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Avie Records - 10th Anniversary


Release Date: 07/10/2012 
Label:  Avie   Catalog #: 2265  
Composer:  Johann Sebastian BachGeorge EnescuGabriel FauréGeorge Frideric Handel,   ... 
Performer:  Monica HuggettGonzalo RuizLuiza BoracCharles Owen,   ... 
Conductor:  Monica HuggettHarry BicketImogen CooperVasily Petrenko,   ... 
Orchestra/Ensemble:  Ensemble SonnerieOrchestra of the Age of EnlightenmentNorthern Sinfonia,   ... 
Number of Discs: 10 
Recorded in: Stereo 
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Notes and Editorial Reviews

Reviews of some of the original recordings that make up this set:

Enescu: Piano Suites

George Enescu was a musical genius of Mozartean universality and range, and the only reason his music isn't better known is because it's terribly difficult to play, not just technically but emotionally and stylistically. Despite the neo-classical patterning of such works as the first two suites on offer here, there's really no such thing as a chaste, "classical" approach to these, or any other of his works. Either you're a full-blown Romantic virtuoso in the "golden age" sense of the term, or you'd better not waste your own (or the listener's) time. In
Read more particular, Enescu's subtle approach to tempo requires the most sensitive use of rubato and the ability to play whole phrases and paragraphs across the bar lines as if in a single breath. Add to this the composer's exquisite sensitivity to matters of tone color and his sheer love of rich textures--of writing music with "lots of notes" but in which every one of them matters--and the result requires a very special sort of artistry in performance.

On evidence here, Romanian pianist Luiza Borac makes a very worthy exponent of her countryman's music. The First Suite, composed at the ripe old age of 15, is Bach on steroids, and Borac's playing perfectly conveys its gusto and enthusiasm. She projects the second-movement fugue with effortless insouciance and makes a thing of poetry of the Adagio, one of Enescu's first essays in the sort of endlessly flowing river of melody that later became so characteristic of his style. In the final Presto, Borac unleashes a torrent of sound and sustains it from the first bar to the last.

The Second Suite, which dates from 1901/03, begins with a jubilant Toccata, played here with the necessary freedom of tempo and uninhibited sense of abandon. Listen to the way Borac caresses the gorgeous third-movement Pavane, her fingers scarcely seeming to touch the keyboard as she spins out its gentle trills and decorative filigree. Captivating! In the concluding Bourrée Enescu turns to Romanian folk music, and Borac captures both the music's rustic charm as well as its evident desire to break out of the simple rhythm of its initial accompaniment and become something altogether more sophisticated (an apt musical illustration of the composer's personality).

Dating from 1913-16, the Third Suite consists of individual pieces later collected together in a single volume, and so it completely lacks the neo-classical formal outlines of the previous two. It also contains some of Enescu's most remarkable piano music now in his fully mature style. Voix de la steppe perfectly illustrates his "parlando-rubato" melodic style, as does Borac's presentation of it. Burlesque recalls many a similar moment in Bartók, with its nose-thumbing humor and deliberate grotesquerie. The most remarkable movements, though, are the finale pair, a chorale shot through with mysterious modal harmony, and a remarkable Carillon nocturne whose chiming dissonances and evocative use of piano resonance sound like some early work of Messiaen.

It's very instructive to compare Borac's performances of these last two pieces to those of Aurora Ienei (last on Olympia). Borac takes a full three and half minutes longer over both movements but plays with such dynamic sensitivity and breadth of phrasing that Ienei sounds quite prosaic by comparison. Borac also is much better recorded; the silken tones she conjures from the keyboard are very naturally captured in a lively acoustic that coveys optimal warmth and clarity. Even were this not the only show in town in this repertoire, it's obvious that Borac has a special affinity for the composer's elusive idiom, and that makes this disc an outstanding contribution to the still far-too-small Enescu discography.

– David Hurwitz, ClassicsToday.com

Faure: Nocturnes
Fauré’s son, Philippe Fauré-Fremiet, described the composer’s playing: “His hands were strong and looked heavy; in fact they were supple and light. He hardly raised them above the keys but was able to obtain any effect he wanted. He had a horror of virtuosity, of rubato and effects aimed at making the audience swoon. He followed the printed notes meticulously, keeping strict time. What was so overpowering about his playing lay below the surface, in the areas of thought and emotion where teaching is helpless to guide you.” To which Jessica Duchen, in her annotations for David Jalbert’s unfortunate tilt at the nocturnes (Endeavour 1014, Fanfare 30:1), adds, “To play Fauré’s piano works successfully, a pianist must have a tremendously flexible technique, a strong sense of contrapuntal voicing and, perhaps above all, the ability to convey those sensuous, intertwining lines and subtle harmonies without allowing structural rigor to slacken. While playing this music with no expressive fluctuation whatsoever could seem excessive, a healthy respect for his ‘pudeur’—modesty veiling the immense sensuality beneath—is as essential to faithful Fauré interpretation as good posture is to the dance.” Both observations describe Charles Owen’s way with the nocturnes—unaffectedly straightforward, rhythmically steady (but breathing and never rigid or inflexible), the pedal sparingly used, allowing a light touch (graciously deft in animated passages) to articulate with absolute clarity while imparting moments of aquarelle-like color (rather than the heavily sustained impasto of the average pianist), all making for a disarming simplicity in which charm lifts imperceptibly into the most intense utterance, moving us compellingly through the salon-like early pieces, the opulent ecstasies of the middle nocturnes, and the increasingly desolate and despairing soundscapes of old age. Duchen confects a final elegance with other, no less gracefully penetrating, annotations. Avie captures Owen closely, at the optimal point where clarity flares into spaciousness. Exemplary. Classic. Spellbinding. And enthusiastically recommended.

