01 - Salmo 10 - Mentro Io Tutta Ripongo
02 - Salmo 40 - O Beato Chi Pietoso
03 - Salmo 3 - O Dio Perche
04 - Salmo 47 - Questa Che Al Ciel S'innalza
05 - Salmo 44 - Dal Cor Ripieno

Juris Teichmanis - Cello
Menno van Delft - Harpsichord, Organ
Konrad Junghanel - Conductor, Lute
Cantus Cöln - Vocal Ensemble

It's a funny thing, the way reputations rise and fall and fade. Nowadays, Antonio Vivaldi is about as well-known as a Baroque composer can be, while his contemporary Benedetto Marcello is familiar to only a few (so far). Yet in early 18th-century Venice, both composers were equally respected--in fact, Marcello's music was performed regularly as late as 1790, while Vivaldi's music was considered passé 50 years earlier. Benedetto Marcello, as the scion of a prominent and wealthy Venetian family, didn't have to please the music-buying public (as Vivaldi did) to make a living--and he took advantage of the freedom to follow his own muse. Where Vivaldi stuck closely to established, recognizable forms (such as the ABA da capo aria and the slow-fast-slow-fast church sonata), Marcello subordinated his musical setting to the text in much the way Monteverdi, Cavalli, and Schütz did a century earlier.

In Estro poetico-armonico, a collection of Italian-language Psalm-settings for one to four solo voices, this means that the scoring, meter and/or key may change--sometimes quite abruptly--whenever there's a new idea in the text. The result sometimes seems disjointed or even downright weird, but the music is often quite lovely--and arguably very appropriate for the Psalms, whose sudden changes of mood and imagery have confounded more than one reader. Members of Cantus Cölln--here, just four singers and continuo--give a sensitive and skillful performance of five selections from the Estro. On first hearing, one might wish for more Italian-style extroversion, but the more you listen, the more subtlety, intelligence, and feeling you'll find. It's always that way with Cantus Cölln--the better you know them, the more admirable they seem. ---Matthew Westphal

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CD1
Tracks 1 – 13

CD2
Tracks 1 - 12

La Musica -Maria Cristina Kiehr
La Poesia - Sara Mingardo
Il Soprano - Silvia Pozzer
Il Contralto - Roberto Balconi
Il Tenore - Mario Cecchetti
Il Basso - Lorenzo Regazzo

Orchestra Barocca Veneziana
conducted by Andrea Marcon

Radio broadcast of a performance at the Basilica di San Simpliciano
Milan, 16 March 2000. 

Michael Burden's edition of Benedetto Marcello's oratorio is another addition to A-R's ever- expanding Baroque series. According to the publisher's web site this music of the four seasons 'has been described as highly poetic, generally mellow, faintly comic'.

The music consists of two sinfonias (one opening each half of the work), three accompanied recitatives reserved for dramatic moments, a few choruses, one duet, and a string of da capo arias introduced by simple recitatives. Certainly, it is not the most fashionable music heard in Venice in 1731. It sounds much more like Vivaldi than like Hasse, but is no less compelling for that. Marcello's strings in the outer two accompanied recitatives must play three- and four-note chords, expressive and individually articulated arpeggios, and sweeping scales. Similarly in the arias and choruses, he provides a rich panoply of string textures and effects, including (in addition to those already mentioned) unisono passages, violins or violas doubling the voice, pizzicato, tremolo, and muted strings. Specific articulation marks include dots, strokes, slurs, and dotted slurs; in two movements Marcello specifies tutte arcate in su over a series of repeated semiquavers. It is all the more important then to be sure that the edition accurately reflects the notation in the source. --- Sandra Mangsen, researchgate.net

