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Italia per sempre
Various composers

RedHerring Baroque Ensemble

Italia per sempre

Price: € 19.95 13.97
Format: CD
Label: Antarctica
UPC: 0608917731422
Catnr: AR 014
Release date: 04 October 2019
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19.95 13.97
old €19.95 new € 13.97
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Label
Antarctica
UPC
0608917731422
Catalogue number
AR 014
Release date
04 October 2019
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Italy is Europe’s largest exporter of wine, and the second-largest exporter of olive oil, but in the 16th century it was by far the largest exporter of music. We even think of the 17th century as a period of “Export Italianism”: after Monteverdi invented baroque music – more or less on his own – European courts and cities (Vienna, Paris, Amsterdam, and especially London) sparkled with the splendour of Latin innovation, and with the Italian geniuses who sparked it far away from their Mediterranean home towns.

But some Italians preferred to stay at home: big names like Alessandro Scarlatti and Albinoni, but also delightful incogniti such as Leonardo Leo, Nicolo Fiorenza, Giovanni Antonio Canuti and Francesco Mancini. They developed a hyper-personal style which was impervious to international fashion, and (especially in the South) characterized by extravagance and a distinct couleur locale. Their works are virtually unknown, but as local archives are shedding their treasures through digitization projects, more and more gems are finding their ways to recordings such as the present one.
There is no better advocate for this sun-drenched repertoire than the Antwerp ensemble RedHerring. Founded in 2011 by recorder player Patrick Denecker, RedHerring boasts some of Belgium’s finest baroque pioneers such as violinist Ryo Terakado, viol player Kaori Uemura and lutenist Philippe Malfeyt.

These virtuosi bring the all-Italian menu to life in the attractive and acclaimed fashion of preceding projects. Both Klara Radio and Fono Forum awarded the 2016 recording La Muse and La Mise – dedicated to 18th century French salon jams – with 5/5, while De Standaard called it “at once refined and careless, gold-framed and fleeting; a CD which embodies an evening spent in good company”.

RedHerring not only relies on spontaneity, intuition and improvisation. Denecker and his pals embrace the view that the use of correct instruments can enhance our insight into and understanding of the music. As a consequence, Denecker plays compositions of which the Neapolitan origin is certain on a copy of an anonymous recorder from the collection of Giacomo Rossini, now in the Victoria and Albert Museum in London.

Music history emphasizes main streams and great names. Recordings like the present one, which explore the side tracks and alleyways historians never venture into, make up for the oversight which is inevitable in any synthetic enterprise. They allow us to enjoy good music which has been forgotten through no fault of its own.
Italië is Europa’s grootste wijnexporteur en staat bij de export van olijfolie op de tweede plaats, maar in de 16e eeuw was het verreweg de grootste exporteur van muziek. We beschouwen de 17e eeuw zelfs als een periode van “export Italiaanisme”: nadat Monteverdi – min of meer zelf – de barokmuziek had uitgevonden schitterden Europese hoven en steden (Wenen, Parijs, Amsterdam en in het bijzonder Londen) in de pracht van Latijnse innovatie, evenals de Italiaanse genieën die het vuur ver van hun mediterraanse geboortesteden ontstaken.

Maar sommige Italianen bleven liever thuis: grote namen als Alessandro Scarlatti en Albinoni, maar ook wonderlijke onbekenden als Leonardo Leo, Nicolo Fiorenza, Giovanni Antonio Canuti en Francesco Mancini. Zij ontwikkelden een hyper-persoonlijke stijl die zich niets aantrok van de internationale mode en (in het bijzonder in het zuiden) gekenmerkt werd door extravagantie en typische coleur locale. Hun werken zijn vrijwel onbekend, maar nu lokale archieven hun schatten tonen door middel van digitalisatieprojecten vinden meer en meer pareltjes hun weg naar opnames als deze.

Niemand kan beter voor dit zonovergoten repertoire pleiten dan het Antwerpse ensemble RedHerring. Het ensemble werd in 2011 opgericht door blokfluitist Patrick Denecker en bestaat uit enkele van de beste Belgische barokpioniers als violist Ryo Terakado, gambist Kaori Uemura en luitist Philippe Malfeyt.

Deze virtuozen brengen het Italiaanse menu tot leven op de aantrekkelijke en veelgeprezen wijze van eerdere projecten. Zowel Klara en Fono Forum bekroonde het album La Muse and La Mise uit 2016 – toegewijd aan improvisatie in 18e-eeuwse Franse salons – met 5 sterren. De Standaard noemde het “tegelijk verfijnd en achteloos, goudomrand en vluchtig : een cd als de samenvatting van een avond doorgebracht in goed gezelschap.

