{"title":"Claudio Verh","description":"\u003cp\u003eBrowse albums and recordings associated with Claudio Verh in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"joseph-bodin-de-boismortier-sonate-per-fagotto-e-continuo-op-50-pieces-de-clavecin-paolo-tognon-pietro-pasquini","title":"Boismortier: Sonate op. 50 \u0026 Pièces de clavecin | Paolo Tognon, Pietro Pasquini","description":"\u003cp\u003ePaolo Tognon and Pietro Pasquini perform Joseph Bodin de Boismortier’s Sonatas op. 50 and Pièces de clavecin, in a programme for bassoon and harpsichord with Claudio Verh.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eFile Hi-Res WAV 88.2kHz · 24bit — CVLD208\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003ePaolo Tognon — Baroque bassoon\u003cbr\u003ePietro Pasquini — harpsichord\u003cbr\u003eClaudio Verh — Baroque bassoon\u003c\/p\u003e\u003ch3\u003eInstruments\u003c\/h3\u003e\u003cul\u003e\u003cli\u003ePaolo Tognon: original Rust \u0026amp; Dubois bassoon, Lyon, c. 1795 (*); bassoon by O. Cottet, Boutigny 1995, copied after T. Prudent, Paris, c. 1760.\u003c\/li\u003e\u003cli\u003ePietro Pasquini: Franco-Flemish J. Ruckers\/Taskin harpsichord, Antwerp 1638, copied by William Horn, Brescia 2010, owned by Francesco Zanotto, Treviso.\u003c\/li\u003e\u003cli\u003eClaudio Verh: bassoon by O. Cottet, Boutigny 1999, copied after T. Prudent, Paris, c. 1760.\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; AreaMagister Studios, Preganziol; 2010-12-07\/09.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna and Paolo Tognon\u003cbr\u003eExecutive producer: Marco Lincetto\u003cbr\u003eRecording engineer: Marco Lincetto\u003cbr\u003eEditing and mastering: Michele Sartor\u003cbr\u003eCover: Nicolas de Largillière, portrait of the painter Charles Le Brun (1683–1686)\u003cbr\u003eEnglish text: Patrizia Pagiaro\u003cbr\u003eMarketing: Francesco Pesavento\u003cbr\u003eSales managers: Moreno Danieli and Patrizia Pagiaro\u003cbr\u003ePress agent: Emanuela Dalla Valle\u003cbr\u003eWorldwide contacts: Cristiana Dalla Valle\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e1 L’Imperièuse (troisièeme suite de pieces de clavecin) (1736) 3:03\u003cbr\u003e\u003cspan\u003eSonata Ia in Mi minore per fagotto e basso continuo op. 50\u003c\/span\u003e\u003cbr\u003e2 Andante e Staccato 1:24\u003cbr\u003e3 Allemanda (allegro) 2:26\u003cbr\u003e4 Aria (affettuoso) 2:41\u003cbr\u003e5 Gavotta (presto) 2:35\u003cbr\u003e6 La Rustique (seconde suite de pieces de clavecin) 2:09\u003cbr\u003e\u003cspan\u003eSonata IIa in Sol maggiore per fagotto e basso continuo*\u003c\/span\u003e\u003cbr\u003e7 Largo 2:41\u003cbr\u003e8 Allemanda (allegro) 2:44\u003cbr\u003e9 Largo 1:24\u003cbr\u003e10 Giga (staccato) 1:54\u003cbr\u003e11 La Veloutèe (quatrième suite de pieces de clavecin) 1:54\u003cbr\u003e\u003cspan\u003eSonata IIIa in Re maggiore per fagotto e basso continuo\u003c\/span\u003e\u003cbr\u003e12 Moderato 2:22\u003cbr\u003e13 Corrente 2:24\u003cbr\u003e14 Aria (affettuoso) 2:29\u003cbr\u003e15 Minoetto 1:10\u003cbr\u003e16 Variatione Ia 1:07\u003cbr\u003e17 Variatione IIa 1:00\u003cbr\u003e18 Variatione IIIa 0:57\u003cbr\u003e19 Variatione Iva 1:12\u003cbr\u003e20 La Serènissime (seconde suite de pieces de clavecin) 2:07\u003cbr\u003e\u003cspan\u003eSonata IVa in Re minore per fagotto e basso continuo*\u003c\/span\u003e\u003cbr\u003e21 Andante 2:15\u003cbr\u003e22 Allegro 2:29\u003cbr\u003e23 Sarabanda 1:31\u003cbr\u003e24 Giga 2:22\u003cbr\u003e25 La Marguillièere (prèmiere suite de pieces de clavecin) 2:51\u003cbr\u003e\u003cspan\u003eSonata Va in Do minore per fagotto e basso continuo*\u003c\/span\u003e\u003cbr\u003e26 Largo 2:16\u003cbr\u003e27 Gavotta 1:35\u003cbr\u003e28 Largo 0:47\u003cbr\u003e29 Allegro 1:41\u003cbr\u003eTotal Time 57:45\n\u003c\/p\u003e\u003cp\u003e* Sonatas II, IV and V: Paolo Tognon plays the original Rust \u0026amp; Dubois bassoon, Lyon, c. 1795.