FANFARE: Adrian Corleonis

Handel: Arias
Some years from now, observers of vocal music trends likely will look back on the early 21st century as the age of the mezzo and alto (and, similarly, the countertenor). It seems we're enjoying a wealth of exceptional singers in vocal categories usually relegated to subordinate status in opera--but fortunately that also own some of the most glorious music in the vocal repertoire. Handel certainly didn't hold back in writing for mezzo-range voices, offering music not only of beautiful melody but of considerable dramatic scope as well, and here mezzo Lorraine Hunt Lieberson lavishes on her listeners a well-chosen selection of rarely heard arias and a fine, characterful renditon of the Italian cantata La Lucrezia.

Throughout, Lieberson shows a comfortable, easy command of style, giving personality to each aria that gives us a sense of situation and character even in this out-of-context setting. From the very first lines of her opening recitative "Ah! Whither should we fly...?"--strong, full-toned, clear, and believably (not artificially) expressive--we're drawn into her performance. And the following aria, "As with rosy steps" (one of Handel's masterpieces), supported by undulating strings, perfectly describes the advancing, hopeful morning--and Lieberson's sensitively sculpted rendition of text and melody is as lovely as we'll likely ever hear.

My favorite La Lucrezia remains the one by Magdalena Kožená (type Q3027 in Search Reviews)--her characterization is simply more captivating, her vocalism just that much more assured--but this one is equally worthy in its slightly more restrained approach. Lieberson doesn't seem as free in the fastest passages (the aria "Il suol che preme...", for example)--in fact, the quick runs sound cautious rather than confident--but overall her portrayal is wonderful and rightly imagined. She also receives terrific support from her accompanists--including Stephen Stubbs (lute and guitar), Phoebe Carrai (cello), and Margriet Tindemans (gamba)--and benefits from sympathetic leadership by Harry Bicket (who also plays harpsichord). There's some great music-making here--and some really fine arias that will please Handel fans. Lieberson's five Theodora arias are exceptional; her concluding "Ombra mai fù" from Serse is a gem. The sound is slightly dry but crisp and clear and well balanced.

– David Vernier, ClassicsToday.com

Bach: Orchestral Suites:
Many years ago, Christopher Hogwood, addressing a rapt Gotham audience, took us down to the nitty-gritty of musicology. “‘Attributed to’,” he explained, “means ‘almost certainly not by’.” Some fine morning, one suspects, we will awaken to learn that nothing in the standard repertoire was actually written by the composer of record, or, if it was, it was not in the form in which it has come down to us. The latest subjects of scrutiny to come to light are the orchestral suites of Bach. Do not be alarmed; all were composed by Johann Sebastian. But the second, it seems, was not originally intended for the flute, and the glorious trumpets in the third and fourth were afterthoughts. The First Orchestral Suite, as we know it, is apparently what Bach intended it to be. Whether this revelation comes as a disappointment to the good folks at Avie is not for us to know, but Monica Huggett and Ensemble Sonnerie have given it to us along with reconstructions of “original versions” of the other three. Reworking the Third and Fourth was relatively straightforward. The trumpets and timpani, added by Carl Philippe Emanuel to the Third and by Sebastian himself (for Cantata 110) to the Fourth, were silenced, leaving in place a more typical strings-and-oboes ensemble.

The Second Suite was more problematical. It’s been determined that the original score, now lost, was transposed from A Minor to the current B Minor. But in A Minor, the solo part is too low for the flute. Consequently, it was first assumed that the original solo instrument was a violin. Taking up the challenge, Gonzalo Ruiz made the compelling observation that the solo part in A Minor, awkward for the violin, not only falls comfortably within the oboe range, but is also highly compatible with oboe fingering. He theorizes that the transposed flute version was made for commercial reasons (much like Mozart’s Flute Concerto, K 314). Ruiz is, of course, an accomplished practitioner of the ill wind, and reclaiming this suite for his instrument could help to explain how it is that Bach, who wrote so often and so exquisitely for it, did not leave any major solo works for the oboe. In creating his reconstruction Ruiz also notes that the title of the final movement—the popular, light-hearted “Badinerie” of the flute version—is actually “Battinerie”—battle music—in the original score, and thus more appropriate for the oboe. Concern about the Baroque oboe’s ability to handle the technical challenges of score are easily put to rest by Ruiz’s virtuoso reading, a most convincing and satisfying new look at an old favorite.

The Third and Fourth Suites may take a little more getting used to. The trumpets have always (since they were added, that is) given these works a special, ennobling gravitas that many listeners, including this one, will be reluctant to relinquish. Without them, however, one is more cognizant of the music’s origins in the dance, which yield their own rewards. The performances of all the suites, including the First, are first-rate. Don’t give away your recordings of the traditional version of the suites (Koopman’s, Kuijken’s, Gardiner’s, to name a few), but Huggett’s new recording has much more to offer than its curiosity value.

