Siesta Ensemble & Ovidio Gimenez Bassoon Delights

The serenata Polifemo opens with an overture for which Bononcini adopts the formal model of the two-part French ouverture in which a slower section with dotted rhythms is followed by a quicker section often involving fugal textures. Bononcini combines his French model with the Italian concerto principle with its multiple choirs of instruments: here the wind ensemble alternates in the quick section with the strings. Although it is in only one act, Polifemo is made up of no fewer than twenty musical numbers: seventeen arias, two duets and one chorus. With a single exception, these numbers are cast in da capo form. Some have no instrumental prelude, whereas eight end with a postlude described as a “ritornello”, with elaborately worked-out parts for the instrumentalists. These postludes presumably allowed preparations to be made for the following action.

A few years after the success of her album crossing Baroque music with folk, Love I Obey (ALPHA538), the Franco-American singer Rosemary Standley visits Schubert, this time with the complicity of the Ensemble Contraste: ‘We all have a few notes of Schubert buried deep inside us’ say the artists, who have got together around his music and brought to it an original sound texture, the result of their varied influences – classical, pop, jazz, folk.

Homelands – A musical voyage into the heart of a rich polyphonic repertoire born out of the union between folklore and art music during the 19 th and 20 th centuries.

Robert Paterson’s The Four Seasons consists of four song cycles, with a total of twenty-one songs, for four different voice types: soprano, mezzo-soprano, tenor, and bass-baritone. Each voice type represents a different season: Summer Songs (soprano), Autumn Songs (mezzo-soprano), Winter Songs (bass-baritone), and Spring Songs (tenor). The four critically-acclaimed singers on this album, soprano, Marnie Breckenridge, mezzo-soprano, Blythe Gaissert, tenor Alok Kumar, and bass-baritone David Neal have worked closely with Paterson, and gave the world premieres of these works with American Modern Ensemble, one of America’s most beloved new music ensembles.

For the problem of ‘genuine’ and ‘spurious’ works by Pergolesi has preoccupied musicologists for centuries. Of the approximately one hundred and fifty works that circulate under his name, he probably composed only thirty or so. Most of them were attributed to him posthumously, since publishers such as Bremner hoped to drum up better business thereby.

The first monographic recording entirely dedicated to Francesco Rasi is released for the 400th anniversary of his death (30 November 1621). The first interpreter of Monteverdi’s Orfeo, an astonishing tenor and poet with a life studded with triumphs, constant travels, debts and murders, this native of Arezzo was fought over by all the courts of Italy and Europe. The pieces, on texts by Petrarch, Guarini, Chiabrera and Rasi himself – including ten world premieres – are taken from the Vaghezze di Musica (1608) and the Madrigali (1610). Tenor soloist Riccardo Pisani explores their extraordinary poetic and musical power, in a kaleidoscope of affects divided into seven ‘strings of the lyre’. He is accompanied by the Ensemble Arte Musica, directed by harpsichordist Francesco Cera. The two artists have been collaborating for years on rediscovering the Italian vocal repertory of the seventeenth century, as witnessed by the recent success of their set of Frescobaldi CDs, released on Arcana.

Going all the way back to the Celts and the Druids, the term nemeton designates a place where forces and energies are crystallised, generally clearings where solemn or ritual actions were performed. The best-known nemeton is certainly Stonehenge. The architectural marvel of Chartres Cathedral is built on a nemeton. In composing this piece for solo percussion, I wanted to depict a “place” of this kind by means of sound. I’m utterly fascinated by the instrumentarium of this work, consisting chiefly of metal, wood and skin instruments that don’t have their own “specific” resonance. The trajectories between the different tones condition and define the energy charge, rather as if two beings, in the mad hope of an encounter, were rushing towards each other’, writes Matthias Pintscher as an introduction to one of the pieces in this monograph of works composed between 2000 and 2018: it also includes his violin concerto Mar’eh, the concerto for piano and ensemble Nur, Beyond for flute, Verzeichnete Spur, Lieder und Schneebilder, Celestial Object I & II and Occultation.