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Baroque - Bach, Blow, Charpentier, Corelli, Handel, Monteverdi


Release Date: 10/11/2011 
Label:  Harmonia Mundi   Catalog #: 2908510  
Composer:  Johann Sebastian BachMarc-Antoine CharpentierJacques PhilidorClaudio Monteverdi,   ... 
Performer:  Marie-Ange PetitAgnès MellonGuillemette LaurensGregory Reinhart,   ... 
Conductor:  William ChristieNicholas McGeganPhilippe HerrewegheChiara Banchini,   ... 
Orchestra/Ensemble:  Academy for Ancient Music BerlinLes Arts FlorissantsPhilharmonia Baroque Orchestra,   ... 
Number of Discs: 10 
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Notes and Editorial Reviews

Also available from hmGold:

10-CD sets of Romantic music & of Choral Works


This "Baroque" box benefits from harmonia mundi's incomparable expertise in this field. Here are the key musical landmarks of the late seventeenth and early eighteenth centuries, including Bach's Brandenburg Concertos, Corelli's Concerti Grossi and Handel's Water Music, not forgetting
Read more the human voice with such works as Blow's Venus & Adonis and Charpentier's Te Deum. And the quality of the performances is on the same exalted level, in the experienced hands of René Jacobs, William Christie, Philippe Herreweghe, Chiara Banchini, and Nicholas McGegan!
These titles were originally released between 1983 and 1999.

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

Corelli's Op. 6 concertos, which so notably influenced Handel's later masterpieces in the concerto grosso style, are here reissued in first-rate performances by (then-Geneva-based) Ensemble 415, led by founder/violinist Chiara Banchini. The original recordings, released in 1992 and now repackaged in a handsomely presented 2-CD set, retain their clear detail and well-balanced sonic perspective, even if the overall ambience is a bit softer-edged and so a little less vibrant than we often hear these days from similar ensembles and repertoire. This sonic character is significantly influenced by the relatively large ensemble, which numbers nearly 40 in the concerti da chiesa and about 20 for the concerti da camera. These numbers certainly aren't unusual for a Corelli orchestra, and one of the benefits of this production is getting to hear such a grand sound in the tuttis enhanced by varied colors in the concertino and orchestral continuo groupings, whose makeup changes with each concerto.

The playing is impeccable--crisply articulated, with fetching rhythmic pulse and shapely phrasing in the slow passages. Interpretively we are treated to tempos that reflect an observation by Georg Muffat (who witnessed Corelli's own performances) to "imitate the Italians as closely as possible"--that is, to render the slow movements "slower" and the fast movements "faster" than the norm in northern Europe. So indeed there are some unusually slow moments--the Adagio-Allegro-Adagio movement of the famous concerto No. 8 ("Christmas Concerto"), for instance--and some assuredly brisk (but not too brisk) fast movements.

Overall, however, this probably is the slowest recorded set of these 12 works, and the thing is, you never suspect it because the balance of tempos from movement to movement is ideally judged, and there's a pervasive liveliness and buoyancy in the playing that ensures a certain momentum that never allows the music to feel under-powered. In fact, I prefer Banchini's performances to Nicholas McGegan's smaller-scaled, very articulate, exciting, and comparably lightning-fast renditions with the Philharmonia Baroque from 1989 (also on Harmonia Mundi). This was definitely an excellent choice for re-issue in Harmonia Mundi's new hmGold series--if you missed it, don't hesitate this time.

