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Lutz Kirchhof
Lute Music for Witches and Alchemists

Artist: Lutz Kirchhof
CD title: Lute Music for Witches and Alchemists
Release date: 2000
Number of Discs: 1
Genre: Classical
Type: MP3 format sound
Quality: 320 Kbit
Duration: 00:72:42
Total size: 165 MB
Info: Cover-art included

Tracks:
Anthony Holborne
01. Galliard no 3 "Fairy Round"
Johann Daniel Mylius
02. Courante I
03. Courante II
04. Volte
Nicolas Vallet
05. Secretum musarum: Battaille
Matthäus Reymann
06. Noctes musicae: Chorea 1
Athanasius Kircher
07. Tarantella
Luys de Milan
08. Fantasia
Luys de Narváes
09. Mille regretz "La Canción del Emperador"
10. Baxa de contrapunto
11. Cancion del primer Tono
12. Diferencias sobre "Guárdame las vacas"
Anthony Holborne
13. Muy Linda (Galliard)
François Dufaut - Suite for Lute in A minor
14. Prélude Amila
15. Allemande
16. Courante
17. Sarabande
18. Courante
Esaias Reusner - Suite no 1 in D minor
19. Praeludium
20. Paduan
21. Sarabanda
22. Gigue
23. Gavotte
Michael Maier
24. Atalanta fugiens: Fugue no 10
Joachim Bernhard Hagen - Sonata for Lute in C minor
25. Andante
26. Allegro
27. Allegretto
Sylvius Leopold Weiss
28. Galanterie pièce
29. Presto in B-flat major
Adam Falkenhagen
30. Variations for Lute on "Nun sich der Tag geendet hat"

Background information:
The time the music on 'Lute Music for Witches and Alchemists' waswritten was one of mysticism and wonder. The era of alchemists andwitches tapped into the dark recesses of human understanding, during atime before scientific inquiry and rationalism. The dances, preludesand fantasias on this recording were intended to appeal to this oldersensibility more than a rational or analytical one.
Lutz Kirchhof plays lute, vihuela and theorbo on this eclectic programof music from the renaissance and baroque. Each section of therecording is comprised of music inspired by witches with powers to healand alchemists who quested for hidden knowledge. Kirchhof's choice ofrepertoire is eclectic. He plays Anthony Holborne's "The Fairy Round"with a jaunty swagger that's irresistible. The "Tarantella" byAthanasius Kircher is equally colorful, it's a musical remedy againstthe venomous bite of the tarantula. Kirchhof also plays with melancholyeloquence on the gentle "Fantasia" by Luys de Milan. The lutenist alsodisplays some exuberant flair in Nicolas Vallet's "Battaille." This isa fascinating recording that resurrects some treasures from the luterepertoire framed in a clever programming concept.
The delicate lute tone charmed 16th- and 17th-century listeners by itssimple acoustic beauty. The gentle plucked notes could affect the mood,altering one's emotional state. Kirchhof suggests that such potentialmade music invaluable to witches and alchemists, who were held in highregard in the irrational centuries before the Age of Enlightenment.This theory enables Kirchhof to make an eclectic selection of 30 shortpieces covering 200 years and four different lutes--renaissance lute,vihuela, baroque lute, and theorbo. He does not claim that any of theitems were actually put to any alchemical or satanic use, but he doesnot need to. The Presto and Galanterie by S. L. Weiss speak forthemselves. Dufaut's Suite in A minor might not otherwise have reachedthe public; Hagen's Sonata in C minor would have remained obscure; andHolborne's The Fairy Round Galliard waited in vain for the revival ofalchemy as a science. An eccentric disc all-round. - Rick Jones

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Montserrat Figueras
Ninna Nanna 1450 – 2002

Artist: Montserrat Figueras
CD title: Ninna Nanna 1450 - 2002
Release date: 2003
Number of Discs: 1
Genre: classical
Type: MP3 format sound
Quality: 249-320 Kbit
Duration: 01:17:43
Total size: 141 MB

