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Classical
Editor: Rob Barnett
Founder
Len
Mullenger 
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 TACTUS
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Pietro
VINCI Antonio IL VERSO Ricercars Diego Cannizzaro (organ) rec. 7-9 September 2008, Church of San Pantaleone, Alcara Li Fusi, Messina, Italy. DDD TACTUS TC 512201 [60.20] |
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Antonio
FERRADINI
(1718-1779) Six Sonatas for Harpsichord (c.1760) [78:39] Silvia Rambaldi (harpsichord) rec. Studio Monari, July 2007 TACTUS TC 713101 [78:29] |
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Ippolito
GHEZZI (fl.c.1650-c.1709) L'Adamo, Oratorio à 3 voci. Op.3 (1700) [23:55] Dialogo di Maria Vergine e un Anima (Dialogue between the Virgin Mary and a Soul) [8:35] Dialogo di San Michele Arcangelo e il Demonio (Dialogue between the Archangel Michael and the Devil) [6:37] Lamentationi per la Settimana Santa, Op.4 (Lamentations for Holy Week) (1707): Prima Letione del Mercordi à sera (First Lesson for Wednesday evening) [9:24] Prima Letione del Giovedi à sera (First Lesson for Maundy Thursday evening)[6:42] Seconda Letione del Venerdi à sera (Second lesson for Good Friday evening) [7:50] Cappella Musicale di San Giacomo Maggiore di Bologna/Roberto Cascio rec. no information provided. (P) 2008. DDD. TACTUS TC653201 [63:09] |
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Gioachino
ROSSINI
(1792-1806) Six Sonate a Quattro (1804) Ensemble de I Virtuosi Italiani (Grazia Raimondi (violin); Luca Falasca (violin); Francesco Ferrarini (cello); Franco Catalini (double-bass)) rec. April 2001, Ciesa Parrocchiale di Semelano di Zocca, Modena. DDD TACTUS TC791802 [74:55] |
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Gaetano
DONIZETTI (1797-1868)
String Quartet No. 5 in E minor (1818) [21:04] String Quartet No. 4 in D major (1818) [14:45] String Quartet No. 6 in G major (1817-18) [13:09] Quartetto Bernini: (Marco Serino (violin); Yoko Ichihara (violin); Gianluca Saggini (viola); Valeriano Taddeo (cello)) rec. 25-27 January 2003, Church of SS. Pietro e Paolo, Salisano, Rieti, Italy. DDD TACTUS TC 790402 [48:58] |
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Benedetto
MARCELLO (1687-1762)
Sonate per Flauto e Basso, Op. 2 (Sonate 1 - 6) Il Rossignolo: Martino Noferi (recorder), Raffaele Sorrentino (cello), Gian Luca Lastraioli (archlute, guitar), Ottaviano Tenerani (harpsichord) rec. October 2003, San Salvatore a Leccio Castello, Florence, Italy. DDD TACTUS TC 683802 [76:28] |
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TC 851301
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11.50 post-free World-wide JUNE 2006 NEW RELEASE
Giuseppe MARTUCCI (1856-1909) Sonata in G minor, Op.22 (1874) [16:03] Melodia (1890) [2:56] Three Pieces for violin and piano, Op.67 (1886) [15:05] Giovanni SGAMBATI (1841-1914) Two pieces for violin and piano, Op.24 [9:21] Gondoliera, Op.29 [5:31] Luca Braga (violin), Lucia Pittau (piano) rec. Sala Rodi, Cremona, Italy, 28-29 June, 2 July 2004. DDD |
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280001 £ 11.50 post-free World-wide JUNE 2006 NEW RELEASE Historic Period: Medieval Author: Various Unknown Laude sulla vita di Gesu' Canti drammatici delle Confraternite del XIII secolo Ensemble: CONCENTUS LUCENSIS Director: Stefano Albarello |
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300002 £ 11.50 post-free World-wide Historic period: medieval Author: Anonymous Italian Medieval Instrumental Dances Performers: ANIMA MUNDI CONSORT Gaspare Antonio Bartelloni (GB) Flauti, flautidi canna, gralla, arpa gotica Ugo Galasso (UG) Flauti, flautidicanna, chalumeau, ciaramella, bombarda Bernardo Barzagli (BB) Tromba marina, ribeca, viella, Daniele Poli(DP) Liuto, synphonia, arpa, Pino Marcogliese (PM)'ud Luca Gherardi(LG) Synphonia, organo portativo, salterio, cornamusa, tamburo a frizione Piero Callegari (PC) Tromba da tirarsi, bombarda, Mauro Morini(MM) Tromba da tirarsi Massimo Paoletti(MP) Riqq, tammorra, piatti, tamburello garganico, naqqariLuca Brunelli Felicetti(LBF) Derbouka, riqq, bendir, zil, tabor, tar, marranzano, tammorra, naqqari, campane, salterio, direzione Ensemble: ANIMA MUNDI CONSORT |
