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CD Brockes-Passion George Frideric HANDEL,
Arie per la Cuzzoni
Ramée, RAM 1501

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CD Brockes-Passion Reinhard KEISER,
Brockes-Passion
Ramée, RAM 1303

Double CD

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CD Violin Concerti Op. 7 Jean-Marie LECLAIR,
Violin Concertos Op. 7
Ramée, RAM 1202

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CD Ouvertures - Concerti
Giuseppe SAMMARTINI,
Concertos & Overtures
Ramée, RAM 1008

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CD Ouvertures - Concerti
Giovanni BONONCINI,
San Nicola di Bari
Ramée, RAM 0806

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CD Ouvertures - Concerti
Johann Christoph PEZ,
Ouvertures — Concerti
Ramée, RAM 0705

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CD Armonico Tributo
Georg MUFFAT,
Armonico Tributo
Ramée, RAM 0502

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Brockes-Passion

George Frideric HANDEL,
Arie per la Cuzzoni


Hasnaa Bennani
Les Muffatti
Peter Van Heyghen

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By all accounts Francesca Cuzzoni was short, squat, and hardly a proverbial beauty. Her acting was indifferent, her dress sense poor, and playing the diva was a temptation she could never quite resist. But as soon as she began to sing, her wonderful voice, flawless intonation, and exquisite taste went straight to her audience’s heart. And that was how, on the 12th of January 1723, aged 26, the young soprano from Parma won the undying love of London’s opera-goers with her performance in the première of Handel’s Ottone.
When we started thinking about putting together a programme featuring Hasnaa Bennani, we were struck by how closely the description of Cuzzoni’s qualities as a singer matches Hasnaa’s voice. Both have the same warmth, intensity, and trueness of tone.


George Frideric HANDEL, Arie per la Cuzzoni
1. Ouverture – Marcia Scipione (1726)
2. Rec.: Che Sento? Oh Dio! Giulio Cesare (1724)
3. Aria: Se pietà di me non senti
Giulio Cesare
4. Aria: Scoglio d'immota fronde Scipione
5. Concerto Ottone (1723)
6. Aria: Ombre, piante, urne funeste! Rodelinda (1725)
7. Rec.: Non credo che sian finti Siroe, Re di Persia (1728)
8. Aria: Or mi perdo di speranza Siroe, Re di Persia
9. Aria: Non è più tempo Tamerlano (1724)
10. Ouverture Tolomeo, Re di Egitto (1728)
11. Ballo di Larve Admeto (1727)
12. Sinfonia Scipione
13. Sinfonia Admeto
14. Rec.: È tale Otton? Ottone
15. Aria: Falsa imagine Ottone
16. Aria: Se'l mio duol non è si forte Rodelinda
17. Sinfonia Admeto
18. Aria: Nò, più soffrir non voglio Alessandro (1726)
19. Aria: Torni omai la pace all'alma Tolomeo, Re di Egitto




Brockes-Passion

Reinhard KEISER,
Brockes-Passion


Vox Luminis
Les Muffatti
Peter Van Heyghen
Zsuzsi Tóth, Tochter Zion
Jan Van Elsacker, Evangelist
Peter Kooij, Jesus

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The Brockes-Passion can be considered the archetype of the German Passion oratorio. As such, it served as a model and source of inspiration for famous later masterpieces, enjoying uninterrupted popularity throughout the 18th century when no less than 11 composers, including Handel and Telemann, set it to music. The superb version by Reinhard Keiser (1674-1739) is not only the first but also adheres most closely to the great rhetorical power and rich changes of affects of the poet’s text. In German literary history, Barthold Heinrich Brockes (1680-1747) is known above all for his innovative role during the second quarter of the 18th century century. In 1712, the year of the Brockes-Passion's first performance, Keiser, fellow citizen of Brockes in Hamburg, was already recognized as the most important opera comp oser in Germany – and, in some opinions, even in Europe. When the genius of these two great artists combined in a single work, the result could only be spectacular. The tricentennial of its first performance justified a belated but nonetheless dithyrambic tribute, here presented by the singers of the Vox Luminis ensemble and the instrumentalists of Les Muffatti.