--David Vernier, ClassicsToday.com

...In the First [Brandenburg] Concerto the two horns make a splendidly robust, grainy sound, though rhythmically the opening bars of the initial movement seemed a little stiff. The Adagio which follows it, however, is more relaxed and moves with an elegantly phrased fluency. The third movement Allegro has a pleasingly light tread... The tempos of the menuets and trios seem almost ideal, somewhat slower than some recent performances and consequently preserving much of their inherent balletic grace. Trumpeter Friedemann Immer must have made at least half-a-dozen recordings of the Second Brandenburg. I have not always enjoyed his playing and have found his random omission of Bach's ornaments unwarranted. The present performance should rank among his strongest, though, since he negotiates with commendable security most of this challenging music without sacrificing the ornaments. The other elements of the concertino are secure, providing a freely but tastefully ornamented middle movement. The Third Concerto is lively and lightly articulated throughout... The Fourth Concerto is a lively affair, crisply articulated and rhythmically buoyant. The violin solos are given plenty of shape and space to breathe, while the two recorders are chirpy and well defined if, on occasion, prey to excessive flights of fancy. This concerto, and the Fifth are, perhaps, the crowning achievements of the set. I find the phrasing and transparent textures in each of these works admirable and in many respects revelatory. Small quibbles over ensemble and tuning are easily pushed aside in performances as musicianly and sensitive as these. The Sixth Concerto, too, comes off well, i

ntimate and rhythmically infectious... ...There is nothing routine either in the playing or the thinking behind it. It is fallible, but it is alive, it breathes, it stimulates and, for much of the time delights... Refreshing, and well recorded.

-- Gramophone

Recordings of Charpentier's Te Deum, with its celebrated opening Prelude are relatively plentiful, with versions by Michel Corboz, Louis Devos (both Erato/RCA) and Malgoire (now advised for release on CBS) among those currently in the European catalogue. Much less favoured by recording companies, however, is the beautiful Mass, Assumpta est Maria which William Christie includes in this new release together with the most extended of Charpentier's nine settings of the Litanies de la Vierge. So many of Charpentier's strengths as a composer of sacred vbcal music are evident in these works that we might almost regard it as a culmination of all that Christie has so far explored, but I very much hope that this is not a final gesture either on his part or that of Harmonia Mundi who, more than any other recording company, have rehabilitated the composer in the ears and eyes of the public.

Christie almost unfailingly has a lively sense of occasion and this is heightened at the outset of the Te Deum by his prefacing of it with one of Philidor the younger's stirring Marches de timbales. The air of expectancy is considerable, as is the ceremonial grandeur and the fervour with which Christie and his soloists imbue the music. The Prelude itself is crisply dotted and played with exuberance and vigour, and this spirit prevails throughout the canticle. Orchestral ensemble is not always impeccable but Christie's direction generates such excitement that I was quite effortlessly carried along by it.

The Mass Assumpta est Maria is of a strongly contrasting character with that of the Te Deum. It is a masterly work with passages of beauty perhaps unrivalled amongst Charpentier's compositions. H. W. Hitchcock places it around 1699 but Catherine Cessac in a recent study of the composer reckons it dates from 1702 when it was performed on August 15th; it was certainly Charpentier's last Mass, presumably composed for the Sainte Chapelle, and in this version, one of two, it is scored for strings in four parts, recorders, continuo, six-part chorus and a solo group of two sopranos, haute-contre, tenor, baritone and bass. Christie conveys the affective content of the music with his customary insight; the sublimely tender opening of the Credo, where the inner parts with their passing notes and suspensions move against the more static outer parts, is exquisitely handled. Yet in this section, and elsewhere too, the choir seldom place the consonants at the end of phrases either with much stylistic assurance or with even a modicum of finesse, and I was surprised to hear two badly audible edits, both of them in the Credo.

In spite of these rough edges I found much to enjoy in the performance. Neither of the two previous recordings listed above shows a comparable stylistic awareness and neither, in point of fact, is complete. Louis Martini on an old Vox LP (nla) omits the concluding ''Domine salvum'', but includes an Elevation, ''In odorem unguentorum'' (H51), a practice for which Charpentier made allowance, the English Bach Festival version on an Erato LP (nla) also omits the ''Domine salvum'', concluding with the Agnus Dei. Christie adds neither an Elevation nor follows Charpentier's intention of performing an additional motet after the ''Domine salvum''; but that is understandable since the composer never got round to composing it.

The remaining music on the disc belongs to the Litanies de la Vierge. It was probably composed during the early to mid 1680s and intended for musicians in the service of the Duchesse de Guise whom Charpentier himself was serving at the time. The work is scored for six soloists (three high voices, haute contre, tenor and bass) who unite for the six-part chorus, two treble viols and continuo. This is the most extended of Charpentier's settings of the Litany of Loreto and is striking both for its effectively contrasting sections and its skilful contrapuntal writing. The singers blend beautifully conveying both the music's radiance, as for instance in the ''Rosa mystica'', and its more reflective character.