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CD1
01. Sinfonia
02. Al mio zelo (Recitativo MATHAN)
03. Dalla faccia della terra (Aria di MATHAN)
04. Che a me venga (Recitativo ATHALIA, MATHAN)
05. Sta languendo (Aria di ATHALIA)
06. Ul sogno (Recitativo ATHALIA, MATHAN, AZARIA)
07. Lo so (Aria di AZARIA)
08. Non e tempo (Recitativo ATHALIA, AZARIA, MATHAN)
09. Dio, che mentir non puoi (Aria di JOSABET)
10. Ministri del Signor (Recitativo JOSABET, ATHALIA, JOAZ)
11. Agli augelli (Aria di JOAZ)
12. Qual mi sento candigar (Recitativo JOSABET, ATHALIA, JOAZ)
13. Di mie ricchezze (Aria diATHALIA)
14. Che dici (Recitativo JOSABET, ATHALIA, JOAZ, JOIADA)
15. Piu che (Aria di JOIADA)
16. Padre, quanto ( (Recitativo JOAZ, JOIADA, JOSABET E CORO)
17. Le tue parole (Finale I CORO DI LEVITI)

CD2
01. Ossequioso e chino (Recitativo JOSABET, JOAZ, JOIADA)
02. Giuriam, si, si, si (AZARIA E CORO DI LEVITI)
03. Quanto t'imposi (RECITATIVO JOIADA, JOAZ)
04. Sento ch'il gran contento (Aria di JOSABET)
05. Io non intendo ancor (Recitativo JOAZ, JOIADA, AZARIA)
06. Così a fiume (Aria di JOIADA)
07. Deh! Sian lungu (Recitativo JOAZ, JOIADA)
08. Si perde in bosco (Aria di JOAZ)
09. Mathan ver noi s'invia (Recitativo  JOSABET, JOIADA,  MATHAM, AZARIA)
10. L'idolatra misleale (Aria di AZARIA)
11. Ah! Purtroppo egli a ver! (Recitativo MATHAN)
12. Qual cignal ferito in selva (Aria di MATHAN)
13. Qui ancor trovo Mathan (Recitativo JOSABET, MATHAN, JOIADA)
14. Per mille ferite (Aria di JOIADA)
15. Oggi ancora (Recitativo JOIADA,  MATHAM, JOSABET, ATHALIA)
16. Men si tema il velen (Aria di ATHALIA)
17. Che si tarda, o Joiada (Recitativo ATHALIA, LOIADA, JOSABER, CORO DI LEVITI)
18. In quei ferii (Aria di ATHALIA)
19. Fuor del sacro (Recitativo JOIADA, JOAZ)
20. Raggio di luce scenda (Aria di JOAZ)
21. Re, che in terra (Finale II CORO DI LEVITI)

Athalia -Maria Erlacher (soprano)
Joaz - Markus Forster (alto)
Josabet - Ulrike Hofbauer (soprano)
Joiada - Dominik Wörner (bass)
Mathan - Daniel Johannsen (tenor)
Azaria - Martin Bruns (baritone)

Neue Hofkapelle München
Christoph Hammer (conductor)

In the 17th and 18th centuries the social ranks were clearly separated. Composers who were employed by royals or aristocrats often moved in their circles, but were never part of them. The prefaces of their publications dedicated to their employers, are clear evidence of that. At the same time aristocrats who were able to play a musical instrument at a high level or even to compose just could never make a business of that as this was just not done in their ranks. This explains why the Dutch count Unico Wilhelm van Wassenaer published his Concerti Armonici anonymously. Benedetto Marcello is one of the very few aristocrats who published music under his own name, although he wasn't a composer by profession.

Marcello was born in Venice as son of a nobleman and followed a career in public service as all men in his circles did. It is hard to follow his activities outside public service, as there are considerable gaps in his biography. For example, he was exiled for three years, but the reason is not known. One may assume he was a rather individual character: he wasn't only acting as a composer but he also married a woman from outside his own ranks.

He never had a position as musician or composer, and most of his compositions are undated. This makes it difficult to outline his development as a composer. It is mainly vocal music which was the focus of his attention. Although some collections with instrumental music - concertos and sonatas - and some harpsichord works were printed, it was through his chamber duets and his collection of Psalms that he became famous. His fame held well into the 20th century, but nowadays his music isn't that often performed.

Marcello can be seen as an advocate of naturalness in music. His treatise Il teatro alla moda which was first published anonymously in 1720 deals with the bad habits in the theatre of his time. He wanted to reform the style of singing and clear away exaggerated ornamentation. Therefore it can't be surprising that he wrote his oratorio Joaz on a libretto of Apostolo Zeno who aimed at reforming the librettos of operas and oratorios. His ideal was the classical principle of unity of time, place and action, which was made rather difficult to practice because of the expectations of the audiences.