FANFARE: George Chien

Mozart: Concertos
To the best of my knowledge, Imogen Cooper has come only recently to directing as well as playing concertos. In October last year I heard her at the QEH with the Northern Sinfonia in Beethoven – her playing was as fresh and spontaneous as always. Here she is, on record, in Mozart, a composer clearly very close to her heart.

It is actually the 23rd concerto that we hear first on the disc. The opening is very serene, very unhurried, even slightly Romantic in feel. Maybe one should really start listening with K291 as K488 is almost too comfortable. That said, there are some nicely sprung rhythms later on and the cadenza is simply tremendous, exhibiting real depth. Throughout there is a chamber music feel to it all, the give-and-take between piano and - in particular - winds a joy. The famous F sharp minor slow movement begins with a piano rumination that had me in mind of Daniel Barenboim's early version of this work from his cycle of the 1960s and 1970s with the English Chamber Orchestra. Indeed, all credit to the Northern Sinfonia for sustaining Cooper's intensity so well and losing nothing to their more southerly colleagues. Cooper adds decorations to Mozart's large, bare intervals - towards the end, around six minutes in. The finale begins with Cooper opting for a completely different touch, a harder staccato that delineates the territory immediately. Again there seems to be very slight blurring from the middle frequencies of the orchestra, though.

The so-called Jeunehomme Concerto begins with Cooper rather surprisingly indulging in unnecessary point-making in her initial dialogue with the orchestra. Just one misjudgement – an over-tenutoed note on the orchestra around 1:28 in. But with Cooper's pianistic re-entrance, all is civility and expert balance. Cooper even relaxes enough to give a really cheeky end to the cadenza.

The middle Andantino is peppered with moments of magic; the finale contains large swathes of superbly even passagework, scampering around wonderfully. Perhaps Cooper milks the Menuet that forms the centrepiece of this finale rather, but one can still revel in the beauty of her phrasing. True, I still maintain much affection for Cooper's mentor, Alfred Brendel, in this piece - I refer to the earlier ASMF recording now on a Philips twofer - but Cooper's recording shall now ever be at its side.

There is little doubt that this disc will bring much joy. The applause at the close of both concertos is eminently deserved.

– Colin Clarke, MusicWeb International

Rachmaninov: Symphonic Dances

This is a perfectly planned Rachmaninov orchestral music CD, offering works that span his entire career, from his first major orchestral piece, the Tchaikovskian tone poem The Rock, to his fully characteristic maturity in The Isle of the Dead, and culminating in the instrumental sophistication and hard-edged glitter of his last big project, the Symphonic Dances. Happily, the performances are just as wonderful as the programming concept.

Vasily Petrenko digs deep into the Symphonic Dances right from the initial outburst. He seems to have figured out the first movement's puzzling "non allegro" marking particularly well, finding a bracing tempo that doesn't compromise rhythmic accent. The second-movement waltz features an amazing range of tempo within a phrase, but Petrenko never sounds mannered or loses the pulse. The finale blazes, particularly in the closing pages, while the moody central interlude never sags. Through it all the orchestra plays magnificently: velvet strings, clean and clear winds, powerful brass, and crisp percussion.

The two tone poems are just as fine. The Rock (just which rock Rachmaninov had in mind we're not quite sure) seldom has sounded so confident and cohesive (as well as exciting), but this version of The Isle of the Dead really is special. Check out the pulverizing return of the main theme, forte, about nine minutes in, or the devastatingly intense final climax followed by the numb muttering of the "Dies irae" chant melody in the strings. It's exhausting and exhilarating at the same time, helped in no small degree by really excellent sonics that let the strings soar and the bass frequencies really throb. None of this music lacks for excellent performances, but you'd be hard pressed to find demonstrably superior versions of any of these pieces gathered together on a single disc.

– David Hurwitz, ClassicsToday.com

Rameau: Pièces de Clavecin
You’ve doubtless been wondering about it for some time. Now that the English Consort has folded, what will Trevor Pinnock do? Well, worry no longer. This album provides the answer, at least in part: he’ll record. In a real way, this Rameau is a return to Pinnock’s roots, as he’d performed the Pièces de Clavecin en Concerts with the Gailliard Harpsichord Trio while in his teens, and recorded Rameau’s harpsichord works in the 1970s.

This latest release shows him in excellent form. “La poule” is attentive to rhythmic values, without pushing the poor fowl’s tempo immoderately. The subtle hesitancy at the beginning of each clucking phrase works well, in a piece that is more difficult to play correctly than it seems at first glance. Both the “Musette en Rondeau” and the famed “Tambourin” from the same suite have a folklike insistence on their respective drones that never gets in the way of the relentless but judicious momentum.

While the “Fanfarinette” is faster than that recorded so well by Sophie Yates (Chandos CHAN 0708) and less inclined to maintain the piece’s skipping rhythm, Pinnock still applies notes inégales extensively and to great effect at phrase starts and conclusions. “La triomphante” is moderate and brash, with the strumming effect subtly emphasized: occasionally in the bass chords, or in the figuration, or in the rhythm accorded the right-hand melody. Ornamentation is always sensibly selected.

