![Il Pomo d’Oro, Francesco Corti – Bach – Harpsichord Concertos, Vol. 2 (2021) [FLAC 24 bit, 192 kHz]](https://imghd.xyz/images/2023/02/04/efg8d60kj2z7a_600.md.jpg)
Il Pomo d’Oro, Francesco Corti – Bach – Harpsichord Concertos, Vol. 2 (2021) [FLAC 24 bit, 192 kHz]
Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development. Francesco Corti and il pomo d’oro present concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations.
Francesco Corti belongs to the most established harpsichordists of his generation. He makes his PENTATONE debut together with the multi-award-winning ensemble il pomo d’oro, who recorded two vocal recital albums with the label: Carnevale 1729 with Ann Hallenberg (2017), as well as Prologue with Francesca Aspromonte (2018).
![Francesco Corti, Il Pomo d’Oro – J.S. Bach: Harpsichord Concertos (2020) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/02/04/fpd40odrxi1va_600.md.jpg)
Francesco Corti, Il Pomo d’Oro – J.S. Bach: Harpsichord Concertos (2020) [FLAC 24 bit, 96 kHz]
Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development.
![Francesca Aspromonte, il pomo d’oro – Prologue (2018) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/02/04/sfyvfrkza5gpc_600.md.jpg)
Francesca Aspromonte, il pomo d’oro – Prologue (2018) [FLAC 24 bit, 96 kHz]
A record made up entirely of prologues from operas and baroque oratorios: this album isn’t short on spice. Prologues are completely different from the – purely orchestral – overtures of later operas, as in the baroque era, after a short instrumental introduction, we’d get right into the action, often with a sung allegorical exposition of the setting and the story. Soprano Francesca Aspromonte and Enrico Onofri have collected these allegories with il pomo d’oro (the ensemble has decided that its name will be all lowercase), taken from the late 16th century with Monteverdi and Caccini up to the first quarter of the 18th century with Alessandro Scarlatti, via the rich beauty of the middle 17th century of Cavalli, Rossi, Stradella and Cesti. The listener will have to come to terms with the fact that the opera will never really start, that these are only the premises, the first tremblings, tantalising tasters, aimed at captivating the audience. Don’t forget that in those days, it wasn’t the custom to remain silent before the start of a show, and it took all the talents of the allegorist to finally get the fans’ full attention. We reckon that Francesca Aspromonte will have no trouble captivating her audience.
![Franco Fagioli, Il Pomo d’Oro, Zefira Valova – Handel Arias (2018) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/02/04/cgz6saq24ec2f_600.md.jpg)
Franco Fagioli, Il Pomo d’Oro, Zefira Valova – Handel Arias (2018) [FLAC 24 bit, 96 kHz]
This album isn’t just for fans of the counter-tenor’s voice – Franco Fagiolo being one of the stars in the market – but also for lovers of the airs from Handel’s operas, and any serious baroque orchestra enthusiast, the orchestra here being Il Pomo d’Oro. When you unite all these elements together in a recording, the result is spectacular. This record includes the thrills of big hits like “Ombra mai fu” from Serse or “Cara sposa” from Rinaldo, as well as a number of no-less-interesting rarities, which have the advantage of shining a light on the lesser played works of the caro Sassone. After all,Ariodante, Partenope, Imeneo and Oreste (the album covers the composer’s entire period of lyrical creativity) all have some great moments, and completely original airs, often loaded with the instrumental surprises that Handel arranged so well. And so, fans, if all three of the big elements are there – or if you are just curious to hear a very well made record – get stuck in!
![Edgar Moreau, Il Pomo d’Oro, Riccardo Minasi – Giovincello (2015) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/01/03/0825646052509_600.md.jpg)
Edgar Moreau, Il Pomo d’Oro, Riccardo Minasi – Giovincello (2015) [FLAC 24 bit, 96 kHz]
Though the title Giovincello seems to make a specific musical reference, it is simply an affectionate Italian term meaning ‘young man’. Only 20 years old when he recorded this album, Edgar Moreau ‘has already found his place in the great tradition of French cello-playing’ (Diapason). Here he brings his youthful energy and virtuosic thrills to 18th-century cello concertos by Haydn, Vivaldi, Boccherini, Platti, and the world-premiere recording of a Baroque concerto by Carlo Graziani.
The centrepiece of Giovincello is Haydn’s Cello Concerto No 1 in C major, which is joined by Vivaldi’s Concerto in A minor RV 419 and three concertos by somewhat lesser-known Italian composers of the 18th century who all made careers outside their native country: Luigi Boccherini (1743-1805) – an important figure in the history of chamber music – who spent much of his life in Spain; Giovanni Platti (1697-1763), who lived for more than 40 years in Würzburg in Bavaria, and Carlo Graziani (.-1787), a somewhat shadowy figure who became cello teacher to Frederick Wilhelm II of Prussia and whose Cello Concerto in C Major is given its world-premiere recording here.