RedHerring vertrouwt niet alleen op spontaniteit, intuïtie en improvisatie. Denecker en zijn vrienden zijn van mening dat het gebruik van de correcte instrumenten ons inzicht in en begrip van de muziek kan vergroten. Als gevolg daarvan speelt Denecker composities waarvan de Napolitaanse oorsprong zeker is op een kopie van een anonieme blokfluit uit de collectie van Giacomo Rossini, nu in het Victoria and Albert Museum in Londen.

Muziekgeschiedenis legt de nadruk op grote stromingen en namen. Opnames als deze, die de zijwegen en steegjes verkennen waar historici zich niet wagen, compenseren deze nalatigheid die in elke artistieke onderneming onvermijdelijk is. Ze stellen ons in staat om te genieten van goede muziek die buiten zijn schuld om is vergeten.
Italien ist Europas größter Wein-Exporteur und steht beim Export von Olivenöl an zweiter Stelle, doch im 16. Jahrhundert war das Land mit Abstand das bedeutendste im Export von Musik; man betrachtet das 17. Jahrhundert sogar oft als Zeit von „Export-Italianismus“: nachdem Monteverdi – mehr oder weniger im Alleingang – die Barockmusik erfunden hatte, strahlten die europäischen Höfe und Städte (Wien, Paris, Amsterdam und besonders London) im Glanz lateinischer Innovation sowie der italienischen Genies, die das Feuer weit entfernt von ihren mediterranen Heimatstädten entfachten.

Doch manche Italiener blieben lieber zu Hause: große Namen wie Alessandro Scarlatti und Albinoni, doch auch wunderbare Unbekannte wie Leonardo Leo, Nicolo Fiorenza, Giovanni Antonio Canuti oder Francesco Mancini. Sie entwickelten einen hyper-persönlichen Stil, der der internationalen Mode gegenüber unempfindlich und (besonders im Süden) von Extravaganz und Lokalcouleur geprägt war. Ihre Werke sind praktisch unbekannt, doch nun, da lokale Archive ihre Schätze in Digitalisierungsprojekten zeigen, finden immer mehr Juwelen ihren Weg zu Aufnahmen wie die vorliegende.
Dieses sonnengetränkte Repertoire könnte keinen besseren Advokaten haben als das Antwerpener Ensemble RedHerring. 2011 von Blockflötist Patrick Denecker gegründet, trumpft RedHerring mit einigen der besten Barockpioniere Belgiens auf, etwa Violinist Ryo Terakado, Gambistin Kaori Uemura und Lautenist Philippe Malfeyt.

Diese Virtuosen hauchen diesem italienischen Menü im attraktiven und gefeierten Stil vorangegangener Projekte Leben ein. Sowohl Klara Radio als auch Fono Forum gaben ihrem Album La Muse and La Mise (2016) – gewidmet den Improvisationen in französischen Salons des 18. Jahrhunderts – 5 von 5 Sternen, während De Standaard es als „gleichzeitig kultiviert und sorglos, goldgerahmt und flüchtig; diese CD verkörpert einen Abend in guter Gesellschaft“.

RedHerring verlassen sich nicht nur auf Spontaneität, Intuition und Improvisation. Denecker und Konsorten sind der Auffassung, dass der Gebrauch der korrekten Instrumente unserem Einblick in und dem Verständnis der Musik helfen kann. Konsequent spielt Denecker Kompositionen, deren neapolitanischer Ursprung sicher ist, auf einer anonymen Blockflöte aus der Sammlung von Giacomo Rossini, die jetzt im Victoria und Albert Museum in London zu Hause ist.

Musikgeschichte betont große Strömungen und große Namen. Aufnahmen wie diese hier, die die Seitenstraßen und kleinen Gassen erkunden, in die Historiker sich nie verirren, machen für dieses Versehen wett, das in jedem künstlichen Unterfangen unvermeidlich ist. Diese Aufnahmen gestatten uns, gute Musik zu genießen, die unverschuldet in Vergessenheit geraten ist.

