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MF8023 Sonata, Division & Dances
Sonata, Division & Dances


Thomas Baeté


This CD is the first recording ever devoted entirely to Anthony Poole’s works. Accordingly we have aimed to present as wide as possible a cross-section of his work. However, his musical output probably included a large number of improvisations. Fortunately for us, some of them were judged worthy of being written down. As a result, at least some traces survive of what must have been a virtuoso art of improvisation.

MF8024 Suites for two viols
Marin Marais
Suites for two viols
A 2 violes esgales

Jonathan Dunford, bass viol
Sylvia Abramowicz, bass viol
Thomas Dunford, lute

Of all the French court composers Marin Marais is unparalleled. He illumined the court of the most powerful king in seventeenth century Europe and has remained for three centuries as a monument, a source of elegant musical pleasure to musicians and music lovers alike.

In 1689 Marais published a premier in France: a “basso continuo” part for this first book. This is revolutionary work. Marais goes even further in his praise of the theorbo in his second book of Pièces de Viole (1701) mentioning the theorbo as being an instrument apt for performing the solo viol part.

MF8021 Arie da cantarsi
Stefano Landi
Arie da cantarsi
Dagmar Saskova,soprano
Francisco Javier Mañalich, tenor & viola da gamba
Ronald Martin Alonso, viola da gamba & lyrone
Philippe Grisvard, harpsichord
Manuel de Grange, lute, theorb, guitar & direction
This recording takes us inside the palaces of early 17th-centrury Rome and presents a fascinating array of compositions that served as background to the lives of the contrmporary aristocracy. As well as pieces by Stefano Landi, there are vocal and instrumental works by Girolamo Frescobaldi and Johann Hieronymus Kapsberger, two musicians who shared with Landi the patronage of the Barberini family.


MF8022 Consort Music - In Nomine
Christopher Tye
Consort Music - In Nomine
Freek Borstlap, treble viol
Liam Fennelly, treble viol & tenor viol
Gesina Liedmeier, tenor viol
Ivanka Neeleman, tenor viol & bass viol
Thomas Baeté bass, viol & plainchant
featuring Claren McFadden, soprano
Christopher Tye was a 16th-century English composer and organist who received the degree of Doctor of Music from both Cambridge and Oxford. He was one of the first composers to write music for viol consort, and one of the most important of his generation. Over 30 instrumental pieces by him survive, including 21 In Nomine settings mostly in 5 parts.
After two acclaimed albums dedicated to John Jenkins, the viol consort The Spirit of Gambo presents Tye’s daring, uncompromising and strikingly beautiful music.

MF8018 Six sonates en trio pour deux violons et la Basse Continue, Oeuvre IV
Jean-Marie Leclair
Six sonates en trio pour deux violons et la Basse Continue, Oeuvre IV
Marieke Bouche, violin
Guillaume Humbrecht, violin
Nicolas Crnjanski, cello
Julie Blais, harpsichord
Leclair had a special talent which declared itself very early on in his instrumental output and especially in Op.4.
In this collection abounding in formal innovations and timbral experiments, Leclair is careful not to overload the harmonic language. And so French flowers of new colours bloomed in Corelli’s classical garden!

MF8019 Fantasias, Pavans & Airs in Four Parts
John Jenkins
Fantasias, Pavans & Airs in Four Parts
Freek Borstlap, treble viol
Gesina Liedmeier, tenor viol & treble viol
Thomas Baeté, tenor viol & bass viol
Ivanka Neeleman, bass viol
Haru Kitamika, organ
The period between 1580 and 1650 is often referred as the Golden Age of English consort music, not only for the breathtaking amount of repertoire, but also for the incomparable quality of the music produced.
Among the many brilliant musicians of this Golden Age, none shines brighter than John Jenkins, but still he is neglected.

MF8017 Amor, tu solo'l sai. Ballate e Madrigali
Paolo da Firenze
Amor, tu solo'l sai. Ballate e Madrigali

Thomas Baeté artistic direction

Paoloʼs musical language is in tension between two poles: the eccentrically abstract and hypersensitive mannerism of late Gothic art, against the simple beauty and straightforward nature of the upcoming humanism of the Renaissance.


MF8016 Pièces de violes en musique et en tablature
Mr. Demachy
Pièces de violes en musique et en tablature

Basse de viole 7 cordes

Demachy is one of those composers of whom history tells us little. Nevertheless, he is one of the key figures of the French viola da gamba tradition during the reign of Louis XIV. According to Jean Rousseau (Traité de la Viole, 1687), he was a pupil of Nicolas Hotman (1610–1633), like Saint-Colombe (ca.1640–ca.1700).
Demachy left a single collection of 8 suites for solo viol: Pièces de Violle en Musique et en Tablature, differentes les unes des autres, et sur plusieurs Tons. 