But in Joaz he goes a long way in this direction. The result is a libretto which is lucid and avoids exaggerations and unrealistic events. It is based on the 11th chapter of the second book of Kings in the Old Testament, and the sequence of events is largely the same as in Handel's oratorio Athalia. This oratorio is more concise, for instance in that it has only choruses of Levites; the people of Israel - which play a prominent role in Handel's oratorio - are absent here. We meet the same characters: queen Athalia, the high priest Joad (Joiada), his wife Josabeth, the king-to-be Joas - here sung by an alto, whereas Handel has a treble (boy soprano) - and Mathan, the priest of Baal. The only character which is different from Handel is Azaria: he is another Levite who organises the defence of the temple against Athalia. Handel has a military figure in the person of Abner.

The recitatives in Marcello's oratorio have a very natural flow, and although there are 17 dacapo arias they are much more part of the sequence of events than in many contemporary operas or oratorios. There are many passages where the text is expressed in the music, in particular through the instrumental parts. The first scene takes place in Athalia's palace who in her dreams has seen a boy she is afraid could threaten her position. Her fear is already announced through the chromatic figures in the last section of the overture. When in the first aria of the oratorio Mathan sings about the power of Baal: "From the face of the earth your greatness he'll wipe like dust in the wind", the strings give a very vivid depiction of the dust being blown away. When Athalia sings that "royal beauty and freshness" are destroyed by an evil worm "from within" Marcello again makes use of chromaticism. And when Josabeth prays to God to save the young Joaz her aria is full of suspiratio figures. Athalia has a meeting with Joas and tries to seduce him to live with her in the palace: "All my riches, all my glories, treasures plenty, highest honours, shall be yours just like a son". The music doesn't really fit the enjoyments she exposes. I assume Marcello here wants to show these enjoyments are false, or, to quote Joas: "The pleasures of the wicked are more fleeting than the most rapid torrent". When Joas is finally told that he is the heir of the throne he expresses fear that he will fail ("Ah, high priests, ah, father, I'll fail should you abandon me"), which is expressed by the repeated tremolo-like figures in the strings.

It is a great delight that this fine oratorio has been recorded by Christoph Hammer. It is a live performance which results in some slight technical imperfections. Sometimes singer and ensemble are a bit out of sync and somewhere I noticed a slip of the tongue from one of the singers. If this was a studio recording I probably had preferred a slightly drier acoustics as well. But on the whole I am impressed by the level of performance. The cast is well-chosen: Daniel Johannsen is particularly impressive in his recitatives which are delivered in truly declamatory fashion. Dominik W�rner gives a very good account of the role of Joad. He creates a good amount of tension when he, in the presence of Mathan, reveals that Joas is the new king. Josabeth is well portrayed by Ulrike Hofbauer as the protective mother. As Joas Markus Forster must express a child, and he does so quite convincingly. Equally well cast is the role of Azaria with Martin Bruns. My only slight reservation is Maria Erlacher as Athalia: she has a beautiful voice and sings well, but sometimes I had liked her to be a bit more bitchy, in particularly in her aria 'Men si tema il velen': "Poison taken from a snake is far less dangerous than the wrath of an offended king".

The ensemble realises the instrumental effects Marcello has used to express the content very well. The basso continuo section is giving excellent support, and the inclusion of a harp adds some colour to it. But I think the frequent change in the scoring of the basso continuo is a bit exaggerated: why should every character have its own combination of instruments?

The booklet contains a good synopsis as well as historical background of the story. There is very little information about the composer and the musical characteristics of this oratorio, though. As Marcello is not that well-known a bit more information had been welcome. The German translation is alongside the Italian text, whereas the English translation of the libretto is printed separately at the end of the booklet which is a bit inconvenient for those who don't understand either Italian or German.