Reinhard KEISER, Brockes-Passion 
1. Chor (Chor gläubiger Seelen)
16. Aria (Tochter Zion)
56. Aria (Gläubige Seele)
78.-82. Choral, Recitativo, Chor, Recitativo, Aria (Gläubige Seele), Recitativo
83.-87. Aria (Gläubige Seele), Recitativo, Terzetto, Recitativo


CD Violin Concertos Op. 7

Jean-Marie LECLAIR,
Violin Concertos Op. 7


Les Muffatti
Peter Van Heyghen
Luis Otavio Santos, violin

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Jean-Marie LECLAIR, Violin Concertos Op. 7 
Concerto V
1. Vivace
2. Largo – Adagio  
3. Allegro assai  
Concerto II
4. Adagio  
5. Allegro ma non troppo  
6. Adagio  
7. Allegro  
Concerto IV
8. Allegro moderato
9. Adagio  
10. Allegro  
Concerto I
11. Allegro  
12. Aria Gratioso  
13. Vivace  
Concerto VI
14. Allegro ma non presto  
15. Aria Grazioso non troppo adagio  
16. Giga Allegro  


CD Concertos & Overtures

Giuseppe SAMMARTINI,
Concertos & Overtures


Les Muffatti
Peter Van Heyghen
Benoît Laurent, oboe

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During his own lifetime, Sammartini was considered to be one of the most talented composers of his generation. John Hawkins wrote in 1776: "His singularities can only be ascribed to that boldness and self-possession which are ever the concomitants of genius." He ranked Sammartini’s concertos and overtures at the same level as those of Arcangelo Corelli and Francesco Geminiani – and even held them in higher esteem than Georg Frideric Handel’s. Yet, through an inexplicable twist of history, Sammartini has remained an unknown quantity for the general public. Les Muffatti have made a careful selection from among the plethora of Sammartini’s masterworks in order to fully reflect their quality. They hope that this world-première recording of works in Sammartini’s widely varying styles can do justice to this genius, and share the ensemble’s enthusiasm for this unjustly underrated composer.


Giuseppe SAMMARTINI, Concertos & Overtures: samples
Concerto grosso for strings and basso continuo in A major Op. 2/1
1. Spiritoso
2. Allegro Assai
3. Andante
4. Allegro
Concerto grosso for strings and basso continuo in A minor Op. 5/4
5. Allegro
6. Andantino, e Cantabile
7. Allegro Moderato
8. Minuet Gratioso
Concerto for oboe, strings and basso continuo in C major (S-Skma Xe-R 166:30)
9. Allegro
10. Andante
11. Allegro Assai
Overture for strings and basso continuo in F major Op. 10/7
12. Allegro
13. Andante Sostenuto
14. Minuet – 2do Minuet
Concerto for oboe, strings and basso continuo in G minor Op. 8/5
15. Andante Sostenuto
16. Allegro Assai
17. Andante Sostenuto
Overture for strings and basso continuo in D major Op. 10/4
18. Spiritoso
19. Allegro
20. Andante
21. Allegro Grazioso
Concerto grosso for strings and basso continuo in E minor Op. 11/5
22. Andante Sostenuto
23. Tempo Giusto – Sostenuto
24. Andante
25. Allegro
Overture for two horns, strings and basso continuo in G major Op. 7/6
26. Allegro Assai
27. Andante
28. Minuetto Allegro – [2do Minuet]


CD Ouvertures - Concerti

Giovanni BONONCINI,
San Nicola di Bari


Les Muffatti
Peter Van Heyghen
Lavinia Bertotti, soprano
Elena Cecchi Fedi, soprano
Gabriella Martellacci, alto
Furio Zanasi, baritone