![Dmitry Sinkovsky, Il Pomo d’Oro – Virtuosissimo (2019) [FLAC 24 bit, 88,2 kHz]](https://imghd.xyz/images/2022/12/21/dzosjy6ikwsga_600.md.jpg)
Dmitry Sinkovsky, Il Pomo d’Oro – Virtuosissimo (2019) [FLAC 24 bit, 88,2 kHz]
‘virtuosissimo’ is a photograph of an influential moment in music history. With this new album, Dmitry Sinkovsky – a dazzlingly multi-talented artist, a brilliant violinist, countertenor, conductor -goes beyond Vivaldi and his influences: as well as Pisendel, he plays works by Locatelli, Tartini, Leclair and Telemann, all of whom enriched the early 18th Century violin repertoire with opulent, highly personal works focusing on soloistic bravura.
![Dmitry Sinkovsky, Riccardo Minasi, Il Pomo d’Oro – Vivaldi: Concerti per due violini e archi I (2013) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2022/12/21/0709869024256_600.md.jpg)
Dmitry Sinkovsky, Riccardo Minasi, Il Pomo d’Oro – Vivaldi: Concerti per due violini e archi I (2013) [FLAC 24 bit, 96 kHz]
This is the 51st title in the Vivaldi Edition and the 6th volume, out of approximately 12, of the series dedicated to the violin concertos whose manuscripts are held in the National Library of Turin. Following two successful volumes of concertos for solo violin and orchestra recorded separately in the Vivaldi Edition, virtuosos Riccardo Minasi and Dmitry Sinkovsky now join forces to record pyrotechnic concertos for two violins and orchestra. This series of 6 concertos is an overview of the complete art of Vivaldi as a composer and violinist: large of musical scale, invention, expression, energy, and of course, virtuosity.
![Max Cencic, Il Pomo d’Oro, Maxim Emelyanychev – Arie Napoletane: Max Emanuel Cencic (2015) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/07/05/0002894788426_600.md.jpg)
Max Cencic, Il Pomo d’Oro, Maxim Emelyanychev – Arie Napoletane: Max Emanuel Cencic (2015) [FLAC 24bit, 96 kHz]
This is clearly a treasure trove of forgotten opera arias . . . an accomplishment that seems near effortless. Blurring the traditional gender stereotype his androgynous tone adds invigorating and adventurous elements to these focused and impeccably controlled performances — so full of life. There is a striking purity to the counter-tenor’s dusky timbre together with a steadfast technique . . . The quality of each aria is consistently high and I have selected several highlights. Praiseworthy is Porpora’s quick and exciting “Quel vasto, quel fiero” from “Polifemo”. Cencic in decisive form as the heroic Ulysses demonstrates his aptitude for the technical challenges. In the title role the tender and affecting love song “Dal suo gentil sembiante” from Leo’s “Demetrio” is an excellent example of Cencic’s lovely smooth line with some modest ornamentation and a gloriously fluid glide to his high registers . . . There’s a vivid presence to the sonics of this satisfyingly balanced and admirably presented recording. Lovers of Late-Baroque opera and the counter-tenor voice will be in their element. Those new to this repertoire need not hesitate. Max Emanuel Cencic is in magnificent form with these high quality, yet inexplicably forgotten, arias.
![Ann Hallenberg, Riccardo Minasi, Il pomo d’oro – Agrippina – Opera Arias (2015) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/06/27/0886444974660_600.md.jpg)
Ann Hallenberg, Riccardo Minasi, Il pomo d’oro – Agrippina – Opera Arias (2015) [FLAC 24bit, 96 kHz]
The programme presented by Ann Hallenberg for DHM is a homage to the historical roman figure of Agrippina, one of the earliest historical women to inspire the fantasy of librettists and composers. Ann Hallenberg and a team of musicologists researched the musical archives to unearth all surviving operatic manuscripts containing the figure of Agrippina. Twelve of the arias are WORLD PREMIERE RECORDINGS. Apart from Handel’s famous opera ‘Agrippina’ and Telemann’s ‘Germanicus’, all music on this album has been recorded for the first time. This album is also a fascinating journey through the history of baroque opera. The earliest piece, Legrenzi’s ‘Germanico sul Reno’ dates from 1676 and is a typical example of early baroque style. The latest work, Graun’s ‘Britannico’ from 1752, was written only four years before the birth of Mozart, at the very end of the musical baroque period.