Here Cindy Castillo marks the completion of a new organ in the German baroque style by Dominique Thomas in the church of Saint-Loup in Namur with her own realization of this work. A monument to the late Baroque style.

Cindy Castillo, Thomas Organ (2023)

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This journey begins at sunset and ends with the first light of day. In this unforgettable experience we will be accompanied at all times by the beauty and spirituality of baroque art. It is also worth mentioning that this album features the World’s First Recording of the work ‘Adiuvanos Deus’ by the Neapolitan master Gaetano Veneziano.

Miguel Ulla – Countertenor, Percussion
Fernando Reyes – Theorbo

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Miguel Ulla, Countertenor & Percussion
Carlos Cantero, Theorbo & Baroque Guitar

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He was an extremely influential composer a predecessor of Corelli and Vivaldi, Stradella started the “concerto grosso” and some of his works were exploited by Handel. His “Symphonies” are an exquisite example of the “sonata da chiesa” style.

L’Accademico Formato
Juan Utrera, Violin
Teresa Bartolomé, Violin
Javier Jiménez, Organ

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Leonardo Leo was considered one of the best composers of the “Napolitan school” alone with Alessandro Scarlatti, Francesco Durante, Francesco Feo, etc. Miguel Ulla, the young emerging Spanish Countertenor gives a fresh and inspired version of this beautiful lyric works. He is accompanied by Fernando Reyes, (tiorba, archlute and baroque guitar) and Javier Jiménez, organ.

Miguel Ulla, Countertenor
Javier Jiménez, Organ
Fernando Reyes, Archlute, Baroque Guitar & Tiorba

The post Leonardo Leo: Sei Cantate Spirituale (6 Spiritual Cantatas), Vol. 1 (World Premiere Recording) appeared first on NativeDSD Music.

The DSD EP is specially priced and exclusively available in Stereo DSD 512, DSD 256, DSD 128, DSD 64 and DXD from the Edit Master Source at NativeDSD. It is a DSD Exclusive, Not Available on SACD release.

With Miguel Ulla we introduce also Soloists from “L’Accademico Formato” including for this recording baroque violin players Juan Utrera and Teresa Bartolomé. At the organ, Javier Jiménez. Following this short EP, we are going to present a first world recording of the “Cantate Spirituale” by Leonardo Leo, (1694-1744) in two volumes.

Miguel Ulla, Countertenor
Javier Jiménez, Organ 
L’Accademico Formato Soloists

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Maria Antonietta Cancellaro is а musicologist and harpsichordist. Having obtained her diploma in piano with Niccolo Parente, she further developed her study of the harpsichord with Emilia Fadini at the Scuola Musicale di Milano. She then obtained the 2nd-level diploma in harpsichord with Andrea Coen at the Conservatory of Music in L’Aquila.

She dedicates herself to the study of Renaissance and Baroque music, focusing mainly on the rediscovery of composers from Southern Italy. In 200S she founded the vocal and instrumental group Le Vaghe Ninfe.

Maria Antonietta Cancellaro, Harpsichord

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Exclusively Available in Stereo and 5 Channel Surround Sound DSD 256, DSD 128 & DSD 64 plus Stereo DSD 512 at NativeDSD!

Award-winning Baroque violinist Rachel Podger takes the resurgence of the Arts in England post-1660 as the compelling inspiration for her new album, The Muses Restor’d . Geoff Brown from The Times has called this album one of The Best Classical Albums of 2024.

Adopting its title as its theme, Rachel and her vivacious Brecon Baroque take the listener on a journey of captivating violin-led chamber music from Jacobean to Early Georgian England. Ranging from the gentle intimacy of consort idioms to the full-blown instrumental virtuosity of the evolving Baroque period, this album uncovers little known glories of English instrumental music and its influences.

This refined and intimately chiseled chamber music celebrates a rich tradition where the violin joins a plethora of keyboards, lutes, viol and continuo cello reinstating these sonatas, fantasies, suites, grounds and popular tunes to the mainstream of English cultural life of the time. Together with four musicians from Brecon Baroque, Rachel Podger performs works by Handel, Lawes, Blow, Locke, Purcell, Schop, Jenkins, Baltzar and Jones.

Rachel Podger plays a violin made in Genoa in 1739 by Pesarinius and bow by René Groppe. Rachel
Podger is grateful for the loan of a short Baroque violin bow by Philip Brown from The Royal Academy of
Music, which she used in some of the works on this recording.

“This oeuvre provides a deeply satisfying kaleidoscope of musical expression over a century of British musical life.”
– Rachel Podger

Rachel Podger, Violin
Brecon Baroque

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Organized by the theme, we will find in this anthology chorales of Pray, Advent, Christmas, Passion, Easter, Holy Spirit, Death and Hope.

Performed on a Spectacular Organ at the San Juan el Real Church in Calatayud, (Zaragoza), Spain.

Javier Jiménez, Organ

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Recording solo pieces was a departure from my usual ensemble or orchestral work, requiring a different mindset and approach (…) the solitude allowed for introspection and deep connection with the music, resulting in a profoundly personal recording experience.
– Ásdís Valdimarsdóttir

Click Here to read the entire interview with Ásdís.

My own journey with these wonderful pieces began during the pandemic, when I found a transcription of them that someone had made for my instrument, the viola. There is very limited repertoire for the viola from the Baroque period, so we have to make do with transcriptions of Bach’s solo works for cello and violin, and indeed we also play the Fantasies that Telemann wrote for the violin. So I was very happy to find something new to work on during that strange time of no concerts, bought a copy and started practicing. As I worked through them I often wondered if the text could be arranged differently over the octaves. Thus, I gradually found myself actually making a completely new transcription, and in January 2024 my version was published by the French publisher Billaudot. I have tried to respect the original text as far as possible and I included every note and every chord that Telemann wrote, even if some of them are barely possible to play on the viola!

Making this edition and recording has been an incredible journey of discovery. These fantasies are appropriately named; they travel through many tonalities with extreme peaks and valleys; quirky fast movements full of folk music, joy and surprises; slow movements full of wonder and sorrow, some marked Grave, others simply Dolce. Each fantasy has a character of its own, full of humanity and unique stories to tell. I feel very humbled, honoured and grateful that I have had the opportunity to delve so deeply into these wonderful Fantasies and to make this recording.
– Ásdís Valdimarsdóttir (viola, transcription)

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