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When Giovanni BONONCINI composed his oratorio San Nicola di Bari he was barely 21 years old. Having entered the service of Filippo Colonna, an important Roman nobleman, BONONCINI met the 27-year old librettist Silvio Stampiglia, with whom he rapidly began a fruitful collaboration: in six years (1691-1697) they produced six serenades and five operas in addition to this one oratorio. With no fewer than five performances before 1721, San Nicola di Bari was undoubtedly the most successful of BONONCINI’s seven extant oratorios.
The choice of the subject for the libretto has obvious connections with the nobiliary titles and functions of the commissioner. Filippo Colonna was commander in chief of the kingdom of Naples, and his wife was the sister of the Spanish ambassador in Rome and later Viceroy of Naples. Within the kingdom, which itself depended on the Spanish crown, Bari was the most important port on the Adriatic coast. Somewhat against all expectations, the libretto of this oratorio does not deal with any of the famous miracles of the saint, but it focuses on the young Saint Nicholas, his parents Epifanio and Giovanna and his fellow-student Clitio. In this typically Counter-reformation libretto, the central idea is the saving of the childrens’ souls through their pious and exemplary youth and through absolute obedience to their parents.
Stylistically, San Nicola di Bari — composed in 1693, and the only oratorio dedicated to the patron saint of little children — presents very few differences from the previous and conceptually somewhat larger oratorio La Maddalena a’ piedi di Cristo (1690). It offers a similar kind of dignity and vocality, and the same rich and deeply colored harmony. However, the themes of the arias in San Nicola di Bari are yet more fascinating, the alternation between orchestra and continuo slightly more balanced, the contrasts between the emotions more pronounced, and the dialogues in the recitatives even more flexible — the last characteristic probably due to Stampiglia’s more lighthearted libretto.


Giovanni BONONCINI, San Nicola di Bari: samples
1. Sinfonia
2. Recitativo (Giovanna): Figlio, la via del Cielo
3. Aria Vivace (Giovanna): Augellino, che levasi a volo
4. Recitativo (San Nicola): Mia Genitrice
5. Aria Vivace (San Nicola): È fiorito il sentier
6. Recitativo (Epifano / San Nicola): Nicola? A' cenni tuoi
7. Aria Andante (Epifano): Per godere un diletto
8. Recitativo (San Nicola / Epifano): Padre? Che chiedi?
9. Aria Vivace (San Nicola): All'Uomo fan guerra
10. Recitativo (Epifano): Di sì degna vittoria
11. Aria Allegro (Epifano): Se cinto di costanza
12. Recitativo (Epifano / Giovanna / San Nicola): Giovanna? Mio Consorte?
13. Aria Largo (San Nicola): M'incanteni, e si mi sciogli
14. Recitativo (Giovanna): Sempre Madre amorosa
15. Aria Vivace (Giovanna): A girar
16. Recitativo (San Nicola / Giovanna): Scolpice il tu desio
17. Aria Largo (Giovanna): Un dolce affetto
18. Recitativo (Giovanna): Stelle, deh non ardete
19. Aria Vivace (Clizio): Tutto fiamme
20. Recitativo (Clizio / San Nicola): Ma qui giunge Nicola
21. Aria Andante (San Nicola): Il diletto è una Sirena
22. Recitativo (San Nicola / Clizio): Entro a dotto Liceo
23. Aria Allegro (Clizio): Anche il Cielo
24. Recitativo (San Nicola / Clizio): Al misero Vivente
25. Aria Allegro (San Nicola): Io non vuò
26. Recitativo (Clizio / San Nicola): Il diletto?
27. Aria Largo (San Nicola): D'un bel ciglio
28. Recitativo (Clizio / San Nicola): Più d'ogni vezzo
29. Aria (Clizio): Anima infida
30. Recitativo (Clizio / San Nicola / Giovanna): Son gl'interni disastri
31. Aria Adagio (Giovanna): Di tue flebili pupille
32. Recitativo (Epifanio / Clizio): Clizio, non far
33. Aria Allegro (Epifanio): Fan temer l'Onde
34. Recitativo (Clizio): Sento dentro al mio petto
35. Aria Largo (Clizio): Raggio eterno
36. Recitativo (San Nicola): O come la tua fronte
37. Aria Allegro (San Nicola): Gli Astri, che in Ciel scintillano
38. Recitativo (Clizio / Giovanna): Se in età così acerba
39. Aria Allegro (Giovanna): Sò, che sdegna
40. Recitativo (San Nicola / Epifanio): Sempre del mio desio
41. Aria Vivace (Epifanio): Ancor nel primo albore
42. Recitativo (San Nicola / Giovanna / Epifanio): Madre? Mio Genitor?
43. Aria Vivace (San Nicola): Al pensiero lusinghiero
44. Recitativo (Giovanna): Figlio, se in tanta pugna
45. Duetto Vivace (Giovanna / San Nicola): Quando il Cielo


CD Ouvertures - Concerti Johann Christoph PEZ,
Ouvertures — Concerti

Les Muffatti
Peter Van Heyghen


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Fono Forum Empfehlungs des Monats