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510701 £ 11.50 post-free World-wide JUNE 2006 NEW RELEASE Renaissance Gregorian ANDREA GABRIELI (1510-1586) Missa brevis 4. vocum(in Re) Cora da Camera delConcentus Musicus Patavinus Fabio Framba, director Performers: Coro da Camera del Concentus Musicus Patavinus: * solisti Soprani: Licia Barbarotto, Stefania Cerutti*, Laura Galvani, Bettina Heindel, Francesca Lazzarin, Christine ReuleinSchneider. Contralti:Elena Dante, Gemma Galfano, Silvia Giannelli, Elisa Mosconi, Ludovica Strizoli* Tenori: Fabio Comberlato, Marco Mazzorana, Marco Michelon* Baritoni e Bassi:Alberto Castelli, Giacomo Dalla Libera, Luca Forchignone, Marco Paoli, Gianni Tamiello, Marco Zambon La Schola Gregoriana Scriptoria: Paolo Berton, Filippo Bianchi, Roberto Bignardi, RaoulBucciarelli, Claudio Mantovan, Alessandro Marcato, Luca Marigo, Luca Modenese, RaoulRighetto, Simone Astolfi. Ensemble: Coro da Camera delConcentus Musicus Patavinus oDirector: Fabio Framba Nicola Bellinazz |
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533802 £ 11.50 post-free World-wide |
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560002 £ 11.50 post-free World-wide TACTUS Historic period: Baroque World Premiere Recording SOROR MEA, SPONSA MEA il CanticumCanticorum nei Conventi Author: Francesco Martini, Raphaella Aleotti, Sisto Reina, Lucrezia Orsina Vizzana, Giovanni Maria Nanino, G. Cavaglieri, Maria Xaveria Perucona, Adriano Banchieri, Claudio Monteverdi, Aquilino Coppini, Alba Tressina, Pietro Pace, Agostino Soderini, Natale Monferrato, Giovanni Antonio Mangoni, Chiara Margarita Cozzolani, Isabella Leonarda. Performers: Voci: Elena Biscuola, Alessandra Fiori, Frida Forlani, Gloria Moretti, Alida Oliva, Monica Piccinini,Candace Smith, Silvia Testoni, Patrizia Vaccari; Violini baroccho: Angela Nardo, MaryRiccardi;Viola da Gamba: Claudia Pasetto, Teresina Croce; Arpa: Maria Christina Cleary, Dulciana: Elena Bianchi; Organo: Miranda Aureli o Ensemble: CAPPELLA ARTEMISIA o Director: Candace Smith The Canticum Canticorum, one of the most beautifully sensual texts to be found in the Bible, was also one of the most often set to music in the 17th century, both outside and inside the convent walls, in music written both for and by Italian cloistered nuns. These women, eternally married to Christ (with, or all too often, without their consent)identified strongly with the florid and passionate imagery of the bride and the beloved, and the poetry of this book represented an important-and ambiguous-allegory with diverse levels of interpretation. |
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590301 £ 11.50 post-free World-wide Historic period: Baroque DARIO CASTELLO Sonate Concertante in Stil Moderno Libro Secondo (Venezia, 1629) Musica Fiorita dir. Daniela Dolci Performers: Bork-Frithjof Smith, Gebhard David, cornetti;Peter Barczi, Eva Borhi, violini barocchi; Rebeka Ruso', viola da gamba, Felix Knecht, violoncello barocco; Marie Bournisien, arpa doppia, Margit Übellacker, salterio; RafaelBonavita, chitarra barocca e tiorba, Philip Tarr, percussione; Daniela Dolci, clavicembalo, organo positivo, richiamo d'uccelli e direzione
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591303 £ 11.50 post-free World-wide TACTUS Historic period: Baroque Tarquinio Merula (1594-1665) Canzonas, Dances and Variations Performers: Bork-Frithjof Smith, Gebhard David, cornetti;Peter Barczi, Eva Borhi, violini barocchi; Rebeka Ruso', viola da gamba, Felix Knecht, violoncello barocco; Marie Bournisien,arpa doppia, Margit Übellacker, salterio; RafaelBonavita, chitarra barocca e tiorba, Philip Tarr, percussione; Daniela Dolci, clavicembalo, organo positivo, richiamo d'uccelli e direzione Ensemble: MUSICA FIORITA Director: Daniela Dolci |
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602802 £ 11.50 post-free World-wide Giacomo CARISSIMI (1605-1674) Oratorios Oratorio della SS Vergine [25:57] Historia Ionae [28:37] Complesso Pro Musica Firenze/Gabriele Micheli rec. July 2003, Chiesa di Lamole Greve, Chianti, Florence, Italy. DDD |
