Roy Goodman - Cleartone

PURCELL Complete Ayres for the Theatre The Parley of Instruments Roy Goodman

Marek Koszur — Sat, 25 Jul 2020 21:20:39 +0000

The Prophetess, or The History of Dioclesian, Z627
CD1 1 Suite. Movement 1: Overture [3'58]
2 Suite. Movement 2: Preludio [2'12]
3 Suite. Movement 3: Song Tune 'Let the soldiers rejoice' [1'12]
4 Suite. Movement 4: Trumpet Tune [0'55]
5 Suite. Movement 5: Country Dance [1'28]
6 Suite. Movement 6: Air [0'56]
7 Suite. Movement 7: Hornpipe [1'03]
8 Suite. Movement 8: Air. Trumpet Tune [0'27]
9 Suite. Movement 9: Canaries [0'51]
King Arthur, or The British Worthy, Z628
10 Suite. Movement 01: Overture [3'38]
11 Suite. Movement 02: Air [1'06]
12 Suite. Movement 03: Air [1'18]
13 Suite. Movement 04: Song Tune 'Fairest Isle' [1'35]
14 Suite. Movement 05: Hornpipe [0'42]
15 Suite. Movement 06: Hornpipe 'Come, shepherds' [0'49]
16 Suite. Movement 07: Song Tune 'How blest are shepherds' [1'27]
17 Suite. Movement 08: Air [1'36]
18 Suite. Movement 09: Song Tune 'Round thy coasts' [1'12]
19 Suite. Movement 10: Song Tune 'Come if you dare' [1'12]
20 Suite. Movement 11: Trumpet Tune [0'44]
21 Suite. Movement 12: Trumpet Tune [1'05]
22 Suite. Movement 13: Chaconne [3'17]
The Fairy Queen, Z629
23 Suite. Movement 01: Overture [2'33]
24 Suite. Movement 02: Hornpipe [0'57]
25 Suite. Movement 03: Air [1'07]
26 Suite. Movement 04: Air [0'53]
27 Suite. Movement 05: Rondeau [1'50]
28 Suite. Movement 06: Preludio [1'54]
29 Suite. Movement 07: Hornpipe [1'03]
30 Suite. Movement 08: Overture. Symphony while the Swans Come Forward [2'00]
31 Suite. Movement 09: Song Tune 'If love's a sweet passion' [1'34]
32 Suite. Movement 10: Jig [1'07]
33 Suite. Movement 11: Dance for the Fairies [0'57]
34 Suite. Movement 12: Air 4 in 2. Dance for the Followers of Night [2'15]
35 Suite. Movement 13: Song Tune 'Sing while we trip it' [1'11]
36 Suite. Movement 14: Air [1'26]
37 Suite. Movement 15: Air [1'32]
38 Suite. Movement 16: Song Tune 'Thus happy and free' [1'02]
39 Suite. Movement 17: Chaconne. Dance for the Chinese Man and Woman [2'39]
40 Suite. Movement 18: Air [1'32]
The Indian Queen, Z630
41 Suite. Movement 01: Overture [3'17]
42 Suite. Movement 02: Trumpet Tune [0'35]
43 Suite. Movement 03: Trumpet Tune. I come to sing great Zempoalla's story [1'13]
44 Suite. Movement 04: Air [1'13]
45 Suite. Movement 05: Hornpipe [0'50]
46 Suite. Movement 06: Air [0'57]
47 Suite. Movement 07: Hornpipe [1'00]
48 Suite. Movement 08: Air [1'00]
49 Suite. Movement 09: Song Tune 'We the spirits of the air' [1'01]
50 Suite. Movement 10: Rondeau [1'46]
The Married Beau, or The Curious Impertinent, Z603