MF8015 All Ding ein weil. Songs and instrumental music
Ludwig Senfl
All Ding ein weil. Songs and instrumental music
Tore Tom Denys, tenor
Patrick Denecker, direction

The 15th and 16th centuries were the golden age of Flemish polyphony. Dufay, Josquin, Isaac and many others were among the composers most celebrated in the major courts of Europe. In terms of both their methods and their musical output, these composers transmitted a style characterised by complex counterpoint and a remarkable sense of musical architecture. Ludwig Senfl had the highest regard for these qualities. Under the influence of his teacher Heinrich Isaac, he made the Flemish idiom his own, while adding to it obvious personal touches.
Making the present selection has brought home to us what a privilege it is to be able to choose from an output of such quality – yet how frustrating it is to have to do so! We have done no more than lift one small corner of the veil beneath which Senfl’s masterly oeuvre lies hidden. Nearly 500 years after his death, a large part of his output remains consigned to musical history, completely unknown to both music-lovers and performers. We hope that this recording will demonstrate how unjustly Senfl’s reputation has been obscured by that of his teacher Isaac; for us, his music has been a revelation and a source of huge musical pleasure.

MF8014 The Italian Air in France at the Time of Louis XIII
The Italian Air in France at the Time of Louis XIII

Dagmar Saskova, soprano
Francisco Javier Mañalich, tenor & viola da gamba
Manuel de Grange, lute, guitar & direction
Ronald Martin Alonso, viol
Hannelore Devaere, harp

The collections of airs published in France by Ballard between 1608 and 1643 contain 17 airs on Italian words, of which six are in the polyphonic collections, six are for voice with lute tablature and five for voice with guitar tablature. Taking account of variants and different versions, polyphonic or monodic, of the same pieces, we are left with ten texts – a rather insignificant group amid a repertoire of over 2,000 French airs. The present recording manages to include all these ten texts, thereby presenting almost all the Italian airs published by French composers during Louis XIII’s reign. The musicians of Il Festino have interspersed these airs with a number of instrumental pieces and songs to Spanish texts of the same period. All the Italian airs are by three of the foremost French composers of the time, each of whom moved in court and salon circles.


MF8011 Consort Music of Four Parts
John Jenkins
Consort Music of Four Parts

Freek Borstlap dessus de viole
Gesina Liedmeier, viole ténor
Thomas Baeté, viole ténor
Ivanka Neeleman, basse de viole

John Jenkins’ life encompassed the golden age of English instrumental music, from Byrd to Purcell. Throughout this period, he scrupulously followed the fashions of English chamber music as it evolved in stages from the typical English fantasia towards the trio sonata of more Italianate inspiration. With considerable skill and a strong sense of lyricism he brought the fantasia for viol consort to its zenith. John Jenkins and his much esteemed friend William Lawes can be regarded as the two most important composers in England during the reign of Charles I.


MF8013 Sonate e Sonate a tre
Herman-François Delange
Sonate e Sonate a tre
Isabelle Lamfalussy, traverso
Mariette Holtrop, violon
Bernard Woltèche, violoncelle
Bart Jacobs, clavecin
During the 18th century, the Italian style had an influence upon musical production in Liège, affecting both instrumental and vocal music. The establishment in 1699 of the Collège Liégois in Rome was to play a significant part in this process of cultural importation.
Herman-François Delange, scholarships from the Darchis Foundation, was to exemplify this musical development. Particularly drawn to the Neapolitan school, he introduced its expressivity and its melodic colours to the prince-bishopric and so contributed to the establishment there of a typically Neapolitan Italianate style. He leaved us a body of work in the galant style with refined and pleasant melodies, modestly defining a bridge between the old baroque style and the advent of classicism. His few surviving works display a real talent and establish Delange as a significant figure in the development of chamber music in Belgium.

MF8012 Cantate e sonate da camera
Giovani Battista Pergolesi & Nicola Antonio Porpora
Cantate e sonate da camera
Magali Léger soprano

Guillaume Humbrecht violin
Marieke Bouche violin
Géraldine Roux viola
Nicolas Crnjanski cello
Carola Grinberg archiluth
Julie Blais harpsichord


MF8010 Spiritual parodies and spirituality in parodies
Spiritual parodies and spirituality in parodies
Céline Scheen, soprano

Catherine Daron, traverso
Gail-Ann Schroeder, viola da gamba
Eriko Semba, viola da gamba
Ricardo Rodriguez Miranda, viola da gamba
Dimitri Dumon, percussion
Jean-Luc Impe, archilute & direction

Under the impulse of the Counter-Reformation, the Roman Catholic Church decided to appropriate the most popular among the secular songs of the time and to set them to new lyrics, thus creating so-called “spiritual parodies” that would be more conducive to meditation and more effective for home praying. In parallel emerged a naughty or even licentious literature revelling in stigmatizing the French clergy’s shortcomings, while mocking gently the lascivious aspirations of certain religious congregations.

