Early Baroque and Renaissance music.

Flautistas de pico mexicanos

Jean Baptiste Lully

Classique

Jean-Baptiste LULLY in his musical context : Paris in the  1660's

Jean Baptiste Lully - Marche pour la cérémonie des Turcs

"Perla" (2003, re-composed 2008) for solo bass recorder
perforemd by Dorothee Oberlinger

Perla (2003, re-composed 2008) for solo bass recorder

The Little Light Consort - Estienne Moulinié/Fantaisie première Pour Les Violes

I Figli d'Orfeo, 18.8.2013  Unser Lieben Frauen Bremen

Nicola Fago, Nisi Dominus à 4

Buy/Acheter sur iTunes

Jean-Baptiste Lully "Bellérophon"  Prologue  Ouverture - Christophe Rousset & Les Talens Lyriques

živě z vystoupení na Benefičním podzimním koncertu v chrámu svatého Mikuláše na Staroměstském náměstí ‘22

Připravované koncerty a akce
www.zusharmonie.media/koncertyaakce

YOUTUBE PLAYLIST KONCERTU
youtube.com/playlist?list=PLTal…-iAJoC3WdAu1ufB5hRI
SOUNDCLOUD PLAYLIST KONCERTU
on.soundcloud.com/1VnpUpti65yExnLg9

video a audio: FG

Flétnový Soubor Harmonie | Octava Intrada (1601) [Hans Leo Hassler]

Georg Daniel Speer (Breslau, 2 July 1636 – Göppingen, 5 October 1709) was a German writer and composer. His collection titled Musikalisch-Türckischer Eulen-Spiegel was published in 1688 in Ulm under the pseudonym Dacianischer Simplicissimus. The first 24 songs (out of 41) form a cantata for tenor and figured bass. The protagonist of the loosely connecting episodes is Lompyn, a professional fool with a great appetite. After convincing the sultan with a joke to release him, Lompyn is in the service of a Hungarian nobleman, Gergely, who is in Turkish captivity. He tells him about his adventures, which include the Turkish Grand Vizier, the beautiful miller, the Patriarch of Moscow, as well as a Turkish-Hungarian duel, and of course his own pleasures and sorrows in love. The songs are always framed with a Central European dance for a five-part instrumental ensemble, which returns between verses – either in original double meter, or in “proportion”, in triple meter. At the end of the movement there is always an "omnia", a moralizing song played by all the musicians.
In his preface, Speer tells us that the names of the dances are not only given “pro forma”, but he personally heard them on their original spot. If his claim is correct, then what we have here are musical documents of his travels in the 1650s and 1660s in Upper Hungary and Transylvania. He describes these travels in his (doubtful) Ungarischer oder Dacianischer Simplicissimus published in 1683. As the style of the dances are close to the Central German traditions, it seems certain that the dances were not written for Central European communities but for citizens of distant Protestant lands. The additional part of the publication also includes works with genres popular in the Protestant region; sonatas for various combinations of brass instruments or for two violins and bassoon (No. 25–30, 31–32), and a nine-movement suite in c minor for a five-part string ensemble (33–41, on this disc: track 14–22).

Daniel Speer: Musikalisch-türckischer Eulenspiegel - 33. Sonata à 5

Daniel Speer: Musikalisch-türckischer Eulenspiegel - 10. Pohlnisch Ballet

Jean-Baptiste Lully - Amadis (ouverture) - Les Talens Lyriques/Christophe Rousset

Jean-Baptiste Lully - Amadis (Extrait: Il m'appelle) - Les Talens Lyriques Christophe Rousset

Le Poème Harmonique : Estienne Moulinié, l'Humaine Comédie. Alpha 005

Chanson Gasconne : L'auzel ques sul bouyssou

Performed by Maartje Sevenster en Limestone Consort on 17 August 2014 in Braidwood (mp3 64kpbs)

Vivaldi Nisi Dominus

Prima Collezione

Torino Classical Music Festival - Palazzo Birago 28.06.2015 Ensemble di Flauti dell'Accademia Musicale Torinese - Gianfranco Saponaro, Giulio del Felice, Pietro Severi, Manuela Filippa, Magda Szeckeres, Gabriele Ricchiardi, Flauti; Manuel Staropoli, Cromorno e direzione

Francisque Caroubel - Suite

Sonatina no 2 for Recorder and Piano

Canarie, Jean Baptiste Lully

Andreas Scholl - Vivaldi's Nisi Dominus (Largo)

Played by Tutti Flutti directed by Philip Thorby

Recorder Septet 1st movement

Jacob van Eyck - Pavaen Lachrymae

Pete Rose - Bass Burner

Angelo Berardi
(ca. 1636 – 1694)
Sinfonie a Violino solo, libro primo, opera settima (1670)
Canzone Prima 
“Chi la fà, l’aspetti”


Eva Leonie Fegers – recorder
Reinhard Führer – harpsichord

Angelo Berardi - Canzone Prima "Chi la fà, l'aspetti"

Philidor

Pavana Lachrimae

Fausto Romitelli (1963 - 2004) - Seascape for amplified Paetzold contrabass recorder (1994)

Eva Leonie Fegers - Paetzold recorder
Lukas Froschauer - SOund

Fausto Romitelli - Seascape For Paetzold Recorder

Angelo Berardi
(ca. 1636 – 1694)
Sinfonie a Violino solo, libro primo, opera settima (1670)
 
Canzone Sesta
„Capriccio per Camera“

Eva Leonie Fegers – Blockflöte
Reinhard Führer – Cembalo

Angelo Berardi - Canzone Sesta

Arcangelo Corelli (1653 -1713)
Sonata No. 5, Op. 5, Adagio
In a historical transcription for recorder and basso continuo

Eva Leonie Fegers - recorder
Margit Kovács - harpsichord

https://www.youtube.com/watch?v=QT2Jl25TLuM

(Salzburg, 2013)

Recorder Sonatas

Arcngelo Corelli -Sonata No. 5 Op. 5, 1. Adagio

Canzon 27

One of my fav's from my old set list, a cool baroque sounding piece by Jean-Baptiste Lully  

Canarie, Jean Baptiste Lully

Adriana Hernández Forcada