I strongly recommend this disc which shows that Marcello was an excellent composer of vocal music. This production whets the appetite for his operas and other vocal works. ---Johan van Veen, musica-dei-donum.net

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1. Campane da morto (Death Bell): Campane da morto (Death Bell) - Marisa Pugina 0:25
2. Organ Sonata in G minor	Francesco Moi	5:04
3. Introitus: Requiem aeternam -	Filippo Maria Bressan	4:29
4. Introitus: Kyrie I and II -	Filippo Maria Bressan	4:18
5. Introitus: Christe -	Filippo Maria Bressan	2:50
6. Introitus: Kyrie III -	Filippo Maria Bressan	5:38
7. Sequentia: Dies irae -	Elena Biscuola	1:25                   play
8. Sequentia: Quantus tremor -	Paolo Costa	0:39
9. Sequentia: Tuba mirum -	Elena Biscuola	1:11
10. Sequentia: Mors stupebit -	Paolo Costa	1:52
11. Sequentia: Liber scriptus -	Mauro Collina	2:45
12. Sequentia: Rex tremendae -	Paolo Costa	0:59
13. Sequentia: Recordare -	Elena Biscuola	3:16
14. Sequentia: Qui Mariam -	Paolo Costa	0:44
15. Sequentia: Preces meae -	Mauro Collina	1:16
16. Sequentia: Inter oves -	Marco Scavazza	0:51
17. Sequentia: Confutatis -	Walter Testolin	0:55
18. Sequentia: Ora supplex -	Paolo Costa	1:37
19. Sequentia: Lacrymosa -	Elena Biscuola	3:39
20. Offertorium: Offertorium: Domine Jesu Christe	Marisa Pugina	5:44
21. Organ Sonata in G minor	Francesco Moi	3:06                   play
22. Dulcis Jesu Mater cara: Dulcis Jesu, Mater cara -	Filippo Maria Bressan 3:00
23. Dulcis Jesu Mater cara: In stellarum Regina -	Walter Testolin	1:08
24. Dulcis Jesu Mater cara: In isto mundo labili	Filippo Maria Bressan	4:00
25. Communio: Communio: Lux aeterna	Filippo Maria Bressan	0:35
26. Communio: Communio: Requiem aeternam	Elena Biscuola	1:40

Academia de il Musici:
Walter Testolin, Vincenzo di Donato, Paolo Costa, Marisa Pugina, Mauro Collina, 
Barbara Zanichelli, Elena Biscuola, Marco Scavazza
Filippo Maria Bressan – conductor

From all great composers Benedetto Marcello (1686-1739) is one of the most underrated and underrecorded ones. A compatriot and rival of Vivaldi, Benedetto Marcello was praised for his musical language - generally more strict and at times also more innotative than by Vivaldi - and for the density of his writing. After having looked in vain for Marcello's beautiful Miserere, I discovered this wonderful CD. It is a reconstruction of Marcello's Venetian Requiem which was thought lost. Some of Marcello's survived pieces are written in an ascetic manner (a vocal line plus minimal instrumental support), but this one is a large-scale work where Marcello's rich fantasy and his sense of form correlate with a wide palette of orchestral and vocal resources. –Anton Zimmerling

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Vol. 1

1. Sonata in Re minore per flauto dolce e clavicembalo
2. Sonata in Sol Maggiore per flauto traverso, liuto e violoncello
3. Sonata in Re minore per violino e violoncello
4. Sonata in Si minore per flauto traverso e clavicembalo
5. Sonata in Re Maggiore per violino organo e violoncello
6. Sonata in La minore per flauto dolce, liuto e violoncello

Sonatas Op. 2 - Vol. 2

1.Sonata in Sol minore per flauto dolce e clavicembalo
2.Sonata in Fa Maggiore per vioilno, organo e violoncello
3.Sonata in Do Maggiore per flauto traverso, liuto e violoncello
4.Sonata in Si bemolle maggiore per flauto dolce e clavicembalo
5.Sonata in Mi Minore per flauto traverso e clavicembalo
6.Sonata in Sol Maggiore per flauto dolce, liuto e violoncello

Accademia Claudio Monteverdi, Venezia:
Susanne Schaffert - Flute
Gianni Lazzari - Flute
Luigi Rivighi - Violin
Luciano Contini - Chitarrone
Claudio Ronco - Cello
Emanuela Marcante – Harpsichord & Organ

