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Classical - Released November 15, 2019 | Pan Classics

Booklet
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Chamber Music - Released March 6, 2020 | Pan Classics

Booklet
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Classical - Released March 20, 2020 | Pan Classics

Booklet
The 17th century was marked on the one hand by war, infirmity and devastation, but at the same time by great innovations in research and science. In music, which until then had been characterized by structure and order, new ideals such as virtuosity and emotionality developed and created an antipole to the problems of the time. The new view of "Beauty - Belezza" places Lina Tur Bonet at the centre of her very personal programme, which brings together what she considers to be the most beautiful and stirring violin works of the period, presented in her own virtuoso and highly emotional style of playing. © Pan Classics
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Classical - Released May 22, 2020 | Pan Classics

Booklet
The autograph reference "Per la Sig.ra Geltruda" on the manuscript of Vivaldi's motet Clarae stellae, scintillate has long aroused the curiosity of researchers. By years of research around the Vivaldi expert Michael Talbot is now revealed who this "Signora Geltruda" is: Geltruda della Violetta was a girl from the Venetian orphanage La Pietà, where Vivaldi worked for over a decade. Geltruda probably had an exceptionally beautiful voice that quickly attracted the interest of important personalities. Vivaldi's motet dedicated to Geltrude was commissioned by the Marquis Bentivoglio of Ferrara, who was Geltrude's patron. The unusual voice of Geltruda is described as being particularly delicate and was probably especially effective in expressive and less virtuoso pieces. This style of writing is also found in other pieces by Vivaldi, most likely also written for Geltruda. The experienced contralto Alessandra Visentin is active at many of Europe's major opera houses and presents here with her first solo album a special jewel in terms of repertoire and interpretation. © Pan Classics
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Choral Music (Choirs) - Released November 15, 2019 | Pan Classics

Booklet
An organist at the Spanish court during the reign of Philip V, José de Nebra wrote successful operas and zarzuelas (Spanish operettas). He also gave the world some religious music, which is slowly emerging from obscurity. He wrote this Requiem in 1758, for the funeral of the Queen of Spain Doña Bárbara de Braganza, a remarkable harpsichord player who studied under Domenico Scarlatti, and to whom the latter's famous 555 sonatas were dedicated. Made in the memory of the conductor Jesús López Cobos with whom José Antonio Montaño worked closely, this world-first recording of the Requiem by José de Nebra was made following a concert that marked 250 years since the death of the composer, who is thought to be one of the most important of 18th Century Spain. José Antonio Montaño conducts three ensembles whose recordings are touchstones in Spain: La Madrileña, an ensemble of period instruments which he himself founded; the Victoria Choir, which specialise in Renaissance polyphony and the Schola Antiqua which focuses closely on Gregorian chant. José de Nebra's liturgical music has survived in manuscript forum in the archives of the Royal Chapel of Madrid and it has not yet been fully published, or indeed even catalogued. Some of it can also be found in the archives of Rome's Sistine Chapel, in Munich, in Montserrat and in the Cathedral at Valladolid. A great deal of musicological work remains to be done, in light of the sheer quantity of works to be used. © François Hudry/Qobuz
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Chamber Music - Released October 18, 2019 | Pan Classics

Booklet
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Classical - Released February 7, 2020 | Pan Classics

Booklet
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Classical - Released June 12, 2020 | Pan Classics

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Classical - Released June 26, 2020 | Pan Classics

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Chamber Music - Released June 19, 2020 | Pan Classics

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Chamber Music - Released June 26, 2020 | Pan Classics

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Chamber Music - Released June 5, 2020 | Pan Classics

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Classical - Released June 12, 2020 | Pan Classics

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Classical - Released June 19, 2020 | Pan Classics

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Classical - Released July 3, 2020 | Pan Classics

The music on this disc comes from Rome in the middle seventeenth century, and it is seemingly, to use a word that recurs several times in the dense but informative booklet, paradoxical. Domenico Mazzocchi (1592-1665) was a composer who worked at the feet of popes. Yet the music here is stylistically of the sensuous seconda prattica, the operatic art of Monteverdi and his cohorts in the generation before. If the term "Counter Reformation" brings to mind music like Palestrina's, know that you get something very different here, something closer to the religious masterworks of Monteverdi's later career but on a more intimate scale. All the music is sacred, some in Latin and some in Italian; the generic designations were slippery at this point, but most of the pieces might be called cantatas, with original texts (all translated into German, English, and French in the booklet). They are mostly duos and trios (a few pieces, probably originally choral, are done by the full group of five solo voices), with accompaniment by an ensemble somewhere between an orchestra and a continuo -- violins, harp, theorbo/guitar, bass viol, violone, and keyboard, with Jérôme Correas directing the group as a whole, called Les Paladins, from the keyboard. And the music is as passionate as anything in Orfeo. As annotator Olivier Rouvière neatly put it, Mazzocchi's music displays a "hesitation between hedonism and rhetorical precision." The booklet goes into great detail about the roots of this duality in Counter Reformation thought -- Catholicism responded to the Protestant challenge not only by purifying its texts but also by seeking to maximize their emotional impact. The issues gloriously work themselves out in Mazzocchi's music. Sample track 2, the Concerto à 3: "Battaglia per espugnare Amore" (The Battle to Defeat Love), where, one might say, it takes the master's tools to dismantle the master's house. Also of interest are the Dialogo della cantica and other pieces with a dialogic aspect -- clear precursors of the dialogues of the soul in Carissimi and all the way down to Bach and beyond. Indeed the chief strength of the album lies in how it reveals more of the deep roots of the much-vaunted marriage of sacred and secular music in Bach. Beyond that, it's just gorgeous from a vocal standpoint. The five voices of Les Paladins (named for a Rameau opera) give the music the sensuous appeal it deserves, and they communicate the content of the texts in detail and with conviction -- job one with this music. The sound environment of a medieval monastery is a bit chilly for the music but does not stand in its way. This is an impressive entry in the parade of French recordings that have brought to life something of the impact the music of the seventeenth century must have had in its own times. © TiVo
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Classical - Released July 3, 2020 | Pan Classics

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Classical - Released June 19, 2020 | Pan Classics

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Classical - Released June 19, 2020 | Pan Classics

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Chamber Music - Released July 17, 2020 | Pan Classics