CD2 1 Suite. Movement 1: Overture [2'56]
2 Suite. Movement 2: Slow Air [0'58]
3 Suite. Movement 3: Hornpipe [0'40]
4 Suite. Movement 4: Air [1'21]
5 Suite. Movement 5: Hornpipe [0'38]
6 Suite. Movement 6: Jig [1'17]
7 Suite. Movement 7: Trumpet Air [1'32]
8 Suite. Movement 8: March [1'13]
9 Suite. Movement 9: Hornpipe on a Ground [1'22]
The Old Batchelor, Z607
10 Suite. Movement 1: Overture [3'26]
11 Suite. Movement 2: Hornpipe [0'56]
12 Suite. Movement 3: Slow Air [1'17]
13 Suite. Movement 4: Hornpipe [0'38]
14 Suite. Movement 5: Rondeau [0'42]
15 Suite. Movement 6: Minuet [0'55]
16 Suite. Movement 7: Borry [0'32]
17 Suite. Movement 8: March [0'55]
18 Suite. Movement 9: Jig [0'39]
Amphitryon, or The Two Sosias, Z572
19 Suite. Movement 1: Overture [3'34]
20 Suite. Movement 2: Saraband [0'43]
21 Suite. Movement 3: Hornpipe [1'03]
22 Suite. Movement 4: Scotch Tune [0'54]
23 Suite. Movement 5: Air [0'56]
24 Suite. Movement 6: Minuet [0'52]
25 Suite. Movement 7: Hornpipe [0'34]
26 Suite. Movement 8: Borry, or Gavotte [0'50]
The Double Dealer, Z592
27 Suite. Movement 1: Overture [3'35]
28 Suite. Movement 2: Hornpipe [0'42]
29 Suite. Movement 3: Minuet [0'53]
30 Suite. Movement 4: Air [1'38]
31 Suite. Movement 5: Hornpipe [0'42]
32 Suite. Movement 6: Minuet. Slow Air [1'25]
33 Suite. Movement 7: Minuet [0'41]
34 Suite. Movement 8: Air [1'09]
35 Suite. Movement 9: Air [0'55]
Distress'd Innocence, or The Princess of Persia, Z577
36 Suite. Movement 1: Overture [2'05]
37 Suite. Movement 2: Air [0'56]
38 Suite. Movement 3: Slow Air [1'38]
39 Suite. Movement 4: Air [0'58]
40 Suite. Movement 5: Hornpipe, or Jig [0'39]
41 Suite. Movement 6: Rondeau [1'35]
42 Suite. Movement 7: Air [0'51]
43 Suite. Movement 8: Minuet [0'56]
The Gordion Knot Unty'd, Z597
44 Suite. Movement 1: Overture. Grave – Canzona [3'40]
45 Suite. Movement 2: Air [0'41]
46 Suite. Movement 3: Rondeau Minuet [2'03]
47 Suite. Movement 4: Air [0'51]
48 Suite. Movement 5: Jig 'Lilliburlero' [0'40]
49 Suite. Movement 6: Chaconne [1'56]
50 Suite. Movement 7: Air [0'40]
51 Suite. Movement 8: Minuet [1'13]
Abdelazar, or The Moor's Revenge, Z570

