Charles Daniels, Montreal Baroque - Orfeo Fantasia (2005)
Artist: Charles Daniels, Montreal Baroque
Title: Orfeo Fantasia
Year Of Release: 2005
Label: Atma Classique
Genre: Classical
Quality: FLAC (tracks)
Total Time: 01:02:15
Total Size: 328 Mb
WebSite: Album Preview
Tracklist: Title: Orfeo Fantasia
Year Of Release: 2005
Label: Atma Classique
Genre: Classical
Quality: FLAC (tracks)
Total Time: 01:02:15
Total Size: 328 Mb
WebSite: Album Preview
1. Transcription pour clavecin de la pavane « Lachrimae » de Dowland | Anonyme
2. L’Orfeo : Prologue, Ritornello | Claudio Monteverdi
3. L’orfeo: Air d’Orphée Rosa del ciel | Claudio Monteverdi
4. Poeticall Musicke: My hope is revived | Tobias Hume
5. Poeticall Musicke: My joys are coming | Tobias Hume
6. Airs de cour: Quel espoir de guarir | Pierre Guédron
7. Jane Pickering Lute Book: La Rosignol | Anonyme
8. Le Nuove Musiche: Air Odi, Euterpe, il dolce canto | Giulio Caccini
9. L’Orfeo: Air d’Orphée Vi ricorda, o boschi ombrosi | Claudio Monteverdi
10. Fitzwilliam Virginal Book: Toccata pour clavecin | Giovanni Picchi
11. Le Musiche del Cavalier: Lamento d’Orfeo ou Que vegg’io ohimè | Sigismondo d'India
12. Transcription pour clavecin de la pavane « Lachrimae » de Dowland | Anonyme
13. A Pilgrimes Solace: Air Lasso mia vita | John Dowland
14. Poeticall Musicke: Air Cease Leaden Slumber | Tobias Hume
15. L’Orfeo: Prologue, Ritornello | Claudio Monteverdi
16. L’Orfeo: Lamento d’Orphée Questi i campi di Tracia | Claudio Monteverdi
17. The Second Booke of Songs or Ayres: Air Flow my tears | John Dowland
Performers:
Sylvain Bergeron (lute)
Charles Daniels (tenor)
Olivier Fortin (harpsichord)
Margaret Little (viola da gamba)
Nigel North (lute)
Skip Sempé (harpsichord)
Montreal Baroque
Susie Napper
It is not surprising that the musicians of the Baroque period were fascinated, in the legend of Orpheus, both by the tragic love story of the mythical couple and by the relation of the extraordinary powers of music, to which the ancients Greeks bore faith.
Thus, among the very first operas are two Euridice, the first by Jacopo Peri, the other by Giulio Caccini, as well as Orfeo by Monteverdi. And right up to Haydn, via Luigi Rossi, Telemann and Gluck, composers have brought this unfortunate story to the stage, recalling at the same time the power of the art of sound, of which they themselves were the guardians.
Our recording uses various music chosen to evoke the central episode of the myth and composed in Italy, England and France during the first two decades of the 17th century. While the lute and harpsichord pieces suggest the art of Orpheus himself, charming men, beasts and gods with his lyre, a few instrumental pages and some beautiful interventions by the hero are borrowed from Monteverdi's Orfeo. Finally, Italian monodies, court airs and airs by John Dowland and Tobias Hume express the various vicissitudes that weave the fabric of all existence.
Thus, among the very first operas are two Euridice, the first by Jacopo Peri, the other by Giulio Caccini, as well as Orfeo by Monteverdi. And right up to Haydn, via Luigi Rossi, Telemann and Gluck, composers have brought this unfortunate story to the stage, recalling at the same time the power of the art of sound, of which they themselves were the guardians.
Our recording uses various music chosen to evoke the central episode of the myth and composed in Italy, England and France during the first two decades of the 17th century. While the lute and harpsichord pieces suggest the art of Orpheus himself, charming men, beasts and gods with his lyre, a few instrumental pages and some beautiful interventions by the hero are borrowed from Monteverdi's Orfeo. Finally, Italian monodies, court airs and airs by John Dowland and Tobias Hume express the various vicissitudes that weave the fabric of all existence.