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602801 £ 11.50 post-free World-wide Historic period: Baroque Giacomo Carissimi (1605-1674) Mottetti e Sacri Concerto Performers: Ensemble IL CANTAR NOVOCristina Curti: Canto, Francesca Cassinari: Canto,, Cristina Calzolari: Alto,, Giovanni Cantarini: Tenore, Alberto Salarelli: Basso,, Cecilia Amadori: Violoncello barocco, Elena Dalla Casa: Organo e b.continuo.dir. Pietro Ceccarelli Ensemble: IL CANTAR NOVO Director: Pietro Ceccarelli |
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623701 £ 11.50 post-free World-wide TACTUS Historic period: Renaissance Isabella Leonarda (1620-1704) Sonatas for 1, 2, 3 and 4 instruments Opera XVI Performers: CAPPELLA STRUMENTALE DEL DUOMO DI NOVARA primo violino: Servio Bona, violino secondo: Igor DelVecchio, violoncello: Claudia Poz, organo positivo: Alberto Sala. Ensemble: CAPPELLA STRUMENTALE DEL DUOMO DI NOVARA Isabella Leonarda was one of a small number of women musicians of the seventeenth century, and the only one to have left us such a vast amount of music. Her life certainly differed from that of her more or less famous male "colleagues", for she was a nun composer with a great sense of devotion to the Virgin Mary. Music was for Leonarda an expression of her deep faith, a reflection of the parallel between divine and human order, contemplated and experienced through her own creative abilities. Her more than two hundred compositions include her instrumental works: the twelve sonatas for 1, 2, 3 and 4 instruments from her op. XVI. The sonata as a form took hold in the centers of northern Italy, and for 3/4th of a century, or approximately until 1650, it was cultivated almost exclusively in that area. It was nearly always published in groups of 6 or 12, and collections would conclude with a final sonata, often in the form of variations (such as Corelli's Follia, op. V, n. 12) or another single composition. Leonarda herself followed this practice: her op. XVI indeed contains 12 sonatas, eleven of which are for 2 violins, violone and basso continuo, while the twelfth piece is for solo violin and basso continuo. |
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650308 £ 11.50 post-free World-wide TACTUS |
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672206 £ 11.50 post-free World-wide TACTUS Historic period: Baroque Antonio Vivaldi (1678-1741) Concerti per molti Instromenti RV 562a, 576, 566, 538, 569 Performers: Modo Antiquo, su strumentid'epoca Violino principale : Luca Ronconi; oboe principale : Paolo Pollastri; corni: Paolo Faggi, Gianfranco Dini; flautia becco : Federico Maria Sardelli, Martino Noferi; oboi: Andrea Mion, Marco Cera; Violino principale in RV 566 : Vania Pedronetto; violini : Daniela Nuzzoli, Anna Ferraiolo; viola : Franco Presutti; violoncello: Bettina Hoffmann; contrabbassi: Amerigo Bernardi, Paolo Fanciullacci; clavicembali: Anna Clemente, Andrea Perugi; tiorba e chitarra: Gian Luca Lastraioli; timpani :Luca Brunelli Felicettidirettore: Federico Maria Sardelli Ensemble: Modo Antiquo o Director: Federico Maria Sardelli o Note: Grammy Nomination 1997 |
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672245 £ 11.50 post-free World-wide TACTUS Historic period: Baroque Antonio Vivaldi (16781741) Concerti per oboe, archi e continuo Performers: Paolo Grazia - oboe, Marco Ferri, Alessandra Talamo - violino, Enrico Celestino - viola, Federico Ferri - violoncello, Alberto Farolfi - contrabbasso, Diego Cantalupi - arciliuto e chitarra barocca, Daniele Proni - clavicembalo Ensemble: Ensemble Respighi o Director: Federico Ferri |
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672290 £20.00 2CD'S TACTUS Historic period: Baroque Antonio Vivaldi (1678-1741) Juditha Triumphans Performers: MODO ANTIQUO su strumenti originali ; Juditha Barbara Di Castri: mezzosoprano; Holofernes Licia Sciannimanico: mezzosoprano; Vagaus Nicki Kennedy: soprano; Abra Alessandra Rossi: soprano; OziasRowena Anketell: mezzosoprano; Coro da Camera Italiano, Roma; Federico Maria Sardelli: direttore Ensemble: MODO ANTIQUO o Director: Federico Maria Sardelli |
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692003 £ 11.50 post-free World-wide TACTUS Historic period: Baroque Giuseppe Tartini (1692 1770) Sonate a tre Triosonatas Performers: Enrico Casazza: violino barocco (V.Sannino 1915 copia Stradivari), Isabella Longo: violino barocco (F. Simeoni 1997 copia Balestrieri XVIII secolo), Marcello Scandelli: violoncello barocco (Anonimo del XVIII sec), Giorgio Cerasoli: clavicembalo (F.Gazzola 1992) Ensemble: "La Magnifica Comunità" Director: Enrico Casazza |
