played by Heinrich Baermann, the clarinettist for whom Weber composed all his great works, and together with the Orchestra of the Eighteenth Century as conducted by Guy Van Waas, Eric Hoeprich renders two reference versions of the two Clarinet Concertos that Weber composed in 1811 in rapid succession, and with which the two men toured throughout Europe where they were fêted and adored. Hoeprich also includes on this recording a Clarinet Concerto by the Polish composer Karol Kurpinski, another truly exceptional work. © Glossa
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Opera - Released September 18, 2020 | Glossa

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In 1516 Ludovico Ariosto published his powerful epic Orlando furioso, a sequence of intertwined heroic adventures. The story of the knight Orlando, driven mad by a disappointed love for the princess Angelica, serves the entire range of emotions and quickly achieved great success throughout Europe. Dozens of operas were created around Orlando and other characters from Ariosto‘s epic. Countertenor Filippo Mineccia has put together a varied programme of arias from operas by Steffani, Porpora, Vivaldi, Handel, Mele, Wagenseil and Millico around the figure of “Raging Roland“, in which he brilliantly displays all the creative facets of his voice. © Glossa
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Opera - Released September 18, 2020 | Glossa

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The legendary figure of the libertine Don Juan had been straddling European theatre and opera stages for well over a century before Mozart got into the act with his matchless Don Giovanni. Back in 1669, Alessandro Melani became the first composer to create a dramma per musica out of tales of this witty and licentious character, using a libretto provided by a pair of Roman poets in Filippo Acciaiuoli and Giovanni Filippo Apolloni from their adaption of the celebrated Spanish tragic drama, El burlador de Sevilla by Tirso de Molina. Acciauoli and Apolloni transposed the events of Seville into a mythical landscape and called Don Giovanni Acrimante and his servant Leporello Bibi. But they did not change the original plot... This world premiere recording of Melani’s L’empio punito was captured live during the representations that took place at the Teatro Verdi in Pisa, with an outstanding vocal cast that includes Raffaele Pe in the main role (Acrimante), Raffaelle Milanesi (Atamira), Roberta Invernizzi (Ipomene), Giorgio Celenza (Bibi) and Alberto Allegrezza (Delfa). The instrumental support is provided by the fine orchestra Auser Musici conducted by a Carlo Ipata in great shape. © Glossa
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Classical - Released September 18, 2020 | Glossa

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Dmitry Sinkovsky is one of the most exciting artists of the young generation. He had began his career working with prestigious Early Music ensembles (Il giardino armonico, Accademia Bizantina). He is closely tied to the Belgian ensemble B’Rock, but works now primarily with his ensemble La Voce Strumentale, founded by him in 2011. Complementing his activities in Baroque music, Dmitry maintains an active profile as a conductor and classical violinist, with a wide repertoire ranging from Mozart to Berg, from Beethoven to Bartók. On his debut release with Glossa, Dmitry Sinkovsky presents himself as violinist with giant works of the classical music: the violin concerto and triple concerto by Ludwig van Beethoven. His illustrious companions are the Russian piano legend Alexei Lubimov and Alexander Rudin, cellist and conductor of the Moscow based orchestra "Musica Viva", which plays on period instruments. © Glossa
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Classical - Released July 17, 2020 | Glossa

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The surviving musical edition of Dutch Golden Age “Renaissance Man”, Constantijn Huygens receives a fresh new recording – issued on Glossa – from a singer who has become a connoisseur of vocal music from the seventeenth century: Cyril Auvity. The remarkable Huygens, alive for much of that century, was a poet, composer and musician whose “day job” was as a diplomat working for the Princes of Orange and who was an assiduous correspondent with leading thinkers such as Descartes, Rubens and Corneille. Huygens’ Pathodia sacra et profana encompasses a collection of songs in Italian, French and Latin whose simplicity belies the complexity of the emotions carried within them. Those emotions are admirably conveyed by a singer whose inquisitive musical intellect takes him down less frequented paths (such as two previously issued Charpentier albums on Glossa), and whose voice is rich and coloured and employed with a mastery of line. Singer and instrumentalists on this new recording have decided to record all the French airs from the Pathodia as well as an extensive selection of the Italian arie and Latintexted Psalm settings. Reflecting the contemporary performances of such works by wealthy amateurs in the Dutch Republic, Myriam Rignol plays viola da gamba whilst Marie van Rhijn plays harpsichord, positive organ and the enigmatic Lautenwerck (a luteharpsichord). Each of these instruments is additionally given an opportunity to be heard in solo music from Huygens’ time. © Glossa
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Classical - Released July 17, 2020 | Glossa

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Classical - Released July 17, 2020 | Glossa

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Classical - Released July 17, 2020 | Glossa

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Classical - Released July 17, 2020 | Glossa

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Classical - Released July 10, 2020 | Glossa

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Classical - Released July 10, 2020 | Glossa

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Classical - Released July 10, 2020 | Glossa

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Classical - Released July 10, 2020 | Glossa

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Classical - Released July 10, 2020 | Glossa

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