5 diapasons

Goldberg 5 Stars

A brand new CD, entirely dedicated to the German composer Johann Christoph PEZ is about to be released. Like Georg Muffat, Pez was one of the great late seventeenth-century defenders of the Vermischter Geschmack, a synthesis between French and Italian styles, which at the time dominated musical taste in Europe.
The CD offers an variegated anthology of his orchestral repertoire and illustrates all musical forms available to the composer: concertos, suites, sonatas for ensembles with or without winds, and with or without soloists.
Director Peter Van Heyghen recently rediscovered these amazingly beautiful compositions in the libraries of Rostock and Dresden; based on the manuscripts, he provided a detailed practical edition of the music.

Johann Christoph PEZ, Ouvertures — Concerti: samples
Ouverture B flat major (R.9)
1. Ouverture Presto Lentement
2. Allemande
3. Aria : Largo
4. Rondeau : Presto alternativement avec le Trio
5. Aria : Adagio
6. Menuet alternativement avec le Trio
7. Gavotte : Presto
8. Gigue en Rondeau : Presto
Concert Sonata F major (R.15)
9. Adagio
10. Presto Adagio
11. Fuga : Alla breve
12. Presto Adagio Presto Adagio
13. Allegro
Concerto Grosso / Sinfonia G minor (R.18)
14. Sinfonia : Adagio e dolce
15. Rondeau : Allegro
16. Aria : Andante e dolce
17. Menuet Trio
18. Aria : Presto
19. Aria : Allegro
20. Chaconne
21. Bourrée : Presto
Sonata / Concert Simphonia G major (R.11)
22. Sinfonia : Grave e dolce Presto Adagio
23. Fuga : Allegro assai
24. Aria : Presto
25. Aria : Adagio
26. Menuet Trio
27. Rondeau : Presto
28. Gigue : Presto
Ouverture / Pièces pour la Musique de Table D minor (R.24/D.7)
29. Ouverture Presto
30. Entrée
31. Air
32. Rondeau
33. Menuet alternativement avec le Trio suivant
34. Gigue
Concert Pastoral D major (R.16)
35. Pastorella
36. Allegro Largo/Adagio Allegro
37. Andante


CD Armonico Tributo Georg MUFFAT,
Armonico Tributo


Les Muffatti
Peter Van Heyghen

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5 diapasons

Fono Forum Empfehlungs des Monats

Goldberg 5 Stars

Musica 5 Stars

Anyone, whether musicologist, performer, or simply music lover, who has even slightly immersed himself in Georg MUFFAT's work, eventually comes to the realisation that in today's music culture, MUFFAT has not been awarded the honorable recognition which he actually deserves. His merits in the fields of composition and education are generally acknowledged in musicological literature, but for the time being, he still remains in the shadows of his really »great« contemporaries such as Jean-Baptiste Lully, Arcangelo Corelli or Heinrich Ignaz Franz Biber. This lack of recognition is perhaps attributed to the fact that very little of MUFFAT's work has been preserved and from that almost exclusively instrumental music.
His compositions and related performance practice are comprised of at least three different styles and traditions. This was by no means a coincidence, rather conversely it represented the central point of MUFFAT's personal aesthetic goal. This, along with the fact that he was one of the first who so emphatically and continually strived for and masterfully realized this goal, is category as the great composers.

Georg MUFFAT, Armonico Tributo: samples
Sonata I D major  
1. Sonata Grave
2. Allegro e presto
3. Allemanda Grave e forte
4. Grave
5. Gavotta Allegro e forte
6. Grave
7. Menuet Allegro e forte
Sonata II G minor  
8. Sonata Grave
9. Allegro
10. Grave Forte e allegro Grave
11. Aria
12. Grave
13. Sarabanda Grave
14. Grave
15. Borea Alla breve
Sonata III A major  
16. Sonata Grave
17. Allegro
18. Corrente
19. Adagio
20. Gavotta
21. Rondeau
Sonata IV E minor  
22. Sonata Grave [ Allegro]
23. Balletto
24. Adagio Presto Adagio Presto Adagio Presto
25. Menuet
26. Adagio
27. Aria Presto
Sonata V G major  
28. Allemanda Grave
29. Adagio
30. Fuga
31. Adagio
32. Passagaglia Grave


 
   
Recent update: 20.12.12
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