With The All-Baroque Box we realize one of our fondest dreams: harnessing the deep catalogue of Archiv Produktion (supplemented on occasion by Decca L oiseau lyre recordings) to create a comprehensive collection of great music from Monteverdi to Bach. The music ranges from huge Baroque (Missa Salisburgensis, Venetian polychoral, Charpentier Te Deum) to intimate Baroque (the Goldberg Variations, Bach cello suites, solo cantatas) overwhelming in its impact and emotional content.
Reedition bienvenue avec un exellent son remastérisé de cette trés belle version de Gardiner d'un oratorio de Handel qui est une oeuvre singuliere au sein de la production de ce grand compositeur. L'Allegro, il Pensiero ed il Moderato est dans sa structure trés different de l'oratorio traditionnel et consiste en un assemblage assez libre de solos et de choeurs, mettant en scene 3 personnages allegoriques , un peu comme "il trionfo del tempo", mais chaque" personnage" est ici representé par plusieures voix. Exellent casting choisi par Gardiner au niveu des voix, d'ou emerge Patricia Kwella, dont la beauté et la pureté du timbre illumine cette tres belle oeuvre, proposée a un prix trés doux, aucune raison de passer à coté.
Back another two centuries, to 1640 and a late masterpiece by the first great figure in opera history: Claudio Monteverdi and his Il ritorno d’Ulisse in Patria – “The Return of Ulysses to his Homeland”. Raymond Leppard conducted a production at Glyndebourne in the early 1970s, based on his own edition of the textually problematic work – there are gaps in the only surviving score. Revived in 1979, the production – which has gone down in the annals of opera legend – was recorded by CBS. Gramophone’s reviewer declared the performance “gloriously vivid in humanity and splendour.
Catherine Anahid Berberian (July 4, 1925 – March 6, 1983) was an American soprano and composer. She interpreted contemporary avant-garde music composed, among others, by Luciano Berio, Bruno Maderna, John Cage, Henri Pousseur, Sylvano Bussotti, Darius Milhaud, Roman Haubenstock-Ramati, and Igor Stravinsky. She also interpreted works by Claudio Monteverdi, Heitor Villa-Lobos, Kurt Weill, Philipp Zu Eulenburg, arrangements of songs by The Beatles, and folk songs from several countries and cultures. As a composer, she wrote Stripsody (1966), in which she exploits her vocal technique using comic book sounds (onomatopoeia), and Morsicat(h)y (1969), a composition for the keyboard (with the right hand only) based on Morse code.
These seven discs recorded between 1995 and 2000 make up a fabulous anthology of early seventeenth-century Italian music. A large number of composers are gathered round the central figure of Claudio Monteverdi; while some of them, like Salomone Rossi, Biagio Marini and Dario Castello, are among the musicians with whom he worked in Mantua or Venice, others illustrate the extraordinary musical creativity of the period, whether it be Sigismondo d’India, Tarquinio Merula, Francesco Cavalli, Alessandro Grandi, or so many other lesser-known personalities, each of whom helped to build the rapidly growing edifice of Italian Baroque music.