Artist(s)

Patrick Denecker (recorder)

RedHerring Baroque Ensemble

RedHerring was founded in 2011 by Patrick Denecker as a logical consequence of the way paved by La Caccia, his Renaissance ensemble.  Specifically dedicated to the baroque repertory, RedHerring aspires to bring well-known as well as undiscovered works of the 17th and 18th centuries to the concert platform. Knowledge of 16th century music provides musical insights into the repertory of the baroque period and forms a logical and chronological continuation of adventurous explorations.  As always, their programmes are based on in-depth studies of historical performing practices.  Patrick Denecker is convinced that exciting concerts can be realized by immersing oneself in the spirit of the times in which the composer lived. The re-creating of music needs a strong base… this is silence. The listener...
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RedHerring was founded in 2011 by Patrick Denecker as a logical consequence of the way paved by La Caccia, his Renaissance ensemble. Specifically dedicated to the baroque repertory, RedHerring aspires to bring well-known as well as undiscovered works of the 17th and 18th centuries to the concert platform. Knowledge of 16th century music provides musical insights into the repertory of the baroque period and forms a logical and chronological continuation of adventurous explorations. As always, their programmes are based on in-depth studies of historical performing practices. Patrick Denecker is convinced that exciting concerts can be realized by immersing oneself in the spirit of the times in which the composer lived. The re-creating of music needs a strong base… this is silence. The listener is witness to this ‘new’ music, which is played as if just created, and thus brought with imagination and inventiveness. RedHerring performs as a chamber music ensemble and as an orchestra. In its short existence, RedHerring has already played in major festivals, including the MA Festival Bruges, The Utrecht Early Music Festival, Festival of Flanders, and others. RedHerring runs its own concert series in Belgium and is regularly invited to create thematic programmes.

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Ryo Terakado (violin)

Ryo Terakado was born in 1961 in Santa Cruz, Bolivia. He started to play violin at the age of 4, and won 2nd prize in the All Japan Youth Musical Competition when he was 14. Ryo studied violin, chamber music and conducting at the Toho Gakuen School of Music. In 1983, he took third prize in the All Japan Music Competition. Upon graduating from Toho Gakuen, he was invited to become concertmaster of the Tokyo Philharmonic Orchestra, a position he held for two years.   Meanwhile, Ryo’s interest in Baroque music had been developing for some time: at the age of 19, he started to teach himself Baroque violin, and in 1985, he moved to the Netherlands to study the instrument at...
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Ryo Terakado was born in 1961 in Santa Cruz, Bolivia. He started to play violin at the age of 4, and won 2nd prize in the All Japan Youth Musical Competition when he was 14. Ryo studied violin, chamber music and conducting at the Toho Gakuen School of Music. In 1983, he took third prize in the All Japan Music Competition. Upon graduating from Toho Gakuen, he was invited to become concertmaster of the Tokyo Philharmonic Orchestra, a position he held for two years.
Meanwhile, Ryo’s interest in Baroque music had been developing for some time: at the age of 19, he started to teach himself Baroque violin, and in 1985, he moved to the Netherlands to study the instrument at the Royal Conservatory in The Hague under the guidance of Sigiswald Kuijken, receiving a soloist diploma in 1989.
Since 1987, he has performed as concertmaster with Baroque orchestras in Europe and Japan including La Petite Bande, Les Arts Florissants, La Chapelle Royale, Collegium Vocale Gent, and Tokyo Bach Mozart Orchestra; he made regular appearances with these orchestras to perform the concertos of composers including Bach, Vivaldi and Mozart. Ryo is also the current concertmaster of Bach Collegium Japan, and is invited frequently to Italy, Poland, France and Australia as a soloist. Since 1994, he has been one of the featured artists in the Hokutopia International Music Festival in Tokyo, where he made his debut as a conductor. His repertoire as a conductor includes operas by Monteverdi, Purcell, Rameau, Gluck, Haydn and Mozart.
Ryo is a faculty member of the Hague Royal Conservatory (Holland), The Royal Conservatory in Brussels and his alma mater, Toho Gakuen School of Music (Japan). He teaches regularly at Yonsei University in Seoul and makes concert appearances in Korea.
His discography can be found on the Ricercar (Belgium), Accent (Germany) BIS (Sweden) and Denon (Japan) labels.