All in all, a rewarding disc.

-- Nicholas Anderson, Gramophone

No more apologies for this work [Venus & Adonis]. Historically in the shadow of Purcell’s Dido, Venus and Adonis is fast becoming a recognized masterpiece of small-scale baroque drama. Blow draws considerable inspiration from French chamber opera both in matters of constitution and balance, though Venus and Adonis is still a distinctly English work with its poised, understated dialogue and an emotional denouement where Adonis’s death from the tusks of a boar is touchingly tender in its measured, if demonstrative grief; the effect is not far removed from Dido’s lament, though Purcell’s tragic vein is ultimately untouchable. There are, however, some superb examples of indigenous word-setting and declamatory arioso which put Blow in the Purcell bracket in several instances, not least in Cupid’s forthright scene-setting, sung with increasing assurance by Robin Blaze. Indeed, Rene Jacobs surrounds himself with many fine singers here, all of whom he marshals in lively and responsive performances. Rosemary Joshua is an irresistible Venus, who wastes not a word either in colourful representation or vocal suppleness, and Gerald Finlay’s reflective longing accords with Jacobs’s elegant and full-flavoured direction. More continental in nuance than Philip Pickett’s direct and tightly-wrought account, Jacobs lends a gentle francophile accentuation to the dances rather than Pickett’s deliberately organized characterization.

It is hard to choose between Catherine Bott’s classical bearing and Joshua’s sensual realism, and between Finlay and Michael George, both of whom deliver agreeably resonant performances. In terms of atmosphere – of which Blow is a tantalizing master – Pickett takes some beating in the languorous ‘In these sweet groves’ and the Westminster Abbey School Choristers convey more of the humour and charm of the famous Cupid’s lesson than Jacobs’s brats (really the women of Clare College) who over-egg the pudding. Yet there is a nobility in the initial exchanges between the protagonists which, although it constitutes little more than spouting the other’s name, is elevated by a doleful shimmer of recorders, which under Jacobs augurs much in its funereal symbolism. These responsive instrumental interjections from the OAE are even more effective in ‘Hark, hark the rural music sounds’. Indeed, for all the mercurial magic of Pickett, the range of dramatic sensibility from Jacobs gives this new account an extra layer of realization and colour. There’s colour, too, in the fact that Venus and Adonis was first performed with Charles II’s mistress Moll Davis as Venus, and Cupid played by his illegitimate daughter, Lady Mary Tudor.

Since Sir Anthony Lewis’s inaugural recording from 1953 (L’Oiseau Lyre, 3/54 – nla), then, we have had the Consort of Musicke’s pioneering ‘period’ account, and London Baroque under Charles Medlam with Lynne Dawson as Venus, and all have been largely overtaken by The New London Consort under Pickett. This admirable new recording puts the work on yet another footing.

-- Jonathan Freeman-Attwood, Gramophone

"This is a very attractive account of the three suites which comprise Handel's Water Music. The Philharmonia Baroque Orchestra are a San Francisco-based ensemble whose members play period instruments or copies of them. Nicholas McGegan has been their director since 1985 and, if this recording is anything to go by, he is achieving exciting results with them. Not that I like everything that McGegan does with the music; for instance, I hardly think it beneficial to introduce those notorious messa di voce gestures so emphatically to the graceful Menuets of the G major Suite; any semblance of lightfooted elegance is destroyed at once. Elsewhere, I have little but praise for this splendidly colourful account of the music. There are some lovely sounds emerging both from the wind and string sections and McGegan sets an effective tempo in almost all the movements. Perhaps what I enjoyed as much as anything in this performance was its lively sense of occasion. McGegan creates a spontaneity, a feeling almost, that we are the first to hear the music and that we are intended to be riveted by it; and if even half the stories surrounding the circumstances which prompted the composition of the Water Music are true, that is exactly what Handel set out to achieve. The performance is greatly enhanced, furthermore, by a first-rate recorded sound: clear, ideally resonant and warm, allowing one to hear plenty of detail in the many varying textures"

