Glossa
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Maier, M: Atalanta Fugiens
Recorded in St Andrew’s Church, Toddington, Gloucestershire August 2008
Ensemble Plus Ultra: Grace Davidson (soprano), Clare Wilkinson (alto), Warren Trevelyan-Jones (tenor), Giles Underwood (bass), Stephen Jones (er-hu), Sue Addison (sackbut) & Marie Bournisien (Renaissance harp)
Michael Noone (direction)
The uppermost lines represent Atalanta and Hippomenes, while the cantus firmus, from a Gregorian plainsong, signifies the apples Hippomenes rolled in Atalanta’s way during their race, enabling... — More…
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Among the highlights are character pieces by Christina’s ‘Prince of Music’, Bernardo Pasquini…Throughout, Galassi combines precision and flair with astute musicological insights, and the regal... — More…
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La Guitarra Española (1536-1836)
Music for vihuela, baroque guitar and romantic guitar
José Miguel Moreno
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this is doubtless a good-value way to explore the ensemble’s work and some otherwise unavailable though interesting repertoire — More…
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Rediscovering Spain: Fantasías, diferencias & glosas
from 16th- and 17th-century Spain
Raquel Andueza (soprano) & Fahmi Alqhai (viola da gamba & direction)
Accademia del Piacere, Fahmi Alqhai
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Ghirlanda sacra: Early 17th-century music in Naples
Roberta Invernizzi (soprano), Antonella Ippolito (soprano), Daniela del Monaco (alto), Rosario Totaro (tenor)
Collegium Gregorianum della Pietrasanta & I Turchini, Antonio Florio
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Luzzaschi: Concerto delle Dame
Roberta Mameli, Emanuela Galli, Francesca Cassinari (sopranos)
La Venexiana, Claudio Cavina (direction)
this is music of intimate emotion and subtle embellishment, with two or three voices intertwining above an instrumental accompaniment – in stark contrast to the usual a cappella style of madrigal... — More…
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Book 7 (1619) gathers together works that must have been written many years apart. The common denominator is its consistent use of instruments in conjunction with the voices. Recording the complete... — More…
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