\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eIn 18th-century France, the bassoon was widely used for its expressive efficacy. Its initial constructive development is probably due to Jean Hotteterre. As early as 1674, the bassoon is mentioned in a Lully score, and the first evidence of a four-keyed bassoon (later also five) comes from two original instruments dated between 1730 and c. 1750, documented by makers like Eisel in 1738, up to the famous illustration in Diderot and D’Alembert’s Encyclopédie in 1751. J.B. de Boismortier introduced the three-movement concerto of Italian origin to France, with Vivaldi and Albinoni as precursors. He also contributed to the improvement of flute technique. He began his music studies under Joseph Valette de Montigny in 1714. He initially worked in Metz before moving to Paris in 1724, where upon his arrival he published 12 trio sonatas for 2 flutes with basso continuo, 12 sonatas for 2 flutes, and 4 cantatas. He embarked on a high-quality instrumental production, catering to the elegant tastes of aristocrats. He also composed 3 operas and various cantatas. His music was played at the Concert Spirituel on Christmas and Christmas Eve from 1740 to 1770. A connoisseur of low-pitched orchestral instruments such as the cello, bassoon, and viola da gamba, he came into contact with the world of the cello around the late 1720s when Jean Zewalt Triemer, originally from Weimar where he was a member of the court orchestra, came to study with him; he emigrated to Paris and between 1726 and 1729, he was also a student of Boismortier. The collection of five sonatas op. 50 can expressly be played by the cello, bassoon, or viola da gamba, according to the well-established printing custom of the time, which could thus guarantee greater circulation and interest in the compositions among musicians of the era. The collection used for this recording comes from the historical printed edition preserved respectively at the Bibliothèque National de France and the British Library in London. The compositional structure of the sonatas skillfully blends the alternation of slow and fast movements in the Italian style, and typical French dances are present in all the sonatas, such as: allemande, gavotte, gigue, sarabande, corrente, minuet. Interesting is the presence of the affettuoso in the first and third sonatas, where the blend of cantabile and the peculiar timbre of the bassoon in the tenor register, slightly melancholic, enhances its expressive component. Boismortier perfectly embodies the spirit of the “Goutès Rèunis,” that 18th-century French musical movement that aimed for an ideal musical union between melodious cantabile and Italian-style virtuosity, with the refined French ornamentation typical of the comédie-ballet. The bassoon is explored in all its resources and adapts perfectly to the performance. To complement the recording, some short “pièce de clavecin” from the collection of four harpsichord suites of 1736 are included. These are rather short, closed-form pieces which, already in the titles given by the composer, aim to evoke a precise atmosphere: L’Impèrieuse, la Veloutèe, la Rustique, or a kind of implicit homage to some personality: La Sèrenissime, la Marguillière. Often, in these pieces, the rondeau compositional form is present, which, alternated with the couplet, makes listening to the music itself more varied.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eNotes on the performance — Paolo Tognon\u003c\/h3\u003e\u003cp\u003eThe reference to the cello is evident in passages with double and triple stops. I therefore chose a bassoon interpretation that recreates these characteristic and demanding effects through rapid arpeggiation, seeking an approach inspired by the bowed string instrument. It is above all the performer’s task to recreate, with historical care, a “sound image” that convincingly conveys what the music suggests: its tonal choices and the distinctive registers of the instrument, which