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692201 £ 11.50 post-free World-wide TACTUS Historic period: Baroque Francesco Maria Veracini (1690-1768) XII Sonate a violino solo basso Op. 1 Performers: Enrico Casazza: baroque violin (V. Sannino 1915 Stradivari copy), Francesco Ferrarini: baroque cello (Anonimous from the XVIII century), Roberto Loreggian: harpsichord (F. Gazzola 1990) Director: Enrico Casazza |
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701301 £ 11.50 post-free World-wide Historic period: Classical WORLD PREMIERE RECORDING Padre Giovanni Battista Martini (1706-1784) Sonate d'intavolatura per l'organo e il cembalo prima parte Performers: PIOLANTI SUSANNA: Harpsichord The Twelve Sonate d'intavolatura per l'organo e il cembalo of Giovanni Battista Martini were printed in Amsterdam by the publisher Michel Charles Le Cène in 1742. Despite their date of publication, however, these pieces had already in part been composed in 1736 and were certainly finished by 1740. Referred to as "sonatas" by their author, they were instead conceived and structured in the manner of suites, with five movements placed in this order: a prelude (the last sonata veers from this pattern by beginning with an allemanda); a fugue (generically called "allegro"); a slow movement (usually an adagio); and two quick movements usually composed in a dance form (corrente, giga, gavotta, minuetto, aria). These works were intended for "scholars of the harpsichord and organ, who, without traversing the arduous, should know that they may achieve a pleasant level of mastery" (as is stated in the preface to the edition). Martini's sonatas are in actuality very complex compositions, both in their treatment of the musical material and in the technical difficulties that they present to the performer. They require a remarkable mastery of the instrument and great experience with the fugue. Martini elegantly unites the dense polyphonic writing of the late baroque-in a veritable display of contrapuntal knowledgewith contemporary tastes, in anticipation of early classicism. |
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701302 £ 11.50 post-free World-wide TACTUS Historic period: Classical WORLD PREMIERE RECORDING Padre Giovanni Battista Martini (1706-1784) XII Sonate d'intavolatura per l'organo e il cembalo seconda parte (Le Cène Amsterdam, 1742) Performers: PIOLANTI SUSANNA: Harpsichord The Twelve Sonate d'intavolatura per l'organo e il cembalo of Giovanni BattistaMartini were printed in Amsterdam by the publisher MichelCharles Le Cène in 1742. Despite their date of publication, however, these pieces had already in part been composed in 1736 and were certainly finished by 1740. Referred to as "sonatas" by their author, they were instead conceived and structured in the manner of suites, with five movements placed in this order: a prelude (the last sonata veers from this pattern by beginning with an allemanda); a fugue (generically called "allegro"); a slow movement (usually an adagio); and two quick movements usually composed in a dance form (corrente, giga, gavotta, minuetto, aria). These works were intended for "scholars of the harpsichord and organ, who, without traversing the arduous, should know that they may achieve a pleasant level of mastery" (as is stated in the preface to the edition). Martini's sonatas are in actuality very complex compositions, both in their treatment of the musical material and in the technical difficulties that they present to the performer. They require a remarkable mastery of the instrument and great experience with the fugue. Martini elegantly unites the dense polyphonic writing of the late baroque-in a veritable display of contrapuntal knowledgewith contemporary tastes, in anticipation of early classicism |
