Venite, Exultemus
1 	Venite, Exultemus 	3:38
2 	Quoniam Deus 	1:06
3 	Quoniam Ipsius 	3:00
4 	Venite, Adoremus 	2:44
5 	Quia Ipse Est Dominus 	1:01
6 	Hodie Si Vocem 	2:53
7 	Sicut In Exacerbatione 	2:55
8 	Quadraginta Annis 	3:05
9 	Gloria 	4:41
	-
10 	Regna Terrae 	5:36
11 	In Decachordo Psalterio 	4:52
De Produndis
12 	De Produndis Clamavi 	3:24
13 	Fiant Aures 	2:47
14 	Quia Apud Te 	4:44
15 	A Custodia 	2:04
16 	Quia Apud Dominum 	2:29
17 	Et Ipse Redimet 	2:25
18 	Requiem Aeternam 	4:45
	-
19 	Benefac Domine 	3:46

London Baroque
Edward Higginbottom - conductor

Jean-Joseph Cassanéa de Mondonville (1711-1772) was one of the most gifted composer-violinists of his day, regarded by some to be the equal of Rameau. Though born and bred in Narbonne, he was soon drawn to Paris where his brilliant playing found early recognition. In 1740 he was appointed sous-maître at the royal chapel. From this time dates also a close association with the Concert Spirituel (of which he was for a period artistic director and first violinist). It was here that the works on this recording were first heard. Roberte Machard has calculated that between 1740 and 1762 there were no fewer than sixty-one performances of the grand motet Venite, exultemus and, between 1748 and 1762, forty performances of De profundis. This degree of popularity was accorded otherwise only to the grands motets of Delalande. Although Mondonville was active also as a dramatic composer, it was probably his sacred vocal and instrumental music that won him the greatest acclaim.

By the time that Mondonville came to write his grands motets, the tradition established by Lully and Delalande had run through almost two generations. But this French form of sacred cantata had not greatly changed in external characteristics; it remained a sequence of varied movements for soloists, choir and orchestra using a sacred Latin text, very often drawn from the Psalms. As for its internal organisation, Mondonville reflects changes that were already abroad in the Cauvin versions of Delalande’s scores where the old five-part string texture gives way to a more Italianate three- or four-part scoring. Mondonville’s texture is in fact a tre, omitting violas altogether. Nevertheless, the use of divisions, and the retention of the traditional five-part chorus (soprano, hautecontre, tenor, baritone, bass), produces the old opulent sonority for the tutti numbers. In the solos Mondonville clearly seeks a more progressive treatment, with lighter textures, often highlighting woodwind solos. Typically, he omits brass and percussion, relying on flutes, oboes and bassoons for colouring. A reading of the score easily gives the impression of a lightweight composer. But as so often with French music, appearances are deceptive. Mondonville is extraordinarily adept at achieving striking and noble effects with the minimum of resources.

Venite, exultemus is a brilliant vehicle for the three soloists, requiring a radiant soprano, a virtuoso hautecontre (high tenor), and an heroic bass. There can be few happier beginnings to a Venite setting, and the central triptych of movements featuring soprano with obbligato flute and oboe, followed by the hushed choral entry of ‘Adoremus’, is truly inspired. If emotionally the Venite turns on the contribution of the soprano, the hautecontre has a complementary role centring on a dazzling display of vocal agility. The final chorus, ‘Gloria Patri’, has its place in the order of things, choral virtuosity taking the floor with aplomb, French manners bowing out to Italian technique.

Not surprisingly, De profundis is a more restrained affair, relying more on the chorus. Mondonville begins with a solemn orchestral gesture, evoking with noble simplicity the sense of the text, and making respectful reference to Delalande’s own setting of these words in the descending triads of the bass before the first vocal entry. The following movements continue in a distinctly French rather than Italian style: ‘Fiant aures’ is a chaconne with descending tetrachord bass, but freely treated; ‘Quia apud te’ a gracious air; ‘A custodia’ a nimble gavotte; and so on. The final movement strikes a rather different note, the opening bars reminding one of nothing so much as Berlioz, with stark contrasts of scoring between low and high voices, and a prominent independent bassoon line. The final fugue at ‘Et lux aeterna’ returns to a fruitful synthesis of French and Italian styles, the entries (from top downwards) opting at times for the harmony of an interrupted cadence – an audacious gesture which generates considerable momentum, and a magnificent ending.