-- Nicholas Anderson, Gramophone

Here is an attractive, thoughtfully prepared programme of duo and trio sonatas by Vivaldi. Chiara Banchini, with a nucleus of her Ensemble 415, plays two trios from Vivaldi's first published collection, Op. 1 and four sonatas with an optional bass line which remain unpublished to the present day. The trios from Op. 1 are the Eighth Sonata in D minor (RV64), and the last and best known of the set, La follia, also in D minor (RV63); only this last-mentioned piece is absent from the two separately available discs which the Purcell Quartet recently recorded for Chandos. But whereas the Purcell Quartet drop the optional continuo in only two of the sonatas so designated (RV70 and 77) Banchini excludes it from all four pieces; so there is less duplication than might at first appear.

There is a pleasingly natural, unaffected aspect to Banchini's musical approach; no shortage of affecting gestures here but a welcome absence of excessive deliberation and exaggerated mannerism. Banchini and her partner Veronique Mejean bring plenty of contrast in tempo and colour to La follia and I find much to admire and excite the senses in their performance. And the attractive Sonata No. 8 of the set, laid out like a suite, comes over well, too.

The four sonatas for two violins make rewarding listening. The Sonata in G major (RV71) is a particularly expressive one, which Vivaldi seems to have reworked from the Concerto in G major for two violins and strings (RV516). It has nothing, however, to do with the composer's Concerto in A major, (Op. 9 No. 2) as is suggested in the insert-note. Banchini and Mejean play this and the other three sonatas with assurance and a good ear for nuances of tuning and expression. Even so, I sometimes found myself missing the exuberance of Catherine Mackintosh and Elizabeth Wallfisch on the Chandos discs.

Each partnership has its own distinctive musical rapport, though where Mackintosh and Wallfisch score in esprit Banchini and Mejean restore the balance with what strikes my ears as more careful preparation and closer attention to detail. In short, there is little to choose between the two. Banchini takes us deeper into the violinist's world with concentrated performances of these Sonatas senza basso, while the other team achieves marginally greater spontaneity. The new issue can be warmly commended for repertory, playing and recording alike.