Hans Ludwig Hirsch - Harpsichord & Conductor

Benedetto Marcello (1686-1739) and his older brother Alessandro were sons of a rich and long-established family of merchants and community leaders in Venice. When Alessandro showed a taste and aptitude for music, Benedetto was steered into a career as a civil servant, as if to ensure that the family's reputation would be upheld. However, he too had been bitten by the bug, and both sons became composers. For some time, the popularity of Benedetto's music eclipsed even Vivaldi's – incidentally, both wrote music for the orphans in the Ospedale della Pietà – although Vivaldi had the last laugh: today his music is almost inescapable, while Benedetto Marcello's is performed far less frequently. (Fate has been equally unfair to his brother Alessandro.)

Benedetto's style is less flashy than Vivaldi's, as if, knowing that he was not dependent on music to earn his livelihood, he didn't have to cater to the whims of virtuosos. Like Vivaldi, however, his music is full of typically Venetian songfulness – sweet, with just a touch of melancholy. The 12 sonatas that comprise his Opus 2 were not necessarily conceived as a cycle. The various editors who have edited this opus – Sala, Roger, and Walsh – even have placed the sonatas in differing orders. Hirsch and the Accademia Claudio Monteverdi Venezia have looked to all three editors in preparing this recording to come up with a sort of hybrid performance.

As played here, of the 12 sonatas, five feature the recorder ("flauto dolce"), four the transverse flute, and three the violin. The continuo instruments are the lute (or chitarrone), cello, harpsichord, and organ. In some sonatas, there is only one continuo instrument (harpsichord or cello), but most of them call for two. This creates variety of timbre, which makes it easy to hear all 12 sonatas in one sitting, if one so chooses.

These performances date back to 1985 and are now reissued at mid-price. Although there is nothing to indicate this in the accompanying material,"period instruments" are used here, or replicas thereof, and their sound has plenty of personality and bite. Luigi Rivighi's violin rasps with character, and the flute and recorder as played by Susanne Schaffert and Gianni Lazzari (perversely, Arts doesn't tell us who plays which instrument, except to tell us that both play the flute) are soulfully breathy, with color provided by the "bent" pitches typical of period wind instruments. Stylistically, everything is as it should be, and tempos are well-judged. This is not one of those recordings in which "authenticity" is taken to mean playing Allegros so fast as to be unintelligible. The performers have taken a flexible approach to repeats, including them (with embellishments) when to do seems appropriate, but omitting when they seem de trop. I really enjoyed these performances; two hours flew by.

The booklet notes, originally written in Italian, have been translated into unidiomatic, poorly proofread, and occasionally amusing English – what, for example, is a "lasso continuo"? (I suspect it was used by Venetian cowboys.) --- Raymond Tuttle, classical.net

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CD1
1. Arianna (Ariadne): Sinfonia: Presto -	3:07	
2. Arianna (Ariadne): Sinfonia: Largo -	2:40
3. Arianna (Ariadne): Sinfonia: Presto	1:11
4. Arianna (Ariadne): Part I: Scene 1: Chorus: Su, nocchieri sciogliamo le vele
 (Come, sailors, unfurl the sails) (Sailors)	1:18
5. Arianna (Ariadne): Part I: Scene 1: Recitative: Fedra, il tempo quest'e 								play  
(Phaedra, the time has come) (Theseus, Phaedra)	2:41
6. Arianna (Ariadne): Part I: Scene 1: Aria: So quanto piangerai (I know how much you'll weep)
 (Phaedra)	7:14
7. Arianna (Ariadne): Part I: Scene 2: Recitative: Qual mai gran pena (How great a burden)
 (Theseus)	0:37
8. Arianna (Ariadne): Part I: Scene 2: Aria: Se ad appagar volesse il cielo (If heaven were to act upon)
 (Theseus)	5:15
9. Arianna (Ariadne): Part I: Scene 3: Recitative: A terra, a terra (To land, to land!)
 (Bacchus)	0:21
10. Arianna (Ariadne): Part I: Scene 3: Chorus: Ebbre bessaridi (Merry Bassarids)
 (Satyrs, Bassarids and Fauns)	4:34	
11. Arianna (Ariadne): Part I: Scenes 4 and 5: Recitative: Qual suono strepitoso (What tumultuous noise)
 (Ariadne, Bacchus, Silenus)	3:10
12. Arianna (Ariadne): Part I: Scenes 4 and 5: Aria: Re de' venti (King of the winds) (Bacchus)	6:40
13. Arianna (Ariadne): Part I: Scenes 4 and 5: Accompanied recitative: Ah, che veggo? (What is happening?)
 (Ariadne, Bacchus, Silenus)	2:20
14. Arianna (Ariadne): Part I: Scenes 4 and 5: Aria: E piu tenace di vischio (More tenacious than birdlime)
 (Silenus)	4:34
15. Arianna (Ariadne): Part I: Scene 6: Recitative: Miseri noi! (We are lost) (Theseus, Phaedra)	1:14
16. Arianna (Ariadne): Part I: Scene 7: Recitative: No, scellerato! (No, villain!)
 (Ariadne, Phaedra, Theseus)	1:25
17. Arianna (Ariadne): Part I: Scene 7: Aria: Incauta farfalletta (The careless moth) (Ariadne)	5:46
18. Arianna (Ariadne): Part I: Scene 8: Recitative: O mio rossor (I am so ashamed)
 (Phaedra, Theseus)	1:57	
19. Arianna (Ariadne): Part I: Scene 8: Aria: Se vier non poss'io (If I cannot live) (Phaedra)	5:30