Tracks:
01 - Anon. Portugal - Cancao de emballar - Jose embala o menino [00:05:40] 10,2 MB
02 - Anon. England - Lullaby - My little sweet darling [00:03:59] 7,24 MB
03 - Anon. Greece - Lullaby - Koimnesou kaidemeno mou [00:03:23] 6,18 MB
04 - Anon. Sepharad Moroco - Ladino lullaby - Nani, nani [00:06:01] 10,9 MB
05 - Anon. - Berber - Amazigh lullaby [00:02:43] 4,96 MB
06 - William Byrd - Lullaby - Come, pretty babe [00:02:45] 5 MB
07 - Tarquinio Merula - Hor ch'e tempo di dormire [00:08:39] 15,8 MB
08 - Anon. Alicante - Mareta, mareta no'm faces plorar [00:06:02] 11 MB
09 - Johann Friedrich Reichardt - Dors mon enfant [00:03:11] 5,83 MB
10 - Moussorgski - Children's room - With a doll [00:01:48] 3,27 MB
11 - Anon. Israel - Hebrew lullaby - Noumi noumi yaldati [00:04:22] 7,93 MB
12 - Arvo Part - Rojdestvenskaia Kolibelnaia [00:05:24] 9,81 MB
13 - Max Reger - Maria Wiegenlied -Maria sitzl am Rosenhag [00:02:07] 3,85 MB
14 - Manuel de Falla - Nana - Duermete, nino, duerme [00:04:30] 8,16 MB
15 - Darius Milhaud - Hebrew lullaby - Dors, dors [00:01:37] 2,97 MB
16 - Federico Garcia Lorca - Nana de Sevilla - Este galapaguito [00:04:17] 7,79 MB
17 - Arvo Part - Estonian lullaby - Kuus, kuus kallike [00:04:13] 7,67 MB
18 - Anon. Catalan - Canco de Bressol - La mare de Deu [00:06:56] 12,4 MB

Background information:
Who doesn't love a lullaby? As a tribute "to all mothers and children",singer Montserrat Figueras offers this unusual program of 18 such songsfrom diverse sources and anonymous composers--Portuguese, English,Greek, Catalan, Hebrew, Sephardic, and North African--as well as pieceswritten by the likes of Byrd, Mussorgsky, Reger, Falla, Milhaud, andPärt (two lullabies composed for this recording). Accompaniments showthe stylish hand and always-tasteful imaginings of Jordi Savall and theinstrumentalists of Hesperion XXI--viols, guitar, flutes, psaltery,harp--and, in three tracks, the piano of Paul Badura-Skoda. Althoughthe liner notes prime us to expect very simple, repetitive tunes,Figueras transforms these ostensibly sleep-inducing songs into high,mind-and-ear-engaging art, embellishing, shaping, and imbuing them withdeeply felt expression, sometimes wistful and at others fervent, butalways delivered as if in intimate, personal touch with herlistener(s).
And as diverse as the melodies (and languages) are, so does thisrepertoire give Figueras a chance to show her own considerableversatility, from the plaintive, chant-like José embala o menino(Portugal) to the extended, highly ornamented 16th century Sephardicballad Nani, nani. Pärt's Berceuse de Noël (2002) is a gentle, sweetlyrocking little song, ideally accompanied by viols, harp, psaltery, andsantur; his Estonian cradle song, Kuus, kuus kallike, is as basic as itgets--an extremely simple, repetitive tune with a text of only three"words". For this last song--and for the Catalan lullaby Mareta, maretano'm faces plorar--Figueras is joined by her daughter Arianna, anappropriate and beautiful match of voices. Mussorgsky's "With the doll"from his The Nursery and Milhaud's "Dors, dors" from his Hebrewsongs--both accompanied by Badura-Skoda--are wonderful, rarely heardgems.

There are many other highlights here, and it's interesting to observehow Figueras adapts her voice and interpretive nuance to the differentstyles and texts. Of course, 77-plus minutes of these songs, allfocused on one voice--a voice that to my ears has more edge and lesswarmth and softness than I'd prefer--can be a lot to take in at onesitting. But the beautiful songs and the first-rate presentation compelmultiple listenings anyway, and the clear, detailed sound brings it upclose but comfortably so, with natural, well-balanced instrumentaltimbres complementing the voices. --David Vernier, ClassicsToday.com

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