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741202 £ 11.50 post-free World-wide TACTUS Historic period: Classicism WORLD PREMIERE RECORDING Andrea Luchesi (1741-1801) Organ Works Performers: ROBERTO LOREGGIAN organ Until a short time ago the only merit accorded to this Venetian musician, eradicated from late 18th century history of music, was that he was Kapellmeister to the Principality of Cologne from May 1774 to October 1794, when Ludwig van Beethoven was studying in Bonn. But there is no mention of his works, his having taught the titan Beethoven and other important composers for over twenty years in Bonn, and indeed, of his very existence, in the biographies of Haydn, Mozart and Beethoven, who owe at least part of their fame to him. |
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751805 £ 11.50 post-free World-wide TACTUS JUNE 2006 NEW RELEASE Alessandro ROLLA (1757-1841) Six quartets for Flute and Strings Performers: Mario Carbotta: flauto Membri del Quartetto Erasmus, Giambattista Pianezzola: violino, Maurizio Schiavo: viola, Claudio Frigerio: violoncello Between the end of the 18th century and the first three decades of the 19th, there was a great interest in Italy in the chamber ensemble of quartet with flute. This was especially true among opera composers such Paisiello (see his Sei divertimenti) and Mercadante (the author of various quartets, partly published and partly in manuscript), but also among writers who were primarily active in the field of instrumental music: Cambini (eighteen quartets, op. 9, 3 and 24) and Viotti (Quartetti op. 22, published between 1801 and 1806). Another important composer of this genre was Alessandro Rolla (Pavia 1757Milan 1841), who has handed down to posterity nearly a dozen pieces for this formation, part of a catalogue of almost six hundred works. |
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751901 £ 11.50 post-free World-wide Historic period: Classicism Antonio Salieri ( 1750-1825) Ouvertures, Scherzi, Divertimenti Performers: Oboe: Paolo Pollastri; Violini: Juan Carlos Ribyn, Alberto Martini;Viola: Enrico Balboni; Violoncello: Zoltan Szàbo Ensemble: Quartetto Amati Director: Paolo Pollastri The catalogue of instrumental music written by Antonio Salieri(Legnago, near Verona 1750 - Vienna 1825) is not particularlyextensive, for this Italian composer, who in Vienna was considered (as his pupil Beethoven jokinglyput it) the pope of music, dedicated himself more actively and more creativelyto the world of opera. Among his instrumentalworks which are already known fromavailable recordings are not only some of the finest sinfonie avantil'opera, but also the two symphonies in D (the "Venetian" and the "Onomastic"), together with the monumentalseries of 24 variations for violin, harp and orchestra on the theme of the Follia di Spagna; the double concerto for flute, oboe and orchestra; the triple concerto for violin, oboe, cello and orchestra; the two piano concertos (in C and Bb); the serenatas for winds; music for the ballet; and the mysterious and fascinating octet for winds, Armonia per un Tempio della Notte, of Masonic inspiration. |
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751902 £11.50 post-free World-wide TACTUS Historic period: Classical Antonio Salieri( 1750-1825) Music for Harmonie Performers: Ensemble Italiano di Fiati: Flauti: Filippo Mazzoli, Debora Rosti; oboi: Paolo Pollastri, Carlo Tenan; corni inglesi: Fabrizio Fava, Matteo Campagnini; clarinetti: Claudio Tassinari, Roberto Ravaioli; corni: Antonio Frannina, Massimiliano Rocchi; tromba: Marco De Novellis; fagotti: Marco Lugaresi, Daniele Muleri; violone:Giovanni Valgimigli; controfagotto: Marco Dionette Ensemble: Ensemble Italiano di FiatiDirector: Paolo Pollastri |
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752201 £ 11.50 post-free World-wide TACTUS Historic period: Classical WORLD PREMIERE RECORDING Giovanni Battista Viotti(1755-1824) Harp Music Author: Giovanni Battista Viotti, Giovanni Paisiello, Muzio Clementi, Francesco Pollini, Luigi Cherubini. Performers: ANTONELLA CICCOZZI Harp During the middle and late EighteenCentury the role of the harp grew characterised by two concurring factors. Firstly, the harp appears more frequently in chamber groups: in a duet with the piano or with the violin or in a trio with both. Secondly, there is a flourishing of a specific repertoire, typically intended for the salon or performed for pleasure. The most acclaimed and