CD3 1 Suite. Movement 1: Overture. Grave – Canzona [2'59]
2 Suite. Movement 2: Rondeau. Hornpipe [1'33]
3 Suite. Movement 3: Air [1'19]
4 Suite. Movement 4: Air [1'17]
5 Suite. Movement 5: Minuet [0'53]
6 Suite. Movement 6: Air [1'12]
7 Suite. Movement 7: Jig [0'34]
8 Suite. Movement 8: Hornpipe [0'41]
9 Suite. Movement 9: Air [1'36]
Bonduca, or The British Heroine, Z574
10 Suite. Movement 1: Overture. Grave – Canzona [3'59]
Crispian Steele-Perkins (trumpet)
11 Suite. Movement 2: Song Tune 'Britons, strike home' [1'37]
Crispian Steele-Perkins (trumpet)
12 Suite. Movement 3: Song Tune 'To arms, to arms' [1'15]
Crispian Steele-Perkins (trumpet)
13 Suite. Movement 4: Air [1'42]
Crispian Steele-Perkins (trumpet)
14 Suite. Movement 5: Hornpipe [0'54]
Crispian Steele-Perkins (trumpet)
15 Suite. Movement 6: Air [0'44]
Crispian Steele-Perkins (trumpet)
16 Suite. Movement 7: Hornpipe [0'51]
Crispian Steele-Perkins (trumpet)
17 Suite. Movement 8: Air [0'59]
Crispian Steele-Perkins (trumpet)
18 Suite. Movement 9: Minuet [1'17]
Crispian Steele-Perkins (trumpet)
The Virtuous Wife, or Good luck at last, Z611
19 Suite. Movement 1: Overture. Grave – Canzona [2'41]
20 Suite. Movement 2: Song Tune 'Ah, how sweet it is to love' [2'39]
21 Suite. Movement 3: Slow Air [1'40]
22 Suite. Movement 4: Air [0'42]
23 Suite. Movement 5: Preludio [1'34]
24 Suite. Movement 6: Hornpipe [0'38]
25 Suite. Movement 7: Minuet [1'01]
26 Suite. Movement 8: Minuet [0'50]
27 Suite. Movement 9: Air 'La Furstenburg' [1'01]
The Fairy Queen, Z629
28 Act IV Sonata 'while the sun rises'. Movement 1: [Allegro] [1'06]
Crispian Steele-Perkins (trumpet), Stephen Keavy (trumpet)
29 Act IV Sonata 'while the sun rises'. Movement 2: Canzona [2'33]
Crispian Steele-Perkins (trumpet), Stephen Keavy (trumpet)
30 Act IV Sonata 'while the sun rises'. Movement 3: [Adagio] [1'41]
Crispian Steele-Perkins (trumpet), Stephen Keavy (trumpet)
31 Act IV Sonata 'while the sun rises'. Movement 4: [Allegro] – [Adagio] – [Allegro] [2'47]
Crispian Steele-Perkins (trumpet), Stephen Keavy (trumpet)
Dido and Aeneas, Z626
32 No 1: Overture in G minor [3'09]
Sir Anthony Love, or The Rambling Lady, Z588
33 No 1: Overture [3'45]
Timon of Athens, Z632
34 Suite. Movement 1: Overture. Grave – Canzona – Adagio – Canzona [5'21]
Crispian Steele-Perkins (trumpet)
35 Suite. Movement 2: Curtain Tune on a Ground [3'49]
Crispian Steele-Perkins (trumpet)
The Indian Queen, Z630
36 Act III: Symphony [5'08]
Crispian Steele-Perkins (trumpet)

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Artykuł PURCELL
Complete Ayres for the Theatre
The Parley of Instruments
Roy Goodman pochodzi z serwisu Cleartone.