CD2
1. Arianna (Ariadne): Part I: Scene 9: Recitative: Teseo non dubitar (Theseus, do not vacillate)
 (Bacchus, Theseus, Silenus)	1:08
2. Arianna (Ariadne): Part I: Scene 9: Aria: O quante volte sentito avrai (How often must you have heard)
 (Theseus)	8:06	
3. Arianna (Ariadne): Part I: Scene 10: Recitative: Come si presto divenisti amante?
 (How did you fall in love so quickly?) (Silenus, Bacchus)	0:43
4. Arianna (Ariadne): Part I: Scene 11: Recitative: Vieni Arianna (Come, Ariadne)
 (Bacchus, Ariadne, Silenus)	1:30	
5. Arianna (Ariadne): Part I: Scene 11: Aria: Tra gli astri splendera (Among the stars your beauty)
 (Bacchus)	4:20
6. Arianna (Ariadne): Part I: Scene 12: Recitative: Deh scuoprimi, o Sileno
 (I beg you to tell me, Selenus) (Ariadne, Silenus)	0:28
7. Arianna (Ariadne): Part I: Scene 12: Aria: Nel paese dove il sol esce fuora
 (In the land where the sun first rises) (Silenus)	4:04
8. Arianna (Ariadne): Part I: Scene 12: Recitative: Che favellar e il tuo?
 (What is the meaning of your words?) (Ariadne, Silenus)	0:27
9. Arianna (Ariadne): Part I: Scene 12: Aria: Ma gia scoperti d'Amor i crud'inganni
 (Now that I have discovered love's cruel deceptions) (Ariadne)	6:00
10. Arianna (Ariadne): Part I: Scene 12: Recitative: Se no'l conosci ancora 
(If you have not recognized him yet) (Silenus)	0:14
11. Arianna (Ariadne): Part I: Scene 12: Chorus: Viva il forte, viva il grande
 (Hail to the strong, hail to the great) (Bacchus' Followers)	6:14
12. Arianna (Ariadne): Part II: Scene 1: Recitative: Invan mi fuggi
 (You cannot escape me) (Ariadne, Phaedra)	1:38
13. Arianna (Ariadne): Part II: Scene 1: Aria: Non e colpa del mio core 
(My heart cannot be blamed) (Phaedra)	7:06
14. Arianna (Ariadne): Part II: Scene 2: Recitative: Arianna (Ariadne)
 (Theseus, Ariadne)	3:05
15. Arianna (Ariadne): Part II: Scene 2: Aria: Come mai puoi vedermi piangere ? ?
 (How can you see me weeping ? ?) (Ariadne)	10:02	
16. Arianna (Ariadne): Part II: Scene 3: Recitative: E questa la vendetta ? ?					play  
 (Is this the revenge ? ?) (Bacchus, Silenus, Ariadne, Theseus	2:26
17. Arianna (Ariadne): Part II: Scene 3: Aria: Conosco il mio fallo 
(I know myself to be at fault) (Theseus)	4:14
18. Arianna (Ariadne): Part II: Scene 4: Recitative: Possibile, Arianna ? ? 
(Is it possible, Ariadne) (Bacchus, Ariadne)	1:25
19. Arianna (Ariadne): Part II: Scene 4: Aria: Spero di vendicarmi (I hope to avenge myself)
 (Ariadne)	3:56