-- Nicholas Anderson, Gramophone

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Works on This Recording

1. Brandenburg Concerto no 1 in F major, BWV 1046 by Johann Sebastian Bach
Orchestra/Ensemble:  Academy for Ancient Music Berlin
Period: Baroque 
Written: 1717; ?Cöthen, Germany 
2. Brandenburg Concerto no 2 in F major, BWV 1047 by Johann Sebastian Bach
Orchestra/Ensemble:  Academy for Ancient Music Berlin
Period: Baroque 
Written: 1717-1718; ?Cöthen, Germany 
3. Brandenburg Concerto no 3 in G major, BWV 1048 by Johann Sebastian Bach
Orchestra/Ensemble:  Academy for Ancient Music Berlin
Period: Baroque 
Written: 1711-1713; ?Weimar, Germany 
4. Brandenburg Concerto no 4 in G major, BWV 1049 by Johann Sebastian Bach
Orchestra/Ensemble:  Academy for Ancient Music Berlin
Period: Baroque 
Written: circa 1720; ?Cöthen, Germany 
5. Brandenburg Concerto no 5 in D major, BWV 1050 by Johann Sebastian Bach
Orchestra/Ensemble:  Academy for Ancient Music Berlin
Period: Baroque 
Written: 1720-1721; ?Cöthen, Germany 
6. Brandenburg Concerto no 6 in B flat major, BWV 1051 by Johann Sebastian Bach
Orchestra/Ensemble:  Academy for Ancient Music Berlin
Period: Baroque 
Written: 1708-1710; ?Weimar, Germany 
7. Te Deum in D major, H 146 by Marc-Antoine Charpentier
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: circa ?1690; France 
Date of Recording: 10/1988 
Venue:  Eglise Notre-Dame du Travail, Paris 
Length: 23 Minutes 7 Secs. 
Language: Latin 
8. Missa Assumpta est Maria, H 11 by Marc-Antoine Charpentier
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: 1698-1702 
Date of Recording: 10/1988 
Venue:  Eglise Notre-Dame du Travail, Paris 
Length: 32 Minutes 6 Secs. 
Language: Latin 
9. Litanies de la vierge, H 83 by Marc-Antoine Charpentier
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: 1683-1685 
Date of Recording: 10/1988 
Venue:  Eglise Notre-Dame du Travail, Paris 
Length: 17 Minutes 46 Secs. 
10. March for Kettledrums by Jacques Philidor
Performer:  Marie-Ange Petit (Percussion)
Period: Baroque 
Written: 1685; France 
11. Madrigals, Book 8: Il ballo delle ingrate by Claudio Monteverdi
Performer:  Agnès Mellon (Soprano), Guillemette Laurens (Mezzo Soprano), Gregory Reinhart (Bass),
Jill Feldman (Soprano)
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: 1608; Mantua, Italy 
Date of Recording: 09/1982 
Length: 39 Minutes 48 Secs. 
Language: Italian 
12. Madrigals, Book 6: Sestina - Lagrime d'amante al sepolcro by Claudio Monteverdi
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 09/1982 
Length: 16 Minutes 12 Secs. 
Language: Italian 
13. Water Music, HWV 348-350 by George Frideric Handel
Conductor:  Nicholas McGegan
Orchestra/Ensemble:  Philharmonia Baroque Orchestra
Period: Baroque 
Written: 1715/1736; London, England 
14. Water Music Suite no 1 in F major, HWV 348 by George Frideric Handel
Conductor:  Nicholas McGegan
Orchestra/Ensemble:  Philharmonia Baroque Orchestra
Period: Baroque 
Written: circa 1715-1717; London, England 
15. Water Music Suite no 2 in D major, HWV 349 by George Frideric Handel
Conductor:  Nicholas McGegan
Orchestra/Ensemble:  Philharmonia Baroque Orchestra
Period: Baroque 
Written: circa 1715-1717; London, England 
16. Water Music Suite no 3 in G major, HWV 350 by George Frideric Handel
Conductor:  Nicholas McGegan
Orchestra/Ensemble:  Philharmonia Baroque Orchestra
Period: Baroque 
Written: circa 1715-1717; London, England 
17. Musicalische Exequien, Op. 7/SWV 279-81 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  La Chapelle Royale Chorus Paris
Period: Baroque 
Written: 1636; Germany 
Language: German 
18. Geistliche Chormusik, Op. 11/SWV 369-397: Die Himmel erzählen, SWV 386 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  La Chapelle Royale Chorus Paris
Period: Baroque 
Language: German 
19. Geistliche Chormusik, Op. 11/SWV 369-397: Also hat Gott die welt, SWV 380 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  La Chapelle Royale Chorus Paris
Period: Baroque 
Written: 1648; Germany 
Language: German 
20. Geistliche Chormusik, Op. 11/SWV 369-397: Selig sind die Toten, SWV 391 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  La Chapelle Royale Chorus Paris
Period: Baroque 
Written: 1648; Germany 
Language: German 
21. Geistliche Chormusik, Op. 11/SWV 369-397: So fahr ich hin zu Jesu, SWV 379 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  La Chapelle Royale Chorus Paris
Period: Baroque 
Language: German 
22. Kleine geistliche Konzerte, Op. 9: Ich bin die Auferstehung und das Leben, SWV 324 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  La Chapelle Royale Chorus Paris
Period: Baroque 
Written: by 1639; Dresden, Germany 
