![Il Gardellino, Peter Van Heyghen - Mysliveček: Adamo ed Eva (2019) [Official Digital Download 24bit/176,4kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/10/15/rhbtoo4ct9zfb_600.jpg?resize=500%2C500&ssl=1)
Il Gardellino, Peter Van Heyghen – Mysliveček: Adamo ed Eva (2019)
FLAC (tracks) 24 bit/176,4 kHz | Time – 02:04:33 minutes | 3,69 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Passacaille
“Full of fire, spirit and life.” is how Mozart described this work of his contemporary, presented here for the first time on this new 2CD set.
Mozart’s positive verdict on Josef Myslivecek (1737-1781) was intended to make the listener aware, for the fact that the extremely critical Salzburg composer expresses himself positively about a colleague is an absolute exception.
His oratorio Adamo & Eva, performed in Florence in 1771, was composed at precisely the time when contact with the Mozart family seemed to have been particularly close.
The work presented by Il Gardellino alongside soloists Valerio Contaldo, Luciana Mancini, Roberta Mameli and Alice Rossiunder and under the direction of Peter van Heyghen, gives a good impression of what Mozart
appreciated about Myslivecek’s music: melodic ingenuity as well as transparency and lightness of musical language. Highly Recommended.
(more…)
Daniel Johannsen, William Shelton, Miriam Feuersinger, Il Gardellino, Alexander Grychtolik – Bach: Passionsoratorium, BWV Anh. 169 (Reconstructed by Alexander Grychtolik) (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:30:06 minutes | 1,74 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
A once abandoned Passion project by J. S. Bach? Harpsichordist and conductor Alexander Grychtolik, together with the Il Gardellino Orchestra, embarks on a captivating artistic experiment with this presentation of the Passion Oratorio BWV Anh. 169. The starting point for the partial reconstruction attempt and the completion of the work is the surviving libretto by the poet Picander from 1725. This unique endeavor draws the audience into a profound exploration of human empathy with the poignant suffering of Jesus and sheds light on a passion aesthetic we had not seen previously in Bach’s repertoire.
Read more
Il Gardellino – Handel: Dixit Dominus – Ferrandini: Il pianto di Maria (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 56:24 minutes | 1,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
Handel’s Dixit Dominus HWV 232 (1707) is certainly one of the most impressive compositions of his several years in Italy. With this extremely effective piece, the only 22-year-old obviously wanted to demonstrate all of his compositional skills. Il Gardellino and Bart Van Reyn accompany him on their recording with the breathtaking cantata Il Pianto di Maria, which was long attributed to Handel until recent research has shown that it was penned by the Italian composer Giovanni Battista Ferrandini (1710-1791).
Read more
Il Gardellino, Peter Van Heyghen – Die Befreiung Israels: Oratorios by Telemann & Rolle (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:18:20 minutes | 1,52 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
Il Gardellino is a period-instrument ensemble devoted largely to the performance of Baroque music, both instrumental and vocal. Consisting of eight core members, Il Gardellino can range in size from three to as many as thirty players, depending on demands of the repertory. That said, most of the instrumental concerts feature fewer than a dozen performers.
Read more
Leo van Doeselaar, Alex Potter, Il Gardellino – Bach: Cantatas, BWV 35 & 169 (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:07:22 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
Alex Potter and Il Gardellino present two sacred cantatas by Bach from 1726: Geist und Seele wird verwirret BWV 35 and Gott soll allein mein Herze haben BWV 169. In these two works, the thoroughly secular origins of the genre are evident. The expressive recitatives and virtuoso arias bear witness to the influence of Italian opera rather than Bach’s Lutheran roots. Moreover, concertante instrumental music plays a prominent role in these cantatas, which are preceded by independent introductory symphonies with obbligato organ.
Read more
Il Gardellino – Pièces de Clavecin en Concerts (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 01:04:08 minutes | 770 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
A l’instar des Corelli, Couperin ou Mondonville, Rameau reprenant ses pièces pour clavecin seul, à voulu dans ces transcriptions “en concerts” créer à partir d’un petit ensemble de chambre un effet chambriste, concertant, en tout cas, plus orchestral. Le flutiste Jan de Winne, pour en rajouter, n’hésite pas à modifier l’arrangement de chaque pièce de façon à varier les timbres et les couleurs, en doublant notamment certains instruments. Comme l’indique le compositeur dans ses “avis aux concertants” : ” …Il faut non seulement que les trois instruments se confondent entre eux mais encore que les concertants s’entendent les uns les autres que surtout le violon et la viole se prêtent au clavecin en distinguant ce qui n’est qu’accompagnement de ce qui fait partie du sujet … Tous les sons continus doivent être filés plutôt en adoucissant qu’en forçant, les sons coupés doivent l’être extrêmement avec douceur, et ceux qui se succèdent sans interrution doivent être moelleux, c’est en saisissant bien d’ailleurs l’esprit de chaque pièce que le tout s’observe à propos”. Les quatre musiciens d’Il Gardinello respectent à la lettre la dialectique ramiste. En adoptant des tempi modérés (au risque de l’apesantissement et de l’uniformité: les airs gracieux (La Livri et La Boucon), ils assurent ainsi une vraie lisibilité aux échanges intrumentaux. Comme on nettoierait un vernis sale sur un tableau, ils retrouvent les coloris originaux et l’harmonie d’ensemble. Merveilleuse Forqueray et Cupis d’une ineffable tendresse : des modèles d’équilibre. Prise de son superlative qui donne au clavecin un rôle enfin juste et prédominant. (Jérôme Angouillant)
Read more
Il Gardellino – Bach: The Musical Offering, BWV 1079 (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:04:23 minutes | 692 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
Many scholarly questions still surround Bachs late work, the Musicalische Opfer (Musical Offering), but about the musics staggering brilliance there is no question. On this CD, the ensemble Il Gardellino combines this ornate contrapuntal masterpiece with the similarly late and intricate Einige canonische Veranderung uber das Weynacht-Lied, BWV 769, in many ways a perfect compliment to the Musicalische Opfer, for which theyve created this chamber music version especially for this recording.
Read more![Bart Van Reyn, Il Gardellino - C.P.E. Bach: Die Auferstehung und Himmelfahrt Jesu, H. 777 (2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/04/02/rfkn20pkrfipa_600.jpg?resize=500%2C500&ssl=1)
Bart Van Reyn, Il Gardellino – C.P.E. Bach: Die Auferstehung und Himmelfahrt Jesu, H. 777 (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:14 minutes | 1,34 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Passacaille
Radical, daring and extremely refined: that’s how Carl Philipp Emanuel Bach saw his new path for the Oratorio, after his father’s Passions had marked the climax of the baroque era. Encouraged by his godfather Telemann and liberated from the yoke of the capricious Frederick of Prussia, he found himself in Hamburg with an audience hungry for new music. And he brought them his oratorios, no longer in churches but in concert halls, where he demanded the listener’s undivided attention for sudden changes of mood and colour.
Die Auferstehung und Himmelfahrt Jesu did indeed leave its traces: both Haydn and Beethoven showed great interest after a series of three performances conducted by Mozart in Vienna. Not only did it pave the way for Haydn’s oratorios, but there are also clear influences on the Pamina arias in Die Zauberflöte written a few years later. Carl Philipp Emanuel Bach wrote to his publisher Breitkopf, “I think this is the best work I have ever written”.
(more…)