Whilst Mondonville’s grands motets stand in direct line of succession from those of Delalande, his petits motets represent a rather new way of conceiving the solo motet. These pieces have nothing to do with the tradition of petits motets exemplified in the works of Nivers and François Couperin. They stem rather from the ‘pièce en concert’ for harpsichord, in which sometimes quite optional instrumental parts are added to a self-sufficient harpsichord texture. Notable examples in this genre are the ‘pièces de clavecin en concerts’ of Rameau. Thus Mondonville in his printed collection of Pièces de clavecin avec voix ou violon (Op 5), published in 1748, provides the harpsichordist with nine extended pieces which might be played as solos, but which for their full effect involved also a soprano voice, and indeed a violinist. As in his grands motets, Mondonville consciously follows now a French and now an Italian manner. In decachordo psalterio is the most thoroughgoing exercise in the Italian vein, with the voice treated purely instrumentally. The ‘Cantate Deo’ section of Regina terrae and Benefac Domine are both more lyrical, the French rondeau form underpinning a predominantly vocal style. These petits motets very probably formed part of the regular programmes of the Concert Spirituel along with Mondonville’s grands motets. ---Edward Higginbottom, hyperion-records.co.uk

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea ge.tt

back

Coeli Enarant (Psaume 18)
1 	Coeli Enarrant / Choeur 	2:33
2 	Non Sunt Loquelae / Duo De Dessus 	2:48
3 	In Omnem Terram / Choeur 	3:01
4 	In Sole Posuit / Récit De Basse-taille 	2:31
5 	Exultavit Ut Gigas / Récit De Basse-taille Et De Choeur 	2:33
6 	Gloria Patri / Petit Choeur 	1:03
7 	Sicut Erat In Principio / Récit De Haute-contre Et Choeur 	3:45

Venite Exultemus (Psaume 94)
8 	Venite, Exultemus / Récit De Dessus Et Choeur 	3:46
9 	Quoniam Deus / Récit De Basse-taille 	1:06
10 	Quoniam Ipsius Est Mare 	2:26
11 	Venite, Adoremus / Récit De Dessus 	3:02
12 	Quia Ipse Est Dominus / Récit De Dessus 	0:56
13 	Hodie Si Vocem / Récit De Dessus Et Choeur 	2:19
14 	Sicut In Exacerbatione / Récite De Haute-contre 	3:03
15 	Quadraginta Annis / Récit De Haute-contre 	2:23
16 	Gloria Patri / Petit Et Grand Choeur 	5:08

Jubilate Deo (Psaume 99)
17 	Jubilate Deo / Récit De Taille Et Choeur 	4:05
18 	Introite In Conspectu Ejus / Duo De Dessus Et De Concordant 	2:20
19 	Scitote Quoniam Dominus / Récit De Dessus 	1:16
20 	Populus Ejus / Récit De Dessus Et Choeur De Dessus 	2:15
21 	Laudate Nomen Ejus / Récit De Dessus 	2:49
22 	Gloria Patri / Choeur 	3:55

Vocals [1er Dessus] – Catherine Padaut
Vocals [2ème Dessus] – Guillemette Laurens
Vocals [Basse-taille] – Jérôme Correas
Vocals [Haute-contre] – Rodrigo Del Pozo
Choir – Les Chantres De La Chapelle
Conductor [Choir] – Olivier Schneebeli
Orchestra – Ensemble Baroque De Limoges
Conductor – Christophe Coin

After years in which his name but rarely appeared in record catalogues, Mondonville has suddenly become a focus of attention: the last few months have seen his opera-ballet, Les Fetes de Paphos (L’Oiseau-Lyre, 7/97) and three splendid examples of his grands motets (Erato, 10/97) which justifiably drew great admiration from his contemporaries – and now come three more. The most substantial, and the most famous, is Venite exultemus (Psalm 94), which was performed before the queen at Versailles in 1740 and led to his appointment as maitre de musique de la Chapelle, succeeding Campra. Hailed by a contemporary as “unquestionably his masterpiece”, it was subsequently received with such enthusiasm by the Concert Spirituel audience that it had to be repeated annually for more than 20 years. It contains some overtly pictorial music – rushing violins representing the waves in the bravura bass aria “The sea is His”, general agitation in the virtuoso “Forty years I was grieved” (a spectacular performance by a real haute-contre, Rodrigo del Pozo); also noteworthy are two soprano arias, the first slow and affecting, with a solo recorder part, the second with an oboe and no bass (a pity that Catherine Padaut sometimes sings just on the underside of notes). There is a lengthy joyful doxology.