prestigious venue for these developments was Paris. At this time, Paris hosted the first factories for the new pedal harp and displayed a rapid growth in music schools and music publishers. In this scenario, several Italian composers, who lived in the French Capital between 1780 and 1810, and who were often connected through acquaintance and reciprocal respect, devoted specific, though occasional, attention to the harp. Among these authors we may recall professional Opera composers (such as Paisiello and Cherubini), refined and cultivated composers of instrumental music (Viotti and Clementi) and pedagogues and pianists such as Pollini. These are the determining factors of the musical pieces selected for this recording, all written during the 20 years between 1782 and 1802. The selection includes three original pieces and three transcriptions, which deserve particular attention. |
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752202 £ 11.50 post-free World-wide TACTUS Historic period: Classical Giovanni Battista Viotti (1755-1824) Sei Serenate per due violini Opera 23 Performers:Marco Rogliano e Gianfranco Iannetta. The complex figure of the violinist and composer from Vercelli Giovanbattista Viotti may be placed within the vast musical panorama, which falls between the second half of the eighteenth and the early nineteenth centuries. Piedmont, and in particular the provinces of Turin and Vercelli, were home to a fruitful tradition of violin playing, championed by such exponents as Pugnani and Sonis. Viotti himself was Pugnani's pupil, and through his teacher he had the opportunity to assimilate the compositional style of Arcangelo Corelli. This style was marked by a more expressive treatment of the violin as opposed to a merely virtuosic one. The eighteenth century was without question the period in which this instrument continued its triumphant ascent on the musical scene, and Italian artists-violinists as well as singers-were veritable goods for export throughout Europe. It is thus easy to understand how, at the tender age of twenty; Viotti was already following in the steps of his teacher Gaetano Pugani by traveling to the most significant musical centers of the time. He was active in Geneva, Dresden and Berlin, and later even in Poland and Russia, where he performed in the presence of Catherine II.The complex figure of the violinist and composer from Vercelli Giovanbattista Viotti may be placed within the vast musical panorama, which falls between the second half of the eighteenth and the early nineteenth centuries. Piedmont, and in particular the provinces of Turin and Vercelli, were home to a fruitful tradition of violin playing, championed by such exponents as Pugnani and Sonis. Viotti himself was Pugnani's pupil, and through his teacher he had the opportunity to assimilate the compositional style of Arcangelo Corelli. This style was marked by a more expressive treatment of the violin as opposed to a merely virtuosic one. The eighteenth century was without question the period in which this instrument continued its triumphant ascent on the musical scene, and Italian artists-violinists as well as singers-were veritable goods for export throughout Europe. It is thus easy to understand how, at the tender age of twenty; Viotti was already following in the steps of his teacher Gaetano Pugani by traveling to the most significant musical centers of the time. He was active in Geneva, Dresden and Berlin, and later even in Poland and Russia, where he performed in the presence of Catherine II. |
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780702 [64:56]
£ 11.50 post-free World-wide TACTUS Mauro GIULIANI (1781-1828) Opere per Voce e Chitarra Works for Voice and Guitar  Cristina Curti (soprano);
Aldo Vianello (guitar) rec. no information provided. |
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Tactus TC 740204
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Luigi
Boccherini Six duets for violins Marco Rogliano Gianfranco Iannetta |
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Tactus TC 781602
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Niccolo'
Paganini 24 Caprices Caprice d'adieu Marco Rogliano |
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