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Guy Penson (harpsichord)

Kaori Uemura (violone)

Dirk Vandaele (violin)

Jan Bontinck (violoncello)

Composer(s)

Alessandro Scarlatti

Pietro Alessandro Gaspare Scarlatti was an Italian composer from the Baroque period. He mainly acquired fame through his oratorios, cantatas and (Neapolitan) operas. He was the father of Domenico, who followed his father's example and became a composer himself. In total, Scarlatti composed 38 oratorios, along with many masses and operas. His music has a spontaneous and unpredictable character, and at times a bit incoherent. Scarlatti had a great influence on the music of Georg Frideric Handel. Around 1708, the two composers met almost daily. 
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Pietro Alessandro Gaspare Scarlatti was an Italian composer from the Baroque period. He mainly acquired fame through his oratorios, cantatas and (Neapolitan) operas. He was the father of Domenico, who followed his father's example and became a composer himself.

In total, Scarlatti composed 38 oratorios, along with many masses and operas. His music has a spontaneous and unpredictable character, and at times a bit incoherent. Scarlatti had a great influence on the music of Georg Frideric Handel. Around 1708, the two composers met almost daily.


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Tomaso Albinoni

Albinoni studied violin and voice, but in the art of composing he was completely self-taught. He was born to a rich family, and he didn't have to work for the church (unlike his contemporaries such as Vivaldi, Zani and Geminiani), which gave him a lot of time and finances to work on his compositions from an early age. His first opera Zenobia, regina de Palmireni was performed in Venice for the first time in 1694.  Even though he quickly grew to fame as a composer, little is known of Albinoni's life. He married in 1705, and the Kapellmeister of the St Mark's Basilica, his friend Antonio Biffi, was his best man at the wedding. Otherwise it seems he had little contact with...
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Albinoni studied violin and voice, but in the art of composing he was completely self-taught. He was born to a rich family, and he didn't have to work for the church (unlike his contemporaries such as Vivaldi, Zani and Geminiani), which gave him a lot of time and finances to work on his compositions from an early age. His first opera Zenobia, regina de Palmireni was performed in Venice for the first time in 1694. Even though he quickly grew to fame as a composer, little is known of Albinoni's life. He married in 1705, and the Kapellmeister of the St Mark's Basilica, his friend Antonio Biffi, was his best man at the wedding. Otherwise it seems he had little contact with the musical establishment of Venice, even though his operas were quite popular in the Italian cities. In 1722, Maximilian II of Bavaria invitied him to perform two of his operas in Munich. Around 1740, a collection of violin sonatas by Albinoni was published posthumously by a French editor. For a long time, people thought he had already died by then, but in reality he was living a secluded life in Venice, where he died at the age of 80 from diabetes.