Pinnock isn’t afraid to bring his own interpretations to the mix on occasion, which is a nice way of saying that at times he moves into areas that turn their back on tradition as it’s currently understood. Is this necessarily wrong? I think you risk the hazard of the die when you enter the game, but Pinnock’s perceptions are interesting, usually convincing, and never made me think for once that I had a party recording on my hands. The A-Minor Sarabande is one good example in the “interesting” camp. Taken at a relatively slow, steady tempo, the ornamentation is paced for a much faster piece. This focuses attention on the stately, gliding theme, though in some instances only the final note of the ornament registers. I don’t consider the results successful, but I can understand the reasoning behind the approach.

More persuasive is Pinnock’s unusual handling of “La rappel des oiseaux.” The opening section and close are handled much quicker than usual, emphasizing the repetitive nature of the bird calls, while the middle section is taken slowly and freely, the better to emphasize the shifts in harmony. The harpsichordist makes use as well of his instrument’s 4? set of strings at the start to bring the music up an octave, then switches down to the 8? set for the central section, but only moves up an octave once more midway through the final section. It’s an imaginative effect, and one that again chips away at the prevailing myths that all harpsichords sound alike, and possess no variety of touch...

Pinnock’s harpsichord is a double-manual instrument by Goermans from 1764, significantly modified 20 years later by Taskin. It is a richly beautiful instrument, robust yet capable of delicacy, and caught to perfection with little action noise and just enough resonance to capture the bloom... This is a fine album, and one well worth your purchase.

FANFARE: Barry Brenesal

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This set contains the following albums:

Bach: Orchestral Suites for a Young Prince / Huggett, Ensemble Sonnerie

Enescu: Suites For Piano / Luiza Borac

Fauré: Complete Nocturnes / Charles Owen

Handel: Arias / Lorraine Hunt Lieberson

Mozart: Piano Concertos No 23 & 9 / Imogen Cooper, Northern Sinfonia

Rachmaninov: Symphonic Dances / Petrenko, Royal Liverpool

Rameau: Les Cyclopes / Trevor Pinnock

Vivaldi - Music for the Chapel of the Pietà / Chandler, La Serenissima

Four Temperaments / Phantasm

Tangos and Dances / Fionnuala Hunt
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Works on This Recording

