The Renaissance Keyboard

The prolific Domenico Alberti squeezed a surprising number of works out of a short and eventful life, achieving fame across Western Europe, particularly for the so-called ‘Alberti bass’, an arpeggiated style of left-hand keyboard playing. Yet his presentday reputation does not equal these heights, his fame largely limited today to his Eight Sonatas. This recording puts this to rights, showcasing Alberti as a composer who deserves to be remembered for centuries to come, as a musical poet possessed of remarkable invention and imagination. Alberti’s compositions display the simplicity and sensitivity of Clementi, the vigour of Mozart and, in the briefest of moments, an almost Schubertian or Chopinesque pre-Romanticism. His keyboard compositions are generally individual movements or twopart toccatas or sonatas, the whole full of melodic echoes and intentional reworkings, which form intriguing bridges between the pieces. The three distinct periods in the composer’s output of keyboard music are mirrored here by the use of organ, fortepiano and harpsichord (all of which Alberti would have had to hand in his day) – corresponding also to the period practice of ‘playing on all manner of instruments’, with individual pieces often not tied down to a specific instrument. This combination adds a talented keyboardist and international award-winner Manuel Tomadin who has a particular interest in Renaissance and Baroque music and historical organs. He brings all of his expertise to bear on this superb album. This 4 album set contains the complete keyboard music by Domenico Alberti, a First Recording.

To mark the 400th anniversary of Orlando Gibbons's death, organist and harpsichordist Stephen Farr presents a stunning tribute to one of England's greatest composers of the early seventeenth century. Gibbons, who served at the Chapel Royal and Westminster Abbey, was celebrated for his virtuosity and innovation, bridging the Renaissance and Baroque eras. This album explores the full breadth of his keyboard oeuvre, from intricate fantasias and evocative pavans to lively dances and variation sets. The album includes the Fantasia for Double Organ, showcasing Gibbons's mastery of contrapuntal invention, and the poignant Pavan and Galliard Lord Salisbury, composed in honour of the composer's noble patron. Farr's insightful interpretations reveal the expressive depth and technical brilliance of Gibbons's music. A compelling homage, this recording underscores Gibbons's lasting influence on English keyboard music.

To mark the 400th anniversary of Orlando Gibbons's death, organist and harpsichordist Stephen Farr presents a stunning tribute to one of England's greatest composers of the early seventeenth century. Gibbons, who served at the Chapel Royal and Westminster Abbey, was celebrated for his virtuosity and innovation, bridging the Renaissance and Baroque eras. This album explores the full breadth of his keyboard oeuvre, from intricate fantasias and evocative pavans to lively dances and variation sets. The album includes the Fantasia for Double Organ, showcasing Gibbons's mastery of contrapuntal invention, and the poignant Pavan and Galliard Lord Salisbury, composed in honour of the composer's noble patron. Farr's insightful interpretations reveal the expressive depth and technical brilliance of Gibbons's music. A compelling homage, this recording underscores Gibbons's lasting influence on English keyboard music.

Daniel Marx is one of the shooting stars of the guitar scene. With his CD "The Italian Recital" he not only makes an impressive debut but also demonstrates his love of Italian music. In the land of opera, singing is unthinkable—and Daniel Marx proves that the guitar can sing! He crosses the centuries, technically and interpretatively at the highest niveau, from the Renaissance to the Romantic period. Molinari's fantasies are just as transparent and sonorous as Regonti's dreams or Scarlatti's sonatas—a real discovery!

Daniel Marx is one of the shooting stars of the guitar scene. With his CD "The Italian Recital" he not only makes an impressive debut but also demonstrates his love of Italian music. In the land of opera, singing is unthinkable—and Daniel Marx proves that the guitar can sing! He crosses the centuries, technically and interpretatively at the highest niveau, from the Renaissance to the Romantic period. Molinari's fantasies are just as transparent and sonorous as Regonti's dreams or Scarlatti's sonatas—a real discovery!