evoke the varied moods of the human voice, rather than its strictly virtuoso possibilities. To enrich the performance, I chose to place short pièces de clavecin before each sonata as preludes. Their character complements the sonata that follows, making the listening experience more varied and complete. Finally, for this early-music recording I deliberately used two bassoons: an original French instrument and a modern copy of a historical French instrument, allowing listeners to identify similarities and differences in timbre, always guided by the search for a tonal quality essential to this refined and engaging chamber repertoire.\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Joseph-Bodin-de-Boismortier-Sonate-per-fagotto-e-continuo-Op50-Pieces-de-clavecin-Op59\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49823107350875,"sku":"CVLD208","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/208-cover.jpg?v=1736031339"},{"product_id":"ayres-fantasias-quoniam-consort-of-dulcians","title":"Ayres \u0026 Fantasias | Quoniam Consort of Dulcians","description":"\u003cp\u003eAyres \u0026amp; Fantasias features Quoniam Consort of Dulcians with soprano Elisabetta Gasparotto in a programme for dulcians and voice.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD227CD\u003c\/li\u003e\u003cli\u003eFile Hi-Res WAV 88.2kHz · 24bit — CVLD227\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eQuoniam Consort of Dulcians: Paolo Tognon, Claudio Verh, Vincenzo Onida, Fabio Accurso, Lorenzo Feder. Elisabetta Gasparotto — soprano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; AreaMagister Studios, Preganziol; 2011-12-29\/31.\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003col\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003ecome again sweet love\u003c\/em\u003e - 2:09\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003eawake sweet love\u003c\/em\u003e - 2:04\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia prima per due bassi\u003c\/em\u003e - 2:19\u003c\/li\u003e\n\u003cli\u003eThomas Lupo: \u003cem\u003efantasia a tre bassi\u003c\/em\u003e - 3:11\u003c\/li\u003e\n\u003cli\u003eAlfonso Ferrabosco: \u003cem\u003ea pavin per liuto\u003c\/em\u003e - 3:36\u003c\/li\u003e\n\u003cli\u003eJohn Farmer: \u003cem\u003ea little pretty bonny lass (vocale)\u003c\/em\u003e - 1:39\u003c\/li\u003e\n\u003cli\u003eChristopher Simpson: \u003cem\u003edivisions upon a ground (solista C. Verh)\u003c\/em\u003e - 7:04\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia prima per due bassi (love cannot dissemble)\u003c\/em\u003e - 2:00\u003c\/li\u003e\n\u003cli\u003eThomas Morley: \u003cem\u003eapril is in my mistress' face\u003c\/em\u003e - 1:07\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia quarta per due bassi\u003c\/em\u003e - 2:23\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia settima per due bassi (ut, re, mi, fa, sol, la)\u003c\/em\u003e - 2:18\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003eThe Right Honorable Lady Clifton's Spirit. Galliard per liuto\u003c\/em\u003e - 1:44\u003c\/li\u003e\n\u003cli\u003eWilliam Cornysh: \u003cem\u003eah Robin, gentle Robin\u003c\/em\u003e - 2:18\u003c\/li\u003e\n\u003cli\u003eJohn Bull: \u003cem\u003eLord Lumley pavan per clavicembalo\u003c\/em\u003e - 4:41\u003c\/li\u003e\n\u003cli\u003eJohn Bull: \u003cem\u003eLord Lumley galliard\u003c\/em\u003e - 2:06\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003elullaby\u003c\/em\u003e - 2:40\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia seconda per due bassi\u003c\/em\u003e - 2:39\u003c\/li\u003e\n\u003cli\u003eAnonymous: \u003cem\u003efantasia per due bassi e liuto G496\u003c\/em\u003e - 1:41\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003ea fancy per liuto\u003c\/em\u003e - 2:36\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003enow, o now I needs must part\u003c\/em\u003e - 3:20\u003c\/li\u003e\n\u003cli\u003eJohn Bennet: \u003cem\u003ea hunt is up\u003c\/em\u003e - 1:38\u003c\/li\u003e\n\u003cli\u003eJohn Farmer: \u003cem\u003ea little pretty bonny lass (voce e strum.)