CD3
1. Arianna (Ariadne): Part II: Scene 5: Recitative: Qual mai gran doglia ? ?
 (How great the grief ? !) (Bacchus, Silenus)	0:56
2. Arianna (Ariadne): Part II: Scene 5: Aria: Nave che solca profondo mare 
(As a ship that sets sail) (Bacchus)	5:35
3. Arianna (Ariadne): Part II: Scene 6: Recitative: Stelle, voi che reggete 
(You stars who govern) (Phaedra, Theseus)	1:08
4. Arianna (Ariadne): Part II: Scene 6: Aria: Non e si forte la quercia al vento
 (The oak tree blown by wind is not as strong) (Theseus)	6:05	
5. Arianna (Ariadne): Part II: Scene 7: Recitative: Teseo, tempo e che siamo ambi felici
 (Theseus, it is time we were both happy) (Bacchus, Theseus)	0:26
6. Arianna (Ariadne): Part II: Scene 8: Chorus: Satiretti lascivetti (We wanton satyrs)
 (Bassarids, Satyrs, Peasant Women, Fauns)	5:20
7. Arianna (Ariadne): Part II: Scene 8: Recitative: Che mai sentiam? (Have we heard aright?)
 (Phaedra, Theseus)	0:36
8. Arianna (Ariadne): Part II: Scene 8: Aria: Lascia di piu languir (Complain no more) (Phaedra)	9:20
9. Arianna (Ariadne): Part II: Scene 9: Recitative: Qual forza ignota a ritornar mi tragge?
 (What mysterious power compels me to return?) (Ariadne, Theseus, Phaedra, Bacchus)	1:13
10. Arianna (Ariadne): Part II: Scene 9: Aria: Latte, e mele ecco vegg'io (Milk and honey now I see)
 (Theseus)	8:58
11. Arianna (Ariadne): Part II: Scene 10: Recitative: Signor, questa corona (My lord, this crown
) (Silenus, Ariadne, Bacchus, Phaedra, Theseus)	1:47	
12. Arianna (Ariadne): Part II: Scene 10: Aria: Che dolce foco in petto (How sweet beyond compare)
 (Ariadne)	6:49
13. Arianna (Ariadne): Part II: Scene 10: Recitative: Dunque non m'odi piu? (Then you no longer hate me?)	play  
 (Theseus, Phaedra, Ariadne, Bacchus)	2:12	
14. Arianna (Ariadne): Part II: Scene 10: Duet: Grande e possente nume Lieo
 (Great and mighty god of the Lenaeum) (Theseus, Phaedra)	1:09
15. Arianna (Ariadne): Part II: Scene 10: Serto di stelle lucide (Diadem of shining stars)
 (Chorus)	0:46
16. Arianna (Ariadne): Part II: Scene 10: Accompanied recitative: D'un si gran nume (Unite so great a god)
 (Theseus, Silenus, Phaedra)	1:05
17. Arianna (Ariadne): Part II: Scene 10: Viva Bacco vincitore (Hail to victorious Bacchus) (Chorus)	1:29

Arianna - Anna Chierichetti - soprano
Fedra - Gloria Banditelli - contralto
Teseo - Mirko Guadagnini - tenor
Bacco - Sergio Foresti - bass
Sileno - Antonio Abete - bass
Athestis Chorus
Academia de li Musici
Filippo Maria Bressan – conductor