1.
Suite for Orchestra no 3 in D major, BWV 1068 by Johann Sebastian Bach
Performer:  Monica Huggett (Violin)
Conductor:  Monica Huggett
Orchestra/Ensemble:  Ensemble Sonnerie
Period: Baroque 
Written: circa 1729-1731; Leipzig, Germany 
Length: 17 Minutes 33 Secs. 
2.
Suite for Orchestra no 4 in D major, BWV 1069 by Johann Sebastian Bach
Performer:  Monica Huggett (Violin)
Conductor:  Monica Huggett
Orchestra/Ensemble:  Ensemble Sonnerie
Period: Baroque 
Written: circa 1729-1731; Leipzig, Germany 
Length: 16 Minutes 51 Secs. 
3.
Suite for Orchestra no 1 in C major, BWV 1066 by Johann Sebastian Bach
Performer:  Monica Huggett (Violin)
Conductor:  Monica Huggett
Orchestra/Ensemble:  Ensemble Sonnerie
Period: Baroque 
Written: circa 1717-1723; Cöthen, Germany 
4.
Suite for Orchestra no 2 in B minor, BWV 1067 by Johann Sebastian Bach
Performer:  Monica Huggett (Violin), Gonzalo Ruiz (Oboe)
Conductor:  Monica Huggett
Orchestra/Ensemble:  Ensemble Sonnerie
Period: Baroque 
Written: 1738-1739; Leipzig, Germany 
5.
Suite for Piano no 1, Op. 3 "Dans le style ancien" by George Enescu
Performer:  Luiza Borac (Piano)
Period: 20th Century 
Written: 1897; Paris, France 
6.
Suite for Piano no 2 in D major, Op. 10 by George Enescu
Performer:  Luiza Borac (Piano)
Period: 20th Century 
Written: 1901-1903; Paris, France 
7.
Suite for Piano no 3, Op. 18 "Pièces impromptues" by George Enescu
Performer:  Luiza Borac (Piano)
Period: 20th Century 
Written: 1913-1916; Paris, France 
8.
Nocturne for Piano no 9 in B minor, Op. 97 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: ?1908; France 
Length: 4 Minutes 21 Secs. 
9.
Nocturne for Piano no 2 in B major, Op. 33 no 2 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: circa 1881; France 
Length: 5 Minutes 36 Secs. 
10.
Nocturne for Piano no 10 in E minor, Op. 99 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1908; France 
Length: 5 Minutes 8 Secs. 
11.
Nocturne for Piano no 6 in D flat major, Op. 63 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1894; France 
Length: 8 Minutes 46 Secs. 
12.
Nocturne for Piano no 12 in E minor, Op. 107 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1915; France 
Length: 6 Minutes 15 Secs. 
13.
Nocturne for Piano no 4 in E flat major, Op. 36 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: ?1884; France 
Length: 6 Minutes 45 Secs. 
14.
Nocturne for Piano no 5 in B flat major, Op. 37 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: ?1884; France 
Length: 7 Minutes 42 Secs. 
15.
Nocturne for Piano no 3 in A flat major, Op. 33 no 3 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1882; France 
Length: 5 Minutes 11 Secs. 
16.
Nocturne for Piano no 13 in B minor, Op. 119 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1921; France 
Length: 7 Minutes 34 Secs. 
17.
Nocturne for Piano no 1 in E flat minor, Op. 33 no 1 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: circa 1875; France 
Length: 7 Minutes 13 Secs. 
18.
Nocturne for Piano no 7 in C sharp minor, Op. 74 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1898; France 
Length: 8 Minutes 8 Secs. 
19.
Nocturne for Piano no 11 in F sharp minor, Op. 104 no 1 by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1913; France 
Length: 4 Minutes 24 Secs. 
20.
Pièces brèves (8) for Piano, Op. 84: no 8, Nocturne in D flat major by Gabriel Fauré
Performer:  Charles Owen (Piano)
Period: Romantic 
Written: 1902; France 
Length: 2 Minutes 25 Secs. 
21.
Theodora, HWV 68: Ah! Whither should we fly, or fly with whom by George Frideric Handel
Performer:  Stephen Stubbs (Lute), Margriet Tindemans (Viola da gamba), Stephen Stubbs (Guitar),
Harry Bicket (Chamber Organ), Phoebe Carrai (Cello), Harry Bicket (Harpsichord),
Lorraine Hunt Lieberson (Mezzo Soprano)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: London, England 
Length: 0 Minutes 49 Secs. 
Language: English 
22.
Theodora, HWV 68: As with rosy steps the Morn advancing by George Frideric Handel
Performer:  Stephen Stubbs (Guitar), Stephen Stubbs (Lute), Phoebe Carrai (Cello),
Harry Bicket (Harpsichord), Margriet Tindemans (Viola da gamba), Harry Bicket (Chamber Organ),
Lorraine Hunt Lieberson (Mezzo Soprano)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: 1749-1750; London, England 
Length: 8 Minutes 19 Secs. 
Language: English 
23.
Theodora, HWV 68: O bright example of all goodness by George Frideric Handel
Performer:  Stephen Stubbs (Lute), Stephen Stubbs (Guitar), Phoebe Carrai (Cello),
Lorraine Hunt Lieberson (Mezzo Soprano), Harry Bicket (Harpsichord), Harry Bicket (Chamber Organ),
Margriet Tindemans (Viola da gamba)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: London, England 
Length: 0 Minutes 31 Secs. 
Language: English 
24.
Theodora, HWV 68: Bane of virtue, nurse of passions by George Frideric Handel
Performer:  Harry Bicket (Chamber Organ), Harry Bicket (Harpsichord), Margriet Tindemans (Viola da gamba),
Stephen Stubbs (Lute), Phoebe Carrai (Cello), Stephen Stubbs (Guitar),
Lorraine Hunt Lieberson (Mezzo Soprano)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: London, England 
Length: 6 Minutes 11 Secs. 
Language: English 
25.
Theodora, HWV 68: The clouds begin to veil the hemisphere by George Frideric Handel
Performer:  Stephen Stubbs (Lute), Phoebe Carrai (Cello), Stephen Stubbs (Guitar),
Margriet Tindemans (Viola da gamba), Harry Bicket (Chamber Organ), Harry Bicket (Harpsichord),
Lorraine Hunt Lieberson (Mezzo Soprano)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: London, England 
Length: 0 Minutes 48 Secs. 
Language: English 
26.
Theodora, HWV 68: Defend her, Heav'n by George Frideric Handel
Performer:  Stephen Stubbs (Guitar), Stephen Stubbs (Lute), Margriet Tindemans (Viola da gamba),
