Dialoghi Del Presente

The remarkable thing about this volume is not that it's the 13th installment in the extremely popular Cafe Del Mar series but that they've managed to maintain the quality control and this is just as good as any of the first 12! Cafe del Mar is the perfect scenery to enjoy an exclusive fusion of light, water and sound; the primary icon of the cult of sunset, without any doubts, one of the most wonderful and incredible existing in the planet. With the first Volume, thirteen years ago, Cafe del Mar began to put music to sunset. Cafe del Mar's spirit has reached all the corners of the world.

The most comprehensive collection of organ music by a major forerunner to Monteverdi, recorded on a historically significant instrument by an organist with a distinguished catalogue of 17th-century repertoire.

Originally, Café Del Mar was a bar located in Sant Antoni de Portmany, a town on the western coast of Ibiza. The collections of the music played at the bar were first sold on cassette at the end of the 1980s. In 1994, the first official "Café del Mar" CD was released on React.

An excellent collection of sunset-included chill songs, perfect for morning or night. The recompilation, as the mix work shows a heartful dedication by Bruno Lepetre, who sadly would kept up with the Chillhouse Series just until volume 4. About the songs, they're simply the perfect blend between Chicago soulful house and passionate Ibiza rhythms. This is the perfect soundtrack to a chilled out party with friends, sitting by the pool, or even relaxing at home in front of the fireplace.

Café del Mar Aria is a CD compilation series that combines chill-out music with opera arias, thereby expanding the existing Café del Mar series. The Café del Mar concept originated from the "sunset bar" with the same name in Sant Antoni de Portmany on the Mediterranean island of Ibiza. Café del Mar Aria is produced by Paul Schwartz.

La vida es sueño borrows the title of Calderón’s work for this musical and poetic journey through dreams, the night and the powerful symbolism that surrounds them, evoking a magical, mysterious, threatening and secret world. El Gran Teatro del Mundo, specialising in French music from the time of Louis XIV, revisits the operas of the Grand Siècle in this disc, offering an exclusively instrumental interpretation of scenes in which night and sleep are the best allies of love and death.

Songs of love and loss by a trio of early 18th century Spanish composers, showcasing the vocal art of a distinguished early-music soprano.

A storm of passaggi to echo the virtuosity of the cornettists of Renaissance Italy who exalted their instrument, of which Andrea Inghisciano is one of the most sought-after contemporary exponents (listen, for example, to the disc ‘La Morte della Ragione’ with Il Giardino Armonico). Here, along with the keyboard player María González, he presents a programme bursting with diminutions, whether written or improvised: from the acrobatics of Francesco Rognoni and Dario Castello to the sweetness of Luzzasco Luzzaschi and Giovanni Battista Bovicelli, by way of Girolamo Dalla Casa, who, while recommending performers to ‘do few things, but do them well’, amazes us with his exuberant writing, with rapid cascades of notes as arduous to play as they are fascinating to listen to. This duo recital is the recording debut of the ensemble I Cavalieri del Cornetto, which aims to explore the art of diminution in all its forms.

The album marks 45 years since Chailly’s debut at La Scala, and also the signing of his exclusive contract with Decca.

Most likely belonging to the fourth generation of Flemish polyphonists — that of such musicians as Adrian Willaert, Nicolas Gombert, Clemens non Papa and Cipriano de Rore — Josquin (or Johannes?) Baston was one of the many mysterious figures in sixteenth-century music history. Nothing is known about when and where he was born or died, and much uncertainty exists even about his first name. Many of his compositions appeared in printed anthologies alongside those of some of the most important musicians of the first half of the sixteenth century, such as Josquin Desprez and Orlande de Lassus. For the famous printers Tielman Susato and Pierre Phalèse to have included Baston’s works among those of such luminaries of Flemish Renaissance polyphony, they must have considered him to be an excellent composer. Whether Josquin Baston stayed in his native area, or whether he was the same person as the Joannes Baston who was active in Vienna, Poland, and Scandinavia, will remain an open question. This recording of chansons and motets by Josquin Baston explores the fascinating world of the mid-sixteenth-century Flemish style through the output of a very important though largely forgotten composer.