Any recording of an opera by Benedetto Marcello will, for many, bring to mind his literary satire, IL TEATRO ALLA MODA, subtitled "a safe and easy method of properly composing and producing Italian operas according to modern practice." Within its pages, no one involved in the creation of opera-librettist, composer, singers, impresario-is spared. In one passage, the composer is admonished to "oblige the impresario to provide a great number of violins, oboes, horns, etc., preferring to let him economize on double basses, for these should not be used except in the preliminary tuning." This fine debut recording of Marcello's 'Arianna,' using a recent critical edition by Alessandro Borin, is attentive to the underlying message of Marcello's satire: beware of artistic compromise. The style of the work-an introductory orchestral sinfonia, followed by alternating recitatives and da capo arias, along with an occasional chorus-will be recognized by listeners familiar with the vocal works of Alessandro Scarlatti or Handel. Although the work in its entirety is unlikely to become part of the standard operatic repertoire, a spare, lovely aria entitled "Come mai puoi vedermi piangere" ("How can you see me weeping"), laden with prolonged appoggiaturas and accompanied by inspired writing for two flutes, may become a favorite concert aria. ---Editorial reviews, arkivmusic.com

This world premiere recording of Benedetto Marcello's "Arianna" features great singing, excellent recorded sound, and most importantly, an exceptionally fine work that has waited far too long to see the light of day. "Arianna" is described as "a play in music for five voices", but can also be loosely defined as an opera. It was written when Marcello was at the height of his fame. This great set will be welcomed by any fan of Baroque opera. ---hbdirect.com

The Academia de li Musici under the baton of Filippo Maria Bressan, perform the world premiere recording of Bendetto Marcello’s sumptuous opera ‘Arianna’.

Using early instruments and applying period performance practices the Academia de li Musici draws upon some of the best Italian musicians, including several of international renown. The ensemble is conducted by Filippo Maria Bressan who has profound knowledge of choral music and oratorio, specialising in the performance of early music.

Born in Venice in 1686, Benedetto Marcello learnt the violin from his father but took a dislike to it in favour of singing and counterpoint. In 1707 Marcello was chosen to serve on the Grand Council of the Republic which opened the way to a succession of important posts in the public service. His first musical publication, a set of twelve concertos, appeared in 1708. But it was vocal works, both secular and sacred in large-scale and intimate forms, which were to constitute the core of his output.

‘Arianna’ was first performed in Venice, in the winter of 1726, when Marcello had turned forty and was at the height of his fame. He had just published his ‘L’estro poetico-armonico’, and enjoyed the success in Vienna of a eulogising serenata commissioned for the birthday of the emperor Charles VI.

Marcello was a high-born amateur musician, who had a clear competitive streak in him, he wanted to shine in everything that he did, particularly in the field of music and against the professional musicians with whom he felt he was competing. His ‘Canzoni madrigalesche’, for example, were written with the objective of perfecting the style of Antonio Lotti’s ‘Duetti’, and the title of his own magnum opus (‘L’estro poetico-armonico’) not only recalls, but also goes one better than, Antonio Vivaldi’s Op. 3 (‘L’estro armonico’). It is striking that in the year following his important Viennese commission coincidences can be observed which link his most important works to events that occurred in the Austrian capital. In 1726 Antonio Caldara’s oratorio ‘Joaz’ had been performed at court, and at almost the same time Marcello set the same text.

‘Arianna’ is almost contemporary with ‘Joaz’, and here too the subject is identical to a stage play performed in Vienna the same year, ‘La corona d’Arianna’, with music by the court Kapell-meister Johann Joseph Fux. It was typical of eighteenth-century librettists to insert a wealth of references to contemporary life which frequently resulted in the accretion of many layers of motifs around a single dramatic nucleus, enriching it to the extent that the survival of the work was guaranteed despite the changes in public taste and that of the commissioning patrons. --- theclassicalshop.net

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Oboe Concerto in C Minor
1. Allegro moderato
2. Adagio
3. Allegro

Pierre Pierlot – oboe
Orchestre de chambre 
Jean-Francois Paillard - conductor

Concerto Grosso No.4 Op.1
1. Largo
2. Presto
3. Adagio
4. Presto

Kaunas Chamber Orchestra
Silvano Frontalini - conductor

Sonata No.2 in E minor for Cello and B.C.
1. Adagio
2. Allegro
3. Largo
4. Andante

Rolf Dommisch – cello
Ruth Ristenpart - harpsichord

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