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Press

Play album Play album
01.
Concerto in d: I. Amoroso
04:01
(Domenico Sarri) Patrick Denecker, Ryo Terakado, RedHerring Baroque Ensemble, Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson
02.
Concerto in d: II. Adagio
01:13
(Domenico Sarri) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
03.
Concerto in d: III. Allegro
00:32
(Domenico Sarri) Jan Bontinck, Valerio Latartara, Philippe Malfeyt, Dirk Vandaele, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
04.
Cantata: Agnellino Innocente: I. Recit: Agnellino innocente
01:31
(Leonardo Leo) Annelies Van Gramberen, Jan Bontinck, Valerio Latartara, Dirk Vandaele, Annelies Van Gramberen, Kaori Uemura, Philippe Malfeyt, Guy Penson, Ryo Terakado, Patrick Denecker, Patrick Denecker, RedHerring Baroque Ensemble
05.
Cantata: Agnellino Innocente: II. Aria: Innocente la colomba
04:23
(Leonardo Leo) Jan Bontinck, Annelies Van Gramberen, Valerio Latartara, Dirk Vandaele, Annelies Van Gramberen, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, Patrick Denecker, RedHerring Baroque Ensemble
06.
Cantata: Agnellino Innocente: III. Recit: Cosi quest'alma amante
01:01
(Leonardo Leo) Annelies Van Gramberen, Jan Bontinck, Valerio Latartara, Dirk Vandaele, Annelies Van Gramberen, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, Patrick Denecker, RedHerring Baroque Ensemble
07.
Cantata: Agnellino Innocente: IV. Aria: La vaga farfalleta
03:06
(Leonardo Leo) Annelies Van Gramberen, Jan Bontinck, Valerio Latartara, Dirk Vandaele, Annelies Van Gramberen, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, Patrick Denecker, RedHerring Baroque Ensemble
08.
Sonata a Flauto Solo e Basso: I. Largo
01:45
(Giovanni Antonio Canuti) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
09.
Sonata a Flauto Solo e Basso: II. Allegro
01:34
(Giovanni Antonio Canuti) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
10.
Sonata a Flauto Solo e Basso: III. Largo
01:36
(Giovanni Antonio Canuti) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
11.
Sonata a Flauto Solo e Basso: IV. Allegro
01:46
(Giovanni Antonio Canuti) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
12.
Concerto in a: I. Largo / Grave
02:29
(Nicolo Fiorenza) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
13.
Concerto in a: II. Allegro
02:05
(Nicolo Fiorenza) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
14.
Concerto in a: III. Largo / Grave
02:27
(Nicolo Fiorenza) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
15.
Concerto in a: IV. Allegro assai
01:12
(Nicolo Fiorenza) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
16.
Sinfonia 'Venere e Amore': Spiritoso - Grave affettuosso - Allegro
04:44
(Alessandro Scarlatti) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
17.
Sonata a Flauto Solo e Basso: I. Allegro
02:04
(Anonymous) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
18.
Sonata a Flauto Solo e Basso: II. Grave
01:31
(Anonymous) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
19.
Sonata a Flauto Solo e Basso: III. Andante
01:52
(Anonymous) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
20.
Cantata: Dir vorrei quel bel contento: I. Aria: Dir vorrei quel bel contento
04:13
(Francesco Mancini) Annelies Van Gramberen, Jan Bontinck, Valerio Latartara, Dirk Vandaele, Annelies Van Gramberen, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, Patrick Denecker, RedHerring Baroque Ensemble
21.
Cantata: Dir vorrei quel bel contento: II. Recit: Ah che quei caribaci
00:48
(Francesco Mancini) Annelies Van Gramberen, Jan Bontinck, Valerio Latartara, Dirk Vandaele, Annelies Van Gramberen, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, Patrick Denecker, RedHerring Baroque Ensemble
22.
Cantata: Dir vorrei quel bel contento: III. Aria: Tacero non parlero
03:37
(Francesco Mancini) Patrick Denecker, Ryo Terakado, Guy Penson, Annelies Van Gramberen, Jan Bontinck, Valerio Latartara, Dirk Vandaele, Annelies Van Gramberen, Philippe Malfeyt, Kaori Uemura, Patrick Denecker, RedHerring Baroque Ensemble
23.
Sonata a Flauto Solo e Basso: I. Adagio
02:24
(Tomaso Albinoni) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
24.
Sonata a Flauto Solo e Basso: II. Allegro
02:47
(Tomaso Albinoni) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
25.
Sonata a Flauto Solo e Basso: III. Largo
01:42
(Tomaso Albinoni) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
26.
Sonata a Flauto Solo e Basso: IV. Vivace
02:34
(Tomaso Albinoni) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
27.
Concerto in a: I. Largo
01:33
(Domenico Sarri) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
28.
Concerto in a: II. Allegro
03:31
(Domenico Sarri) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
29.
Concerto in a: III. Larghetto
01:58
(Domenico Sarri) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
30.
Concerto in a: IV. Spiritoso
01:56
(Domenico Sarri) Jan Bontinck, Valerio Latartara, Dirk Vandaele, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
31.
Sinfonia a Flauto Solo: I. Moderato
01:48
(Nicolo Fiorenza) Dirk Vandaele, Valerio Latartara, Jan Bontinck, Philippe Malfeyt, Kaori Uemura, Guy Penson, Ryo Terakado, Patrick Denecker, RedHerring Baroque Ensemble
32.
Sinfonia a Flauto Solo: II. Allegro
04:01
(Nicolo Fiorenza) Patrick Denecker, Ryo Terakado, Guy Penson, Kaori Uemura, Philippe Malfeyt, Dirk Vandaele, Valerio Latartara, Jan Bontinck, RedHerring Baroque Ensemble
33.
Sinfonia a Flauto Solo: III. Largo
01:53
(Nicolo Fiorenza) Patrick Denecker, Ryo Terakado, Guy Penson, Kaori Uemura, Philippe Malfeyt, Dirk Vandaele, Valerio Latartara, Jan Bontinck, RedHerring Baroque Ensemble
34.
Sinfonia a Flauto Solo: IV. Allegro
03:20
(Nicolo Fiorenza) Patrick Denecker, Ryo Terakado, Guy Penson, Kaori Uemura, Philippe Malfeyt, Dirk Vandaele, Valerio Latartara, Jan Bontinck, RedHerring Baroque Ensemble
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Often bought together with..

Various composers
La Muse et La Mise (en concert)
RedHerring Baroque Ensemble

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