Phoebe Carrai (Cello), Harry Bicket (Chamber Organ), Harry Bicket (Harpsichord),
Lorraine Hunt Lieberson (Mezzo Soprano)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: 1749-1750; London, England 
Length: 5 Minutes 38 Secs. 
Language: English 
27.
Theodora, HWV 68: Lord, to thee each night & day by George Frideric Handel
Performer:  Harry Bicket (Harpsichord), Margriet Tindemans (Viola da gamba), Stephen Stubbs (Guitar),
Lorraine Hunt Lieberson (Mezzo Soprano), Phoebe Carrai (Cello), Harry Bicket (Chamber Organ),
Stephen Stubbs (Lute)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: 1749-1750; London, England 
Length: 6 Minutes 6 Secs. 
Language: English 
28.
Theodora, HWV 68: She's gone, disdaining liberty and life by George Frideric Handel
Performer:  Lorraine Hunt Lieberson (Mezzo Soprano), Harry Bicket (Chamber Organ), Phoebe Carrai (Cello),
Harry Bicket (Harpsichord), Margriet Tindemans (Viola da gamba), Stephen Stubbs (Guitar),
Stephen Stubbs (Lute)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: London, England 
Length: 0 Minutes 49 Secs. 
Language: English 
29.
Theodora, HWV 68: New scenes of joy come crowding on by George Frideric Handel
Performer:  Lorraine Hunt Lieberson (Mezzo Soprano), Stephen Stubbs (Guitar), Stephen Stubbs (Lute),
Phoebe Carrai (Cello), Margriet Tindemans (Viola da gamba), Harry Bicket (Chamber Organ),
Harry Bicket (Harpsichord)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: London, England 
Length: 5 Minutes 35 Secs. 
Language: English 
30.
Oh numi eterni, HWV 145 "La Lucrezia" by George Frideric Handel
Performer:  Lorraine Hunt Lieberson (Mezzo Soprano), Harry Bicket (Harpsichord), Stephen Stubbs (Lute),
Phoebe Carrai (Cello), Stephen Stubbs (Guitar), Margriet Tindemans (Viola da gamba),
Harry Bicket (Chamber Organ)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: by 1709; Italy 
Venue:  Concert Hall, Auraria Center, Denver, CO 
Length: 20 Minutes 51 Secs. 
Language: Italian 
31.
Serse, HWV 40: Se bramate d'amar, chi vi sdegna by George Frideric Handel
Performer:  Lorraine Hunt Lieberson (Mezzo Soprano), Stephen Stubbs (Guitar), Margriet Tindemans (Viola da gamba),
Phoebe Carrai (Cello), Harry Bicket (Harpsichord), Harry Bicket (Chamber Organ),
Stephen Stubbs (Lute)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: 1738; London, England 
Length: 6 Minutes 39 Secs. 
Language: English 
32.
Serse, HWV 40: Frondi tenere e belle by George Frideric Handel
Performer:  Phoebe Carrai (Cello), Stephen Stubbs (Guitar), Stephen Stubbs (Lute),
Harry Bicket (Chamber Organ), Harry Bicket (Harpsichord), Lorraine Hunt Lieberson (Mezzo Soprano),
Margriet Tindemans (Viola da gamba)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: 1738; London, England 
Length: 0 Minutes 45 Secs. 
Language: English 
33.
Serse, HWV 40: Ombra mai fu "Largo" by George Frideric Handel
Performer:  Lorraine Hunt Lieberson (Mezzo Soprano), Stephen Stubbs (Lute), Margriet Tindemans (Viola da gamba),
Harry Bicket (Harpsichord), Stephen Stubbs (Guitar), Phoebe Carrai (Cello),
Harry Bicket (Chamber Organ)
Conductor:  Harry Bicket
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: 1738; London, England 
Length: 3 Minutes 9 Secs. 
Language: English 
34.
Concerto for Piano no 9 in E flat major, K 271 "Jeunehomme" by Wolfgang Amadeus Mozart
Performer:  Imogen Cooper (Piano)
Conductor:  Imogen Cooper
Orchestra/Ensemble:  Northern Sinfonia
Period: Classical 
Written: 1777; Salzburg, Austria 
Date of Recording: 10/2005 
Venue:  Live  The Sage Gateshead, England 
35.
Concerto for Piano no 23 in A major, K 488 by Wolfgang Amadeus Mozart
Performer:  Imogen Cooper (Piano)
Conductor:  Imogen Cooper
Orchestra/Ensemble:  Northern Sinfonia
Period: Classical 
Written: 1786; Vienna, Austria 
Date of Recording: 10/2005 
Venue:  Live  The Sage Gateshead, England 
36.
Symphonic Dances, Op. 45 by Sergei Rachmaninov
Conductor:  Vasily Petrenko
Orchestra/Ensemble:  Royal Liverpool Philharmonic Orchestra
Period: Romantic 
Written: 1940; USA 
37.
Isle of the Dead, Op. 29 by Sergei Rachmaninov
Conductor:  Vasily Petrenko
Orchestra/Ensemble:  Royal Liverpool Philharmonic Orchestra
Period: Romantic 
Written: 1909; Russia 
38.
The Rock, Op. 7 by Sergei Rachmaninov
Conductor:  Vasily Petrenko
Orchestra/Ensemble:  Royal Liverpool Philharmonic Orchestra
Period: Romantic 
Written: 1893; Russia 
39.
Pièces de clavecin: no 18, L'entretien des Muses by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 6 Minutes 27 Secs. 
40.
Pièces de clavecin: no 19, Rondeau in D major "Les tourbillons" by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 14 Secs. 
41.
Pièces de clavecin: no 20, Rondeau in D minor "Les cyclopes" by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 3 Minutes 24 Secs. 
42.
Nouvelles suites de pièces de clavecin: no 15, L'enharmonique by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 4 Minutes 15 Secs. 
43.
Nouvelles suites de pièces de clavecin: no 16, L'égiptienne by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 3 Minutes 23 Secs. 
44.
Nouvelles suites de pièces de clavecin: no 11, La poule by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 4 Minutes 56 Secs. 
45.
Nouvelles suites de pièces de clavecin: no 1, Allemande in A minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 7 Minutes 11 Secs. 
46.
Nouvelles suites de pièces de clavecin: no 6, La triomphante by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 1 Minutes 44 Secs. 
47.
Nouvelles suites de pièces de clavecin: no 7, Gavotte [with 6 Doubles] in A minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 9 Minutes 29 Secs. 
48.
Pièces de clavecin: no 2, Allemande in E minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 4 Minutes 16 Secs. 
49.
