Tröstlicher Lieb stets ich mich üb

 Tröstlicher Lieb stets ich mich üb
Lieder und Tänze der Renaissance
Intavolaturen und Originalsätze für 2 Lauten, Cembalo, Orgel, Flötenquartett
Cornetto COR 10051. 46’09

This very short (46’09) CD of Songs and Dances from the Renaissance focusses on the practice of intabulating (transcribing) vocal pieces for instruments, a common practice in the 15th and 16th-centuries. In many examples, the addition of divisions (additional notes added to the original slow-moving vocal lines) gave more of a musical flow to pieces. Many early organ and keyboard treatises are based on the practice of adding divisions to intabulations, making it, arguably, the foundation of all later keyboard music.  Continue reading

Die höfische Blockflöte

Die höfische Blockflöte
Astrid Andersson, blockflöten
Cornetto-Verlag COR 10040. 71’44

Corelli: Sonata Nr. 9; Fontana: Sonata Seconda; Hotteterre: Suite Op 4/2; Telemann: Fantasie Nr. 7, Sonata d-moll; Schop: Lachrime Pavaen; Eyck: Prins Robberts Masco aus “Der Fluyten Lusthof”; Dieupart: Suite Nr. 2 from “Six Suittes de Clavessin”.

Astrid Andersson - Die höfische Blockflöte, CDUsing modern copies of seven different types of historic recorder (blockflöte), Die höfische Blockflöte (The Royal Recorder) explores the link between musical instrument making and the various royal courts of Europe. The recorders range from two different versions of the two mid-17th century Rosenborg soprano recorders, one made in maple, the other (at higher pitch) in the original material, narwhale tusk, both made by Fred Morgan. The originals are to be found amongst the Crown Jewels in the Royal Collection in Rosenborg Castle, Copenhagen. It can bee heard in Jacob Van Eyck’s Prins Robberts Masco. Continue reading

Samuel Capricornus: Sacred Concertos

Samuel Capricornus
Sacred Concertos for voices and violas da gamba
Long & Away consort of viols and vocal soloists
Cornetto Verlag COR 10044. 71’11

One of the most distinctive sounds of the early German Baroque is the sensuous combination of voices and viols, here represented by music by the little-known Samuel Capricornus. Born in Bohemia, Capricornus’s Protestant family soon fled to Bratislava for fear of the Counter-Reformation. After studies in more religiously tolerant Silesia, Capricornus moved first to Stuttgart and then briefly to Vienna at the end of the devastating Thirty Years War. In Vienna he joined the sumptuous musical court of Ferdinand III, whose death shortly afterwards led to another move, this time back to Bratislava (the Preßburg) before being invited to the prestigious post Continue reading

Magnificat: Weihnachtliche Orgelmusik

Magnificat: Weihnachtliche Orgelmusik
Markus Eberhardt (organ),
Schola Gregoriana des Consortium musicum Passau
Cornetto-Verlag COR10043. 67’38

Music by Fischer, Muffat, Zipoli, Kobrich, Eberlin, Schmid, Murschhauser, Kindermann and 16th century Tabulatures.

This CD combines three threads. Firstly, examples of alternatim settings of the Magnificat – where the Magnificatplainchant choir and organ sing and play alternate verses, a tradition dating from the late Medieval period through to the late Baroque). Then late 16th century intabulations of choral settings and variations and, thirdly, examples of the organ pastorella, a popular Christmas musical theme in southern Europe, representing the shepherds away the birth of Jesus, and often including well-known Christmas melodies such as the Resonet in laudibus.

The organ is the 1737 Baumeister organ in the former collegiate church of Maihingen, near Nördlingen, Germany. It seems to have d the former monastery was secularised in 1803 and became the chapel of a princely establishment. When it was restored in 1990, it was found to have retained its meantone temperament. For the technically minded, it has two manuals and pedals (11/7/4) with a short and broken octave. It is typical of southern German organs of the 18th century, with no reeds but a wide range of 8′ foundations stops (eight of the 18 manuals stops are at 8′ pitch), which can (and, indeed, should) be combined to form different tone colours. The registrations used are given in the liner notes, and include such distinctive sounds as the Quintaton, Selecinal and Cythara stops. There is only a brief summary of the German text translated  into English. Continue reading