\u003c\/em\u003e - 1:35\u003c\/li\u003e\n\u003cli\u003eOrlando Gibbons: \u003cem\u003efantasia terza per due bassi\u003c\/em\u003e - 3:21\u003c\/li\u003e\n\u003cli\u003eJohn Dowland: \u003cem\u003erest a while you cruel care\u003c\/em\u003e - 0:57\u003c\/li\u003e\n\u003cli\u003eClaudio Verh \u0026amp; John Dowland: \u003cem\u003ediminuzioni sopra \"rest a while\" (solista C. Verh)\u003c\/em\u003e - 1:12\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia terza per due bassi (both alike)\u003c\/em\u003e - 1:57\u003c\/li\u003e\n\u003cli\u003eMichael East: \u003cem\u003efantasia quinta per due bassi\u003c\/em\u003e - 2:02\u003c\/li\u003e\n\u003cli\u003eAnonymous: \u003cem\u003efantasia per tre bassi e liuto G495\u003c\/em\u003e - 2:50\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003eTotal Time\u003c\/strong\u003e: 69:21\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003ch4\u003eEdition notes\u003c\/h4\u003e\u003cp\u003e\u003cspan\u003eMusical Delights at the Court of Elizabeth I of England; or, an anthology of polyphonic music in two, three, and four parts performed by a consort of dulcians, lute, harpsichord, and the human voice. Elizabeth I, crowned in 1558, extended her long reign until 1603 and supported England during a fortunate and important period in its history—politically, religiously, commercially, and culturally. Like her father, Henry VIII, she loved music, playing the lute and lyre herself and surrounding herself with up to 70 musicians at court. Music was often associated with the theatrical performances of geniuses such as Shakespeare and Marlow. The dulciana (curtal) was introduced to England in the first three decades of the 16th century, likely by the Venetians Bassano, inventors of an instrument: the bassone corto (curtal), as can already be seen in two inventories from 1542 and 1547 dating back to the court of Henry VIII: \"...13 short instruments caulked Dulceuses...\" In the 16th century, many documents testify to the use of this instrument in England, which was integrated into wind instrumental groups (Waits), similar to other similar ensembles on the European continent, and intended for use at court and in public ceremonies. The refined sound of the dulciana in its various sizes used here—bass, but also soprano, contralto, and tenor—ideally complements both the voice and instruments essential to harmony and counterpoint, such as the lute and harpsichord. Most English composers of the time wrote vocal and instrumental music for both sacred and secular use. In so-called consort music, it was common practice to perform polyphonic pieces for four or more voices with a homogeneous ensemble of instruments. This is a rare sound document that illustrates their timbre on dulcians. Also of interest is the possibility of performing some fantasias for two basses, originally intended for the viola d'gamba, on the dulcian, which offers a sound that highlights the singable and melancholic component but also the rhythmic and witty one typical of the flexibility of this wind instrument, a forerunner of the modern bassoon.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThe timbral refinement of the different musical ensembles present on this disc is enhanced by the extraordinary quality of the recording, carried out in the large Velut Luna studios in Preganziol using high-resolution digital technology.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Ayres-AND-Fantasias\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50009172214107,"sku":"CVLD227CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49866699473243,"sku":"CVLD227","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/227-cover.jpg?v=1736496970"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/claudio-verh.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}