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Xavier Diaz-Latorre Alessandro Tampieri & Giorgio Dellarole Alice Foccroulle Anaïs Chen Andrássy Trio Aurélien Delage Bart Roose Bruce Dickey Bruce Dickey Hana Blažíková Calamus Consort Cantilena Antiqua/ Stefano Albarello Capilla Flamenca - more Maiorum - Piffaro - Trigon Capilla Flamenca Oltremontano Cappella Estense - Maximliano Segura Sánchez - Cristina Grifone - Panos Iliopoulos Carlos Sandúa Christophe Coin Controcorrente Orchestra Dominik Wörner - il Gardellino Duilio Galfetti & Luca Pianca Elinor Frey Enrico Onofri Ensemble Cantilena Antiqua - Stefano Albarello Ensemble Européen William Byrd - Graham O'Reilly Ensemble européen William Byrd; dir. by Graham O'Reilly Flanders Recorder Quartet Flyleaves Georg Nigl I Fedeli - Josué Mélendez Il Gardellino Inês d'Avena Jan De Winne Jovanka Marville LUCA GIARDINI and FILIPPO PANTIERI La Divina Armonia Lambert Colson & inAlto - Bernard Foccroulle Les Enemis Confus Linda Nicholson Liuwe Tamminga Lorenzo Ghielmi Lydia Maria Blank Marco Testori Margret Koll and Luca Pianca Martha Cook Mensa Sonora - Gabriel Grosbard Michel Kiener Nicolau De Figueiredo OBS Paul Dombrecht Peter Kooij Peter van Heyghen Riccardo Minasi Sungyun Cho Sunyun Cho TRIGON (Margot Kalse - Jos Somsen - Penny Turner) Tasto Solo - Guillermo Perez Tasto Solo - Guillermo Perez - diapason d'or! Tasto Solo Guillermo Perez/DIAPASON D'OR! Vittorio Ghielmi Xavier Dìaz Latorre
During the height of its popularity, from the mid-16th century into the 18th, the cornetto was frequently depicted in art as an instrument of angels. Paintings, sculptures, and engravings abound in which the cornetto takes a prominent place among choirs of angelic musicians, usually paired with at least one voice and with other instruments such as the organ, viol, lute, harp, violin and...
the Six Books of the Dolphin of Music for Vihuela (Valladolid, 1538) is the second collection published in the Iberian Peninsula dedicated in its entirety to music for vihuela, or vihuela and voice
Niccolò Jommelli was one of the most sought after composers of his time, but finally accepted to become musical director at the court of Stuttgart in 1753. Three years later he composed his Requiem to commemorates the recent death of the Duchess von Württemberg, mother of his patron, the Duke Carl Eugen.. Despite the fact that Jommelli owed his fame almost exclusively to his operas during his...