Jubilate Deo, though perhaps less striking, also illustrates Mondonville’s fresh and varied instrumental writing (admirably performed here by this Limoges group). An oboe-and-bassoon duet vies with one simultaneously for soprano and bass; jubilant instruments and a violin obbligato add to the impact of an ornate soprano solo (another is accompanied only by the upper instruments and chorus voices, yet another by a forceful dotted figure first heard in instrumental unison). The Gloria Patri is brilliant.

The 1750 Caeli enarrant (the first half of Psalm 18) gives more scope to the (five-part) chorus, with a majestically full-voiced opening, “The heavens declare”, and a particularly florid “As it was in the beginning”. And what a good choral group this is – alert and spirited, with fresh and accurately placed voices. Of the soloists, the bass is allotted an impressive sound picture at “In the sun hath he set a tabernacle”, and del Pozo again distinguishes himself.' ---Lionel Salter, gramophone.co.uk

download (mp3 @320 kbs):

yandex mediafire ulozto cloudmailru gett

back

Disk 1
1. 	Ouverture 	04:54 	29 Kč 	
2.	Marche 	00:55 	15 Kč 	
3.	Vous qu'a mes pas enchaine la victoire 	02:33 	
4.	Prélude, fanfare - Ce bruit annonce sa présence 	04:05 	
5.	Deux Menuets 	02:50 		
6.	Qu'il est doux apres la victoire 	01:21 	
7.	Tambourin 	01:51 	 	
8.	Délivrons les forets de ce monstre odieux 	01:18 	
9.	Adonis, se peut-il que malgré ma tendresse 	01:25 	
10.	Tout doit céder a ma valeur 	00:28 	 	
11.	Adonis...Adonis...vainement je l'apelle! 	02:36 		
12.	Fuyons ce monstre! échappons a sa rage! 	01:25 	
13.	Cher objet de ma flamme 	02:23 		
14.	Laissons de mon amour 	01:27 		
15.	Mars pres de vous s'avance 	02:32 		
16.	Tonnerre - Contre une injuste violence 	01:31 		
17.	O Ciel! en croirai-je mes yeux 	02:02 	
18.	Que je plains les mortels! 	04:36 		
19.	Air pour la Suite de Vénus 	01:54 		
20.	O vous qui de Vénus accompagnez les pas 	02:57 		
21.	Deux Menuets 	02:26 	
22.	Lorsque Vénus vint a paraitre 	01:39 	 	
23.	Deux Gavottes 	01:56 		
24.	Pour rendre homage 	00:56 	1
25.	Air pour les Plaisirs 	01:41 		
26.	Régne a jamais sur nos coeurs 	02:33 	 	
27.	Contre danse 	00:54 	15 Kč 	
28.	Entr'acte:Tambourin 	02:01 	

Disk 2
1.	Dieu des Amans recoi les voeux 	03:36 		
2.	Belle Nymphe, esperez le sort le plus heureux 	03:05 		
3.	Air pour les Sylvains 	01:48 	15 Kč 	
4.	Air pour les Corybantes, ou Prestres de Bacchus 	01:59 	
5. 	Cher Bacchus, c'est assez répandre les allarmes 	02:01 		
6.	Air pour les Bacchantes et les Sylvains 	01:21 	 	
7. 	La victoire vole a ta voix 	03:00 		
8. 	Tout conspire a combler vos voeux 	02:04 	 	
9. 	Cette languer étrange 	01:48 		
10.    L'Amour suit cet objet charmant 	01:49 		
11.	Dieux! quel charme inconnu me ravit et m'enflamme? 	01:01 	
12.	De la gloire terrible suspendez les travaux 	00:45 	 	
13.	Quel trouble votre aspect m'inspire 	05:52 		
14.	Amour lance tes traits, épuise ton carquois 	03:12 		
15.	Chantez dans vos fetes charmantes 	02:43 	 	
16.	Loure 	01:27 		
17.	Gigue 	01:09 		
18.	Muzette - Dieu des coeurs, c'est par tes faveurs 	01:42 		
19.	Rondeau en chacconne 	02:24 		
20.	Cessez, guerriers, cessez de lacer le tonnerre 	05:32 	
21.	Tambourin 	01:09 		
22.	Entr'acte: Rondeau en chacconne 	02:32 		

