http://rapidshare.com/files/231838431/SongOfSongs.StileAntico.part1.rar
http://rapidshare.com/files/231846603/SongOfSongs.StileAntico.part2.rar
Oferenda Musical
Cristofaro Caresana was born in Venice, but well before he reached the age of twenty he was working in Naples, as a tenor, an organist and a composer. He worked with the theatre company of the Feblarmonici and from 1659 was a member of the Congregazione dell’Oratorio; he was both a singer and organist in the royal chapel and from 1668 to 1690 he was maestro di capella of the Conservatorio di S. Onforio. In 1699 he was appointed (in succession to Francesco Provenzale) maestro of the Treasury of San Gennaro. Though he was born in the north of Italy – and he is thought to have studied in Venice with Pietro Andrea Ziani – the music by Caresana heard on this CD is thoroughly Neapolitan. It has all the passion, that perfect fusion of the sacred and the profane, that almost gaudy musical colour, which we have come to think of as characteristic features of Neapolitan baroque.
http://rapidshare.com/files/141991692/Caresana.NascitaVerbo.Florio.rar
You can buy it on: http://www.naive.fr/#/home
This is the first complete recording of one of late-medieval Germany’s most important Marian lamentation plays, from the northern German church of Bordesholm. Here, Sequentia and the West German Radio worked together over a long period of time to produce both this recording as well as live, staged performances and a television film (broadcast nationwide on Good Friday, 1992). The drama is sung and spoken in Middle Lower German dialect, interspersed with Latin, and includes roles for the Virgin Mary, Saint John, Christ, Maria Magdalena, and the Mother of John. A choir of 12 monks (sung by the men of Sequentia and the Choralschola Essen) and medieval instruments are employed at various points in the drama. This double CD -- which represents the most ideal conditions imaginable for a large-scale collaboration between musicians, scholars and a major cultural institution -- is accompanied by a 118-page booklet containing the complete text of the drama in four languages.
http://rapidshare.com/files/202667865/Sequentia.BordesholmerMarienklage.part1.rar
http://rapidshare.com/files/202676181/Sequentia.BordesholmerMarienklage.part2.rar
You can buy it on: http://www.amazon.com/
http://rapidshare.com/files/135333717/Couperin.LeconsTenebres.Rousset.rar
You can buy it on: http://www2.deutschegrammophon.com/
The 15 part Requiem was most likely composed for the funeral of the man who was probably the greatest ruler Salzburg ever had, Prince-Archbishop Maximilian Gandolph, Biber’s patron and a great promoter of the arts in general, who died suddenly on 3 May, 1687. He lay in state for six days, before being carried in procession to his cathedral where this solemn Requiem was performed, having been composed and rehearsed in the intervening six days. Biber must be considered the major musical figure between Monteverdi and Bach and the more of his sacred works that become available on recordings the more this view will be confirmed. The Requiem à 15 may have been composed quickly, but it shows no signs of it at all. It is unusual in several ways, not least the key of A major (Biber’s other later Requiem is in the more sombre key of F minor) and the inclusion of two festive trumpets and timpani. While Biber considers aspects of death at various times in this work the overall feeling is not one of sombre mourning but, possibly befitting a great and genuinely much-loved ruler, of calm grandeur and the confident assurance of victory and heavenly glory. Even if the Battalia were not there at all and the disc was only