MF8009 Clear or Cloudy. Lute songs
John Dowland
Clear or Cloudy. Lute songs

Valeria Mignaco
Alfonso Marín lute

England came late to the trend of Lute Song, but embraced it in a way that proved to be more fruitful and influential than in the rest of Europe. This was mainly due to the figure of John Dowland, one of the greatest song composers of any age and the main inspiration behind this recording. 

MF8008 Mottetti e Sonate da chiesa
Georg Friedrich Haendel (1685-1759)
Mottetti e Sonate da chiesa

Magali Léger, soprano

For its debut CD, the ensemble RosaSolis accompanies the outstanding soprano Magali Léger (appearing on her first early music CD) in a selection of three motets by Handel, dating from his Roman period. Among them is the much-discussed Gloria which was rediscovered and attributed to Handel as recently as 2001.


MF8007 Sonatas & Triosonatas
Sonatas & Triosonatas

Patrick Denecker, director

The 20th-century revival of the recorder began very much in England – on the one hand thanks to the discovery of historical instruments, and on the other hand due to the presence of players who belonged to an uninterrupted tradition. The recorder player Patrick Denecker and his ensemble La Caccia invite us to discover the instrument through the medium of a dynasty of composers originally from Ghent, who played an important part in English musical life.

MF8006 Cantiones sacrae & Sonate
Carolus Hacquart (ca 1640 - ca 1701)
Cantiones sacrae & Sonate

Céline Scheen, soprano
Stephan Van Dyck, tenor
Dirk Snellings, bass
Leonardo Garcia Alarcòn, director
The Ensemble Clematis returns with another album of discoveries. Carolus Hacquart was undoubtedly the most important composer in the Netherlands during the late 17th century. Nevertheless, he remains unknown to the public at large. The present programme alternates motets taken from his Cantiones Sacrae, performed by a strong cast of musicians, with instrumental pieces from his Harmonia Parnassia Sonatarum.

MF8003 Amor che fai ? Madrigali e Arie
Giulio Caccini (1551-1618)
Amor che fai ? Madrigali e Arie

Stephan Van Dyck, ténor
Christina Pluhar, harpe, théorbe
Eero Palviainen, archiluth I, guitare I
Francisco Gato, archiluth II, guitare II
Paulina Van Laarhoven, viole de gambe, lirone
Vincent Libert, percussions

The Belgian tenor Stéphane van Dyck needs no introduction: for years now he has performed with the best European baroque ensembles. This solo recital of madrigals explores the sources of Baroque music, in which vocal expressivity is given free rein in the service of the text. Van Dyck is joined for this recording by outstanding musicians such as Christina Pluhar and Quito Gato.

MF8004 Sei Quartetti, op.3
A.E.M. Gretry (1741-1813)
Sei Quartetti, op.3

Caroline Bayet, violin I
Elsa de Lacerda, violin II
Wendy Ruymen, viola
Kathy Adm, violoncello

Little is known about Grétry’s six youthful string quartets op. 3. They appear to have been composed and performed while this Liège composer was living in Rome, and are his only chamber music publication. These graceful and vivacious pieces were probably well received by the public of the time, which was sensing the beginnings of a stylistic renewal with an emphasis on expressivity and elegance.

MF8002 Cantiga de amigo
Martin Codax (XIIIe)
Cantiga de amigo

Carole Matras, voice & harp
Bernard Mouton, recorders
Thomas Baeté, fiddle
Michaël Grébil, cister, oud, fiddle
Vincent Libert, percussions

Like the poetry of the troubadours and trouvères, the Gallego-Portuguese lyric includes several distinct genres, one of which is the cantiga de amigo. There are nearly 400 surviving poems in this genre, only six of which – cantigas by Martin Codax – have come down to us with their music. The ensemble Fin’Amor presents a richly instrumented interpretation of these rare examples of Gallego-Portuguese lyric.

MF8001 Symphoniae

Céline Scheen, soprano
Stephan Van Dyck, tenor
Dirk Snellings, bass
Leonardo Garcia Alarcòn, artistic director

For its first recording, Ensemble Clematis presents the 17th-century Brussels composer Nicolaus à Kempis. Very little is known about him, but he left several publications of superb music with an Italian influence.


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