Language: German 
23. Kleine geistliche Konzerte, Op. 8: O lieber Herre Got, SWV 287 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  La Chapelle Royale Chorus Paris
Period: Baroque 
Written: 1636; Germany 
Language: German 
24. Trio Sonata for 2 Violins and Basso Continuo in D minor, Op. 1 no 12/RV 63 "La Follia" by Antonio Vivaldi
Performer:  Käthi Gohl (Cello), Véronique Méjean (Violin), Jesper Christensen (Harpsichord),
Chiara Banchini (Violin)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1705; Venice, Italy 
Date of Recording: 01/1991 
Length: 11 Minutes 18 Secs. 
25. Trio Sonata for 2 Violins and Basso Continuo in D minor, Op. 1 no 8/RV 64 by Antonio Vivaldi
Performer:  Käthi Gohl (Cello), Jesper Christensen (Harpsichord), Chiara Banchini (Violin),
Véronique Méjean (Violin)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1705; Venice, Italy 
Date of Recording: 01/1991 
Length: 11 Minutes 35 Secs. 
26. Sonata for 2 Violins and Basso Continuo in F major, F 13 no 3/RV 68 by Antonio Vivaldi
Performer:  Chiara Banchini (Violin), Véronique Méjean (Violin)
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: Turin, Italy 
Date of Recording: 01/1991 
Length: 9 Minutes 23 Secs. 
27. Sonata for 2 Violins and Basso Continuo in F major, F 13 no 4/RV 70 by Antonio Vivaldi
Performer:  Chiara Banchini (Violin), Véronique Méjean (Violin)
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: Turin, Italy 
Date of Recording: 01/1991 
Length: 11 Minutes 14 Secs. 
28. Sonata for 2 Violins and Basso Continuo in G major, F 13 no 1/RV 71 by Antonio Vivaldi
Performer:  Véronique Méjean (Violin), Chiara Banchini (Violin)
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: Venice, Italy 
Date of Recording: 01/1991 
Length: 11 Minutes 44 Secs. 
29. Sonata for 2 Violins and Basso Continuo in B flat major, F 13 no 2/RV 77 by Antonio Vivaldi
Performer:  Chiara Banchini (Violin), Véronique Méjean (Violin)
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: Turin, Italy 
Date of Recording: 01/1991 
Length: 13 Minutes 43 Secs. 
30. Concerti grossi (12), Op. 6: no 1 in D major by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Length: 13 Minutes 43 Secs. 
31. Concerti grossi (12), Op. 6: no 2 in F major by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Length: 11 Minutes 30 Secs. 
32. Concerti grossi (12), Op. 6: no 9 in F major by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Length: 9 Minutes 32 Secs. 
33. Concerti grossi (12), Op. 6: no 3 in C minor by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Length: 12 Minutes 6 Secs. 
34. Concerti grossi (12), Op. 6: no 10 in C major by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Length: 13 Minutes 20 Secs. 
35. Concerti grossi (12), Op. 6: no 4 in D major by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Length: 10 Minutes 52 Secs. 
36. Concerti grossi (12), Op. 6: no 5 in B flat major by Arcangelo Corelli
Performer:  Chiara Banchini (Violin), Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini,  Jesper Christensen
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Date of Recording: 10/1991 
Length: 12 Minutes 24 Secs. 
37. Concerti grossi (12), Op. 6: no 11 in B flat major by Arcangelo Corelli
Performer:  Chiara Banchini (Violin), Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini,  Jesper Christensen
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Date of Recording: 10/1991 
Length: 10 Minutes 25 Secs. 
38. Concerti grossi (12), Op. 6: no 6 in F major by Arcangelo Corelli
Performer:  Chiara Banchini (Violin), Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini,  Jesper Christensen
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Date of Recording: 10/1991 
Length: 14 Minutes 26 Secs. 
39. Concerti grossi (12), Op. 6: no 12 in F major by Arcangelo Corelli
Performer:  Chiara Banchini (Violin), Jesper Christensen (Harpsichord)
Conductor:  Chiara Banchini,  Jesper Christensen
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Date of Recording: 10/1991 
Length: 11 Minutes 39 Secs. 
40. Concerti grossi (12), Op. 6: no 7 in D major by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord), Chiara Banchini (Violin)
Conductor:  Chiara Banchini,  Jesper Christensen
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Date of Recording: 10/1991 
Length: 10 Minutes 27 Secs. 
41. Concerti grossi (12), Op. 6: no 8 in G minor "Christmas" by Arcangelo Corelli
Performer:  Jesper Christensen (Harpsichord), Chiara Banchini (Violin)
Conductor:  Chiara Banchini,  Jesper Christensen
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: 1708-1712; Rome, Italy 
Date of Recording: 10/1991 
Length: 15 Minutes 15 Secs. 