Pièces de clavecin: no 3, Courante in E minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 1 Minutes 32 Secs. 
50.
Pièces de clavecin: no 4, Gigue en rondeau I in E minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 1 Minutes 33 Secs. 
51.
Pièces de clavecin: no 5, Gigue en rondeau II in E major by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 27 Secs. 
52.
Pièces de clavecin: no 6, Le rappel des oiseaux by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 43 Secs. 
53.
Pièces de clavecin: no 10, Musette en rondeau in E major by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 35 Secs. 
54.
Pièces de clavecin: no 12, Rondeau in E minor "La vilageoise" by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 48 Secs. 
55.
Nouvelles suites de pièces de clavecin: no 2, Courante in A minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 3 Minutes 35 Secs. 
56.
Nouvelles suites de pièces de clavecin: no 3, Sarabande in A major by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 3 Minutes 49 Secs. 
57.
Nouvelles suites de pièces de clavecin: no 4, Les trois mains by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 4 Minutes 46 Secs. 
58.
Nouvelles suites de pièces de clavecin: no 5, Fanfarinette in A major by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1729-1730; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 5 Secs. 
59.
Pièces de clavecin: no 11, Tambourin in E minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 1 Minutes 16 Secs. 
60.
Pièces de clavecin: no 7, Rigaudon no 1 in E minor by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 39 Secs. 
61.
Pièces de clavecin: no 8, Rigaudon no 2 et double in E major by Jean-Philippe Rameau
Performer:  Trevor Pinnock (Harpsichord)
Period: Baroque 
Written: circa 1724/1731; France 
Venue:  Preston Hall, Pathhead, Midlothian, Scot 
Length: 2 Minutes 39 Secs. 
62.
Concerto for Violin in F major, RV 292 by Antonio Vivaldi
Performer:  Adrian Chandler (Violin)
Conductor:  Adrian Chandler
Orchestra/Ensemble:  La Serenissima
Period: Baroque 
Written: Venice, Italy 
Venue:  St. Mary the Virgin Church, Salehurst, E 
Length: 9 Minutes 20 Secs. 
63.
Laudate pueri Dominum in C minor, RV 600 by Antonio Vivaldi
Performer:  Mhairi Lawson (Soprano)
Conductor:  Adrian Chandler
Orchestra/Ensemble:  La Serenissima
Period: Baroque 
Written: Venice, Italy 
Venue:  St. Mary the Virgin Church, Salehurst, E 
Length: 23 Minutes 29 Secs. 
Language: Latin 
64.
Concerto for Violin and Organ in F major, RV 542 by Antonio Vivaldi
Performer:  Adrian Chandler (Violin), Robert Howarth (Organ)
Conductor:  Adrian Chandler
Orchestra/Ensemble:  La Serenissima
Period: Baroque 
Written: Venice, Italy 
Venue:  St. Mary the Virgin Church, Salehurst, E 
Length: 10 Minutes 11 Secs. 
65.
Concerto for Violin, Strings and Basso Continuo in D major, RV 212 "S. Antonio in Padoa 1712" by Antonio Vivaldi
Performer:  Adrian Chandler (Violin)
Conductor:  Adrian Chandler
Orchestra/Ensemble:  La Serenissima
Period: Baroque 
Venue:  St. Mary the Virgin Church, Salehurst, E 
Length: 16 Minutes 12 Secs. 
66.
Salve Regina in F major, RV 617 by Antonio Vivaldi
Performer:  Mhairi Lawson (Soprano), Adrian Chandler (Violin)
Conductor:  Adrian Chandler
Orchestra/Ensemble:  La Serenissima
Period: Baroque 
Written: Venice, Italy 
Venue:  St. Mary the Virgin Church, Salehurst, E 
Length: 8 Minutes 56 Secs. 
Language: Latin 
67.
Concerto for Violin, Organ and Cello in C major, RV 554a by Antonio Vivaldi
Performer:  Sarah McMahon (Cello), Robert Howarth (Organ), Adrian Chandler (Violin)
Conductor:  Adrian Chandler
Orchestra/Ensemble:  La Serenissima
Period: Baroque 
Written: Venice, Italy 
Venue:  St. Mary the Virgin Church, Salehurst, E 
Length: 11 Minutes 45 Secs. 
68.
Solfaing Song à 5 by Thomas Tallis
Performer:  Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Tenor Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba),
Asako Morikawa (Tenor Viola da gamba), Laurence Dreyfus (Treble Vla da gamba), Asako Morikawa (Bass Viola da gamba),
Emilia Benjamin (Bass Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 24 Secs. 
69.
A Songe of Mr. R. Parsons by Robert Parsons
Performer:  Markku Luolajan-Mikkola (Bass Viola da gamba), Wendy Gillespie (Tenor Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba), Laurence Dreyfus (Treble Vla da gamba),
Emilia Benjamin (Bass Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 1 Minutes 42 Secs. 
70.
In Nomine no 2 by Thomas Tallis
Performer:  Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba),
Wendy Gillespie (Tenor Viola da gamba), Asako Morikawa (Tenor Viola da gamba), Asako Morikawa (Bass Viola da gamba),
Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 1 Minutes 50 Secs. 
71.
In nomine à 5 by Robert Parsons
Performer:  Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Treble Vla da gamba), Wendy Gillespie (Tenor Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Emilia Benjamin (Bass Viola da gamba), Laurence Dreyfus (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 1 Minutes 47 Secs. 
72.
De la court by Robert Parsons
Performer:  Wendy Gillespie (Treble Vla da gamba), Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba),
Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Tenor Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 5 Minutes 14 Secs. 
73.
Ut re mi fa sol by Robert Parsons
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 4 Minutes 57 Secs. 
74.
Mr. Parsons his Songe "The Songe called Trumpetts" by Robert Parsons
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Tenor Viola da gamba),
Wendy Gillespie (Treble Vla da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 3 Secs. 
75.
In Nomine by Thomas Tallis
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Bass Viola da gamba),