Disk 3
1.	Ritournelle 	00:40 	
2.	O Vénus, n'as-tu pas épuisé ta vengeance? 	03:11 	
3. 	Prélude 	01:57 	15 Kč 	
4.	De tes attraits, l'Amour va perdre la mémoire 	03:09 		
5. 	Gavotte 	02:08 		
6.	Mais l'Amour va paraitre, il faut suivre mes pas 	00:40 		
7.	Crains sans cesse, crains un affreux trépas 	01:42 		
8. 	Crains sans cesse, crains un affreux trépas 	02:24 		
9.	Tempeste - Justes Dieux, prenez ma deffence 	01:41 		
10.	Vents furieux, rentrez dans le silence 	01:40 		
11.	Non! Non! Non! n'espére pas que ton tourment finisse 	04:10 		
12.	Air pour les Demons 	00:53 		
13.	Amour, c'est toi seul que j'implore 	01:43 		
14.	J'ai perdu mes attraits, et l'Amour va paraitre 	02:17 		
15.	Je viens enfin terminer vos allarmes 	04:11 	 	
16.	Quel changement! quel palais enchanté 	05:38 	 	
17.	Air pour les Zéphirs 	02:16 		
18.	Air pour les Graces...Mon bonheur est extreme 	01:35 		
19.	Deux Menuets 	02:36 		
20.	Pour vous l'aimable Aurore fait éclore 	04:02 	
21.	Pas de trois 	06:52 

Sandrine Piau (Soprano)
Véronique Gens (Soprano)
Agnès Mellon (Soprano)
Jean-Paul Fouchécourt (Tenor)
Olivier Lallouette (Baritone)
Peter Harvey (Baritone)
James Oxley (Tenor) 
Accentus Chamber Choir
Les Talens Lyriques
Christophe Rousset (Conductor)

It was said of Mondonville’s operas that “though nothing may astound, everything pleases”. Certainly, with his seemingly inexhaustible graceful melodic gift (even the recitatives, metrically more regular than in the usual flexible tradition, approximate more to ariosos) and his combination of coloratura ariettes, simple Lully-style arias, Italian influences and brilliant orchestral colouring, Mondonville aimed at, and succeeded in, pleasing the diverse tastes of his time; and to us today the results, as exemplified in this 1758 work, are altogether delightful. Les fetes de Paphos, it is true, has little of the depth of his older contemporary Rameau (whom he rivalled, if not surpassed, in popularity); but then, this is not a tragedie en musique but an opera-ballet in three dramatically independent acts. The first two – “Venus et Adonis” and “Bacchus et Erigone” – had begun life in the previous decade as entertainments for Madame de Pompadour, who herself took the leading role in each: their success led Mondonville to add a third action, “Amour et Psyche”, and to make some modifications to the existing entrees. In accordance with French tastes, the work is liberally interspersed, and concluded, with dance movements, many of which possess great inventiveness and charm; and prominent features of the score are the colourful instrumentation and the independence of the orchestra from the vocal line. Yet, if nothing ‘astounds’, there is no lack of telling harmonies, striking virtuosity, or, especially in Act 3, of descriptive dramatic writing. Even from the outset the high-spirited overture – in a single movement, departing from the Lullian pattern – holds out a promise of vitality, which is amply fulfilled in later vigorous Tambourins and in the agitated introductory ritournelle to Act 3; and Amour et Psyche is notable for a tempest sequence (already a century-old tradition in French opera) and a remarkable scene in Hades, where the implacable cries of demons seem to foreshadow Gluck’s Orfeo (written only four years later in Vienna, where French plays and light operas were much in vogue). But there are also three very touching slow arias, one in each act: “Qu’en ce bois s’eleve une fleur”, Venus’s lament for Adonis, killed by a monster summoned up by jealous Mars (though he is later restored to life); Erigone’s “Dieu des amans”, a plea for divine aid in her love for Bacchus; and Psyche’s “J’ai perdu mes attraits”, her grief when her beauty is brutally destroyed by one of the Furies (though Cupid’s continued devotion wins its restitution).