HANDEL Opera Arias Emma Kirkby Brandenburg Consort Roy Goodman

Marek Koszur — Sat, 25 Jul 2020 21:18:10 +0000

Almira, HWV1
CD1
1 Overture 2: Second Overture in G minor [4'26]
2 Act 3. Aria: Vedrai s' a tuo dispetto (Almira) [4'39]
3 Act 3. Aria: Perché viva il caro sposa (Esilena) 'Ah, sommi dei, cui la giustizia arruota' [6'06]
Rinaldo, HWV7
4 Act 2. Aria: Vo' far guerra, e vincer voglio (Armida) [5'11]
Alastair Ross (harpsichord)
Silla, HWV10
5 Overture. Movement 1: Largo – Allegro [4'38]
6 Overture. Movement 2: Andante [2'02]
Katharina Arfken (oboe)
Amadigi di Gaula, HWV11
7 Act 1. Aria: Ah! spietato! e non ti muove (Melissa) 'Il crudel m' abbandona, e mi detesta' [6'05]
Katharina Arfken (oboe)
8 Act 2. Aria: Desterò dall' empia Dite (Melissa) 'Mi deride l'amante' [5'30]
Robert Farley (trumpet)
Giulio Cesare in Egitto, HWV17
9 Act 2. Sinfonia and Aria: V' adoro, pupille (Cleopatra) [5'21]
Tamerlano, HWV18
10 Overture. Movement 1: [Largo] – Allegro [2'50]
11 Overture. Movement 2: Adagio – Menuet [1'47]
12 Act 3. Aria: Cor di padre, e cor d' amante (Asteria) [8'24]
Rodelinda, regina de' Longobardi, HWV19
13 Act 1. Aria: Ombre, piante, urne funeste! (Rodelinda) [5'39]
Rachel Brown (flute)
Scipione, HWV20
14 Overture. Movement 1: [Largo] – Allegro [3'52]
15 Overture. Movement 2: Allegro [2'00]
16 Act 1. Interlude: March [1'11]
17 Act 2. Aria: Scoglio d' immota fronte (Berenice) [5'06]
CD2
1 Act 1 No 1: Overture [5'04]
2 Act 1 No 2: Sinfonia [2'17]
3 Act 1. Recitative: Che vidi? Che mirai! (Lisaura/Rossane) [1'38]
Catherine Bott (soprano)
4 Act 1. Aria: No, più soffrir non voglio (Lisaura) [3'34]
Catherine Bott (soprano)
5 Act 1. Aria: Placa l'alma (Rossane/Lisaura) [2'34]
Catherine Bott (soprano)
6 Act 2. Recitative: Solitudine amate (Rossane) [2'19]
7 Act 2. Aria: Aure, fonti, ombre gradite (Rossane) [3'32]
8 Act 2. Recitative: Pur troppo veggio d'Alessandro il core (Lisaura) [0'21]
Catherine Bott (soprano)
9 Act 2. Aria: Che tirannia d'amor! (Lisaura) [6'51]
Catherine Bott (soprano)
10 Act 2. Recitative: Svanisci oh reo timore (Rossane) [0'26]
11 Act 2. Aria: Dica il falso, dica il vero (Rossane) [4'31]
Admeto, Re di Tessaglia, HWV22
12 Act 2. Recitative: Il ritratto d'Admeto (Antigona/Alceste) [2'11]
Catherine Bott (soprano)
13 Act 2. Aria: La sorte mia vacilla (Antigona) [3'18]
Catherine Bott (soprano)
14 Act 2. Recitative: Quest'è dunque la fede? (Alceste) [0'29]
15 Act 2. Aria: Vedrò fra poco (Alceste) [4'12]
Riccardo Primo, Re d'Inghilterra, HWV23
16 Act 3. Recitative: Morte vieni, ma in van ti chiamo, oh morte (Costanza) [2'51]
Catherine Bott (soprano)
17 Act 3. Recitative: A me nel mio rossore (Pulcheria/Costanza) [1'49]
Catherine Bott (soprano)
18 Act 3. Aria: Quando non vede la cara madre (Pulcheria) [5'23]
Siroe, Re di Persia, HWV24
19 Act 2. Recitative: A costei, che dirò? (Emira/Laodice) [2'20]
Catherine Bott (soprano)
20 Act 2. Aria: L'aura non sempre (Laodice) [3'35]
Catherine Bott (soprano)
21 Act 2. Recitative: Si diversi sembianti (Emira) [0'14]
22 Act 2. Aria: Non vi piacque, ingiusti dei (Emira) [5'35]
Tolomeo, Re di Egitto, HWV25
23 Act 1. Recitative: E dove, e dove mai? (Seleuce) [0'19]
Catherine Bott (soprano)
24 Act 1. Aria: Fonti amiche, aure leggiere (Seleuce) [6'15]
Catherine Bott (soprano)
25 Act 3. Aria: Ti pentirai, crudel, d'aver offeso (Elisa) [3'09]
Lotario, HWV26
CD3
1 Overture: Allegro [5'58]
2 Act 1 Scene 9. Aria: Scherz in mar la navicella (Adelaide) 'Quanto più fien tenaci' [5'27]
Partenope, HWV27
3 Act 1 Scene 11. Aria: Io ti levo l'impero dell'armi (Partenope) [6'15]
Ezio, HWV29
4 Act 1 Scene 3. Aria: Caro padre, a me non dei [5'17]
Rachel Brown (flute)
Sosarme, Re di Media, HWV30
5 Act 1 Scene 9. Aria: Dite pace, e fulminate (Elmira) 'O diva Ecate, sian d'effetto vuoti' [5'32]
6 Act 3 Scene 8. Aria: Vorrei, né pur saprei (Elmira) 'Correte pur a fiumi, amare lacrime' [3'14]
Atalanta, HWV35
7 Act 1 No 1: Overture [5'41]
Robert Farley (trumpet)
Arianna in Creta, HWV32
8 Act 2 Scene 2. Aria: Son qual stanco pellegrino (Alceste) [8'13]
Angela East (Cello)
Alcina, HWV34
9 Act 3 Scene 13. Aria: Ah! Ruggiero crudel, tu non mi amasti! (Alcina) [7'23]
Berenice, Regina d'Egitto, HWV38
10 Act 3 Scene 4. Aria: Chi t'intende? o cieca instabile! (Berenice) [8'38]
Katharina Arfken (oboe)
Deidamia, HWV42
11 Overture: Allegro [3'52]
12 Act 3 Scene 2. Aria: M'hai resa infelice (Deidamia) [3'55]