42. Venus and Adonis: Overture by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 40 Secs. 
43. Venus and Adonis: Behold my arrows and my bow by John Blow
Performer:  Robin Blaze (Countertenor)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment,  Clare College Choir
Period: Baroque 
Written: ?1681; England 
Length: 0 Minutes 49 Secs. 
44. Venus and Adonis: Come shepherds all by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 58 Secs. 
45. Venus and Adonis: Courtiers there is no faith in you by John Blow
Performer:  Robin Blaze (Countertenor)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 0 Minutes 47 Secs. 
46. Venus and Adonis: In these sweet groves by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment,  Clare College Choir
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 34 Secs. 
47. Venus and Adonis: Cupid's entry by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 16 Secs. 
48. Venus and Adonis: The Act 1 Tune by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 32 Secs. 
49. Venus and Adonis: Venus! Adonis! by John Blow
Performer:  Rosemary Joshua (Soprano), Gerald Finley (Baritone)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 6 Secs. 
50. Venus and Adonis: Hark, hark the rural music sounds by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 9 Secs. 
51. Venus and Adonis: Adonis will not hunt today by John Blow
Performer:  Gerald Finley (Baritone), Rosemary Joshua (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 27 Secs. 
52. Venus and Adonis: Come, follow the noblest game by John Blow
Performer:  Gerald Finley (Baritone), Christopher Josey (Countertenor)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment,  Clare College Choir
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 32 Secs. 
53. Venus and Adonis: A dance by a Huntsman by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 1 Secs. 
54. Venus and Adonis: The Act 2 Tune by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 52 Secs. 
55. Venus and Adonis: You place with such delightful care by John Blow
Performer:  Robin Blaze (Countertenor), Rosemary Joshua (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 42 Secs. 
56. Venus and Adonis: The cupid's lesson "The insolent, the arrogant" by John Blow
Performer:  Robin Blaze (Countertenor)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment,  Clare College Choir
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 34 Secs. 
57. Venus and Adonis: Choose for the formal fool by John Blow
Performer:  Robin Blaze (Countertenor)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 36 Secs. 
58. Venus and Adonis: A Dance of Cupids by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 35 Secs. 
59. Venus and Adonis: Call the Graces by John Blow
Performer:  Rosemary Joshua (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 0 Minutes 53 Secs. 
60. Venus and Adonis: Mortals below, Cupids above by John Blow
Performer:  Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment,  Clare College Choir
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 26 Secs. 
61. Venus and Adonis: The Graces' Dance by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 17 Secs. 
62. Venus and Adonis: Gavott by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 0 Minutes 47 Secs. 
63. Venus and Adonis: Saraband for the Graces by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 34 Secs. 
64. Venus and Adonis: A Ground by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 1 Minutes 40 Secs. 
65. Venus and Adonis: The Act 3 Tune by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 8 Secs. 
66. Venus and Adonis: Adonis, uncall'd for sighs by John Blow
Performer:  Gerald Finley (Baritone), Rosemary Joshua (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 5 Minutes 5 Secs. 
67. Venus and Adonis: With solemn pomp let mourning Cupids bear by John Blow
Performer:  Rosemary Joshua (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment
Period: Baroque 
Written: ?1681; England 
Length: 2 Minutes 26 Secs. 
68. Venus and Adonis: Mourn for thy servant by John Blow
Performer:  Christopher Josey (Countertenor), Maria Cristina Kiehr (Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment,  Clare College Choir
Period: Baroque 
Written: ?1681; England 
Length: 3 Minutes 19 Secs. 
69. Venus and Adonis by John Blow
Performer:  Robin Blaze (Countertenor), Maria Cristina Kiehr (Soprano), Christopher Josey (Countertenor),
Gerald Finley (Baritone)
Conductor:  René Jacobs
Orchestra/Ensemble:  Orchestra of the Age of Enlightenment,  Clare College Choir
Period: Baroque 
Written: ?1681; England 

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