Asako Morikawa (Tenor Viola da gamba), Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba),
Wendy Gillespie (Tenor Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 13 Secs. 
76.
Prelude and Ground a 5 by William Byrd
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Treble Vla da gamba), Wendy Gillespie (Tenor Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 5 Minutes 29 Secs. 
77.
Pavan à 5, C 220 by Alfonso Ferrabosco
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Treble Vla da gamba), Wendy Gillespie (Tenor Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 5 Secs. 
78.
Mass for 4 Voices: Kyrie by William Byrd
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: circa 1592-1593; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 34 Secs. 
79.
In Nomine no 2 à 5 by Alfonso Ferrabosco
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Bass Viola da gamba),
Asako Morikawa (Tenor Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 28 Secs. 
80.
Mass for 4 Voices: Gloria by William Byrd
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 5 Minutes 35 Secs. 
81.
Mass for 4 Voices: Credo by William Byrd
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Bass Viola da gamba),
Asako Morikawa (Tenor Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 8 Minutes 18 Secs. 
82.
In Nomine no 1 à 5 by Alfonso Ferrabosco
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Bass Viola da gamba),
Asako Morikawa (Tenor Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 44 Secs. 
83.
Mass for 4 Voices: Sanctus by William Byrd
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Bass Viola da gamba),
Asako Morikawa (Tenor Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: circa 1592-1593; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 3 Minutes 49 Secs. 
84.
In Nomine no 3 à 5, C 223 by Alfonso Ferrabosco
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Treble Vla da gamba), Wendy Gillespie (Tenor Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 26 Secs. 
85.
Mass for 4 Voices: Agnus Dei by William Byrd
Performer:  Laurence Dreyfus (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba),
Asako Morikawa (Bass Viola da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba),
Wendy Gillespie (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: circa 1592-1593; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 4 Minutes 16 Secs. 
86.
Fantasia à 4 by Alfonso Ferrabosco
Performer:  Emilia Benjamin (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba),
Asako Morikawa (Bass Viola da gamba), Laurence Dreyfus (Treble Vla da gamba), Markku Luolajan-Mikkola (Bass Viola da gamba),
Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Tenor Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 3 Minutes 26 Secs. 
87.
Pavan and Galliard a 6 in C major by William Byrd
Performer:  Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Treble Vla da gamba), Wendy Gillespie (Tenor Viola da gamba),
Markku Luolajan-Mikkola (Bass Viola da gamba), Asako Morikawa (Tenor Viola da gamba), Asako Morikawa (Bass Viola da gamba),
Emilia Benjamin (Bass Viola da gamba), Laurence Dreyfus (Treble Vla da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 3 Minutes 46 Secs. 
88.
Fantasia for 6 Bass Viols by Alfonso Ferrabosco
Performer:  Asako Morikawa (Bass Viola da gamba), Laurence Dreyfus (Treble Vla da gamba), Asako Morikawa (Tenor Viola da gamba),
Markku Luolajan-Mikkola (Bass Viola da gamba), Jonathan Manson (Tenor Viola da gamba), Wendy Gillespie (Tenor Viola da gamba),
Wendy Gillespie (Treble Vla da gamba), Emilia Benjamin (Bass Viola da gamba)
Conductor:  Laurence Dreyfus
Orchestra/Ensemble:  Phantasm
Period: Renaissance 
Written: 16th Century; England 
Venue:  Our Lady St. Mary's Church, S. Creake, N 
Length: 2 Minutes 51 Secs. 
89.
Jalousie by Jacob Gade
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: 20th Century 
Written: 1925; England 
90.
Enrico IV: Oblivion by Astor Piazzolla
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: 20th Century 
Written: 1984; Argentina 
91.
Libertango by Astor Piazzolla
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: 20th Century 
Written: Argentina 
92.
Chiquilín de Bachin by Astor Piazzolla
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: 20th Century 
Written: Argentina 
93.
Danzas (12) españolas for Piano, Op. 37: no 5, Andaluza by Enrique Granados
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: Romantic 
Written: 1892-1900; Spain 
94.
Tomo y Obligo by Carlos Gardel
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: 20th Century 
95.
Hojas de album (6), Op. 165 "España": no 2, Tango by Isaac Albeniz
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: Romantic 
Written: 1890; London, England 
96.
Danzas argentinas (3), Op. 2: no 2, Danza de la moza donosa by Alberto Ginastera
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: 20th Century 
Written: 1937; Argentina 
97.
Graciela y Buenos Aires by José Bragato
Performer:  Fionnuala Hunt (Violin)
Conductor:  Fionnuala Hunt
Orchestra/Ensemble:  Dublin RTE Concert Orchestra
Period: 20th Century 
98.
Suite for Orchestra no 3 in D major, BWV 1068 by Johann Sebastian Bach
Period: Baroque 
Written: circa 1729-1731; Leipzig, Germany 
Length: 17 Minutes 33 Secs. 
99.
Suite for Orchestra no 4 in D major, BWV 1069 by Johann Sebastian Bach
Period: Baroque 
Written: circa 1729-1731; Leipzig, Germany 
Length: 16 Minutes 51 Secs. 

Featured Sound Samples

Piano Suite no 2 (Enescu): I. Toccata
Symphonic Dances (Rachmaninov): I. Non allegro
Pièces de clavecin (Rameau): No 20: Rondeau "Les cyclopes"
Mass for 4 Voices (Byrd): Agnus Dei
Chiquilín de Bachín (Piazzolla)

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