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Artykuł HANDEL
Opera Arias
Emma Kirkby
Brandenburg Consort
Roy Goodman pochodzi z serwisu Cleartone.

Carl Philipp Emanuel BACH Flute Concertos Rachel Brown Brandenburg Consort Roy Goodman

Marek Koszur — Sat, 25 Jul 2020 20:00:21 +0000

This sparkling recording of CPE Bach concertos follows Rachel Brown’s highly acclaimed recording of Quantz concertos for Hyperion, also with The Brandenburg Consort under Roy Goodman’s direction. Of Bach’s five extant flute concertos the D minor may have been composed as early as 1747, the A major in 1753 and the G major in 1755. For this recording, Bach’s cadenzas for the ‚Allegro di molto‘ of the G major and Largo of the A major concertos have been followed exactly, while Bach’s beautiful harmonized cadenza for the Largo of the G major has been adapted a little more freely. A rich, mellow wide-bored Quantz-style flute, almost a whole tone below modern pitch, was used for the recording. A fortepiano was used for the continuo in the D minor concerto, and the discovery of horn parts for the outer movements of a harpsichord version of the D minor concerto proved too tempting to resist, hence their inclusion here.

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GRAMOPHONE CRITICS‘ CHOICE

‘The performances are magnificent. Brown’s technical command of her instrument is breathtaking … Only the loudest of cheers will do’ (Goldberg)

‘Rachel Brown gives performances it would be hard to better. Her agility and articulation are breathtaking. She and her hyper-alert orchestra realise all the highly strung volatility of Allegros and bring a rhapsodic freedom to the brooding slow movements’ (BBC Music Magazine)

‚Enthralling music, perceptively played’ (International Record Review)

‘This is a recording to treasure and it is above all the sombrely meditative Largo con sordini of the A major concerto that stays in my memory’ (Gramophone)

‘Both Goodman’s ensemble and Rachel Brown have the full measure of these quirkily passionate pieces’ (The Times)

‚Brown’s playing makes a highly plausible argument for enjoying the richness and diversity of these pieces.‘ (BBC Record Review)

Artykuł Carl Philipp Emanuel BACH
Flute Concertos
Rachel Brown
Brandenburg Consort
Roy Goodman pochodzi z serwisu Cleartone.