Christophe Rousset directs an extremely enjoyable performance, with well-judged pacing. He secures spirited, flawlessly neat playing from his orchestra and excellent singing from his chorus (whose Act 2 “La victoire vole a ta voix” is especially fine); and he has a team of stylistically experienced soloists. Chief honours among these go to Veronique Gens, radiant as Venus, whose florid Act 1 “Regne a jamais sur nos coeurs” is a high spot, and the outstanding Olivier Lallouette, a redoubtable Mars and, as Bacchus, given “Vous enchantez mon coeurs” with its seductive instrumental obbligatos. Sandrine Piau shines in the Act 3 coloratura ariette “Quand je vole” and in the work’s most famous number, the stunning Act 2 duet “Amour, lance tes traits” with Lallouette, but in her big “Cessez, guerriers” aria and elsewhere she becomes slightly shrill on higher notes. Agnes Mellon is an affecting Psyche, there is a vigorous “Cher Bacchus” from Peter Harvey as Comus (but he perhaps overdoes tonal harshness in portraying Tisiphone), and Jean-Paul Fouchecourt is stylish as Adonis and Mercury, though I find a somewhat disconcerting whining quality in his voice.

A welcome addition to the catalogue, and a decided success as a recording. The discs come with four distinct commentaries, of which that in German is the most comprehensive. -- Lionel Salter, Gramophone [7/1997], arkivmusic.com

download (mp3 @320 kbs):

yandex mediafire uloz.to cloudmailru

back

1. Trio Sonata No. 1 in E Minor, Op. 2 I. Adagio (3:14)
2. Trio Sonata No. 1 in E Minor, Op. 2 II. Fuga. Allegro (2:12)
3. Trio Sonata No. 1 in E Minor, Op. 2 III. Aria (2:15)
4. Trio Sonata No. 1 in E Minor, Op. 2 IV. Presto (2:16)
5. Trio Sonata No. 2 in B-Flat Major, Op. 2 I. Adagio (2:56)
6. Trio Sonata No. 2 in B-Flat Major, Op. 2 II. Fuga. Allegro (4:19)
7. Trio Sonata No. 2 in B-Flat Major, Op. 2 III. Gratioso (2:11)
8. Trio Sonata No. 2 in B-Flat Major, Op. 2 IV. Allegro (2:56)
9. Trio Sonata No. 3 in G Major, Op. 2 I. Largo (2:52)
10. Trio Sonata No. 3 in G Major, Op. 2 II. Fuga. Allegro (2:09)
11. Trio Sonata No. 3 in G Major, Op. 2 III. Cantabile (3:08)
12. Trio Sonata No. 3 in G Major, Op. 2 IV. Giga. Allegro (2:34)
13. Trio Sonata No. 4 in F Major, Op. 2 I. Largo (3:22)
14. Trio Sonata No. 4 in F Major, Op. 2 II. Fuga. Allegro (3:40)
15. Trio Sonata No. 4 in F Major, Op. 2 III. Gratioso (3:50)
16. Trio Sonata No. 4 in F Major, Op. 2 IV. Presto (2:20)
17. Trio Sonata No. 5 in D Major, Op. 2 I. Allegro (0:45)
18. Trio Sonata No. 5 in D Major, Op. 2 II. Fuga. Allegro (2:44)
19. Trio Sonata No. 5 in D Major, Op. 2 III. Largo (1:47)
20. Trio Sonata No. 5 in D Major, Op. 2 IV. Allegro (2:21)
21. Trio Sonata No. 6 in C Minor, Op. 2 I. Adagio (2:17)
22. Trio Sonata No. 6 in C Minor, Op. 2 II. Fuga. Allegro ma non presto (3:39)
23. Trio Sonata No. 6 in C Minor, Op. 2 III. Largo (3:20)
24. Trio Sonata No. 6 in C Minor, Op. 2 IV. Allegro (4:01)

Ensemble Diderot & Johannes Pramsohler
(Johannes Pramsohler and Roldán Bernabé (violins); 
Kirsten Huebner (flute); 
Gulrim Choi (cello); 
Philippe Grisvard (harpsichord))

These six well-crafted Trio Sonatas are as good as anything I’ve heard from the French Baroque period. What initially attracted me to this release was the impressive early music specialists Ensemble Diderot, who aim to explore the lesser trodden byways of this type of repertoire. Based in Paris, they were founded in 2008 by violinist Johannes Pramsohler and focus on the Baroque trio sonata repertoire of the seventeenth and eighteenth centuries. They take their name from the French philosopher, art critic and writer Denis Diderot. Earlier in the year I reviewed their superb disc of the German composer and organist Johann Friedrich Meister.

