An outstanding characteristic early 18th century recorder repertoire is that it is drawn in great measure from that of other instruments, primarily the violin. Many editions offered simplified, commercial versions of well known works of the time intended for the use amateur [recorder] players. We find, for example, a simplified arrangement for recorder of Corelli’s Sonatas Op. V, No. 7 - 12 in a London edition which appeared only two years after the original edition for violin! In these sonatas we see all the common features of a recorder transcription of the time i.e. limited range and ...+ info
Oscar Martín, Piano
Double CD A TREASURE UNVEILED From beginning to end (with the only exception being 'Lavapiés', which evokes a certain Madrilenian district) Iberia is a triumphant and lively musical reflection on Andalusia through the profound sight and hearing of Isaac Albéniz, and his great instinct and knowledge of the piano. From the delicate and impressionistic 'Evocación' (“evocation”) which opens the series, until the luminous and virtuosic sevillanas in 'Eritaña', Albéniz absorbs, paints, describes and sings the light and shadow, the lig...+ info
The Royal Wind Music
Conductor: Paul Leenhouts
When King Henry VIII moved from Greenwich to Windsor in 1510, the author Raphael Holinshed describes the young monarch in his chronicles ‘exercising himselfe dailie in shooting, singing, dansing, wrestling, casting of the bare, plaieing at the recorders, flute, virginals, in setting of songs, and making of ballads.’ Lute, cittern, virginal, organ and recorder seem to be the main instruments from which the existence of English chamber music can be determined. Henry VIII, who owned seventy-six recorders alone near his death, introduced the fashionable Italian practise of having compl...+ info
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