Jean-Joseph Cassanéa de Mondonville, to give him his full title, was born in Narbonne in southwest France. He was a younger contemporary of Rameau, a brilliant violinist and a prominent composer of his day both in Paris and Versailles. He held posts as such with the Concert Spirituel and the Chapel Royal. His compositional oeuvre includes operas, grand motets and instrumental music. He died in Belleville near Paris at the age of sixty. He’s not that well remembered today and little of his music has been recorded.

Unusually, Mondonville’s instrumental music was greatly admired by his contemporaries, more so than his vocal music, which attracted a barrage of criticism. Even the Grands Motets came under fire. The fact that he was an accomplished violinist and composed with consummate skill for the instrument may go some way to explain this. When I listen to this music I’m amazed how virtuosic, imaginative and intrepid his violin writing is. Take the Presto finale of the Sonata I, for instance, where you get a panoply of rhythmic audacity and flourish in the fiddle lines.

The Sonatas are cast in four movements, and in each a Fuga is positioned second. Mondonville’s fluent counterpoint is imposing. Here, the cello not only takes on an accompanying role, but is an integral part of the contrapuntal texture. The slow movements are lyrical, graceful and elegant. The Largo opening movement of Sonata 4 is beguiling in its sheer simplicity, and the Largo sempre piano of Sonata 5 conveys an intimate dialogue between two lovers. The Allegro finale of Sonata 6 is an absolute delight, I wanted to repeat it several times. You sense the sheer enjoyment of the players in its joyous dance-like rhythms. Regarding the last movement of Sonata 4, Johannes Pramsohler, in his well-written annotations, poses the question ‘Mondonville’s musical depiction of a group of inebriates?’ – a thought-provoking conundrum.

With regard to the instrumentation, the composer accommodates the flute as an alternative to the second violin in Sonatas 1, 3 and 5 by keeping that part free of double-stops and placing the musical line higher. The ensemble have opted for this substitution in nos. 3 and 5. The flute is very effective and offers some rewarding contrasts in both timbre and colour.

The Ensemble Diderot perform with historical awareness and enthusiasm. Their commitment to this music, receiving its first recording, is persuasive and their flawless precision is compelling. The engineering is splendid and the music is beautifully recorded, with all the instrumental components captured equally in the balance. The acoustic of the Bibliothèque musicale François-Lang is ideal, conferring warmth and intimacy. For those coming to Mondonville’s music for the first time, this is as good a place as any to start. ---Stephen Greenbank, musicweb-international.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uptobox ge.tt

back

1. Isbe

Katherine Watson - Isbé
Reinoud Van Mechelen - Coridon
Thomas Dolié - Adamas
Chantal Santon-Jeffery - Desire / Charite
Alain Buet - Iphis / Third hamadryad
Blandine Folio-Peres - Fashion / Céphise
Rachel Redmond - Ámor / A shepherd / Clymėne / A nymph
Artavazd Sargsyan - Tircis / First hamadryad / Forest god
Komáromi Márton - Second hamadryad

Purcell Choir
Orfeo Orchestra
Conductor - György Vashegyi

6 March 2016, Béla Bartók National Concert Hall
Concert opera performance

Premiered in 1742, Isbé is the first opera by Jean-Joseph Cassanéa de Mondonville, and the only one of nine which did not bring its composer wide success in the genre of musical theatre although it is true that at that time, he was not yet an admired maestro in the French royal court, nor a favourite of the arts-loving kings mistress Madame de Pompadour. While the large-scale motets he later composed as an established master became an everyday feature in the royal chapel, his instrumental music was also highly regarded in the France of Louis XV. Mondonville also garnered great prestige as principle choirmaster of the royal chapel and as violinist and main composer of the first concert series in music history, entitled Concert Spirituel.

This concert performance at Müpa Budapest promises to be another significant, and possibly sensational event in the series by György Vashegyi and his ensembles aimed at rediscovering and presenting works of the 17th and 18th centuries. ---mupa.hu

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back