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(US) An Exploration of the Countertenor in Rrecording From the 1960s to the 1980s -- Harmonia Early Music (30 Nov. 2009)
The countertenor voice is one of most unusual and alluring sounds heard in Western classical music. It is the highest natural male voice and one that has been heard in recording with increasing frequency from the middle of the 20th Century to the present day.
La Simphonie du Marais Hugo Reyne informs us of their latest CD release: “Viennoiseries musicales”. Out of the usual real of the Baroque era, the “Viennoiseries musicales” reflect the ambiance of the Vienese “salons” at the beginning of the XIXth century.
Visit website for more information of this latest CD: La Simphonie du Marais Hugo Reyne
Renaissance singer-composers of Picardy
Odhecaton – Paolo Da Col (direction)
“Between about 1400 and 1550, musical life in Europe was dominated by five generations of musicians born and formed in a well-defined geographical area generally described by musicologists as franco-flemish.
Paraty Label announce the newly pressed CD of fortepianist Natalia Valentin “Beethoven Rodos & Bagatelles” performed on a XVIIIth century German fortepiano (anonymous maker) restored Christopher Clarke.
“This month’s program (10 minutes and 32 seconds) explores the music of Giovanni Battista Lully. In 1646, at the tender age of 14, Lully was pressed into service for the French Chevalier de Guise as a dishwasher.
Follow the link to view or even stream some of the music from their site. (ed.) Naxos The Art of The Baroque Harpsichord
"HYPERION RECORDS FAILS AT APPEAL
Hyperion Records is very sorry to announce that it has lost its defence of the copyright case brought against it by Dr Lionel Sawkins.
Dr Sawkins claimed musical copyright in four editions of the musical works of Lalande. He lost at first instance in relation to the recording of one of the pieces of music but won on the other three. Hyperion appealed with the leave of the trial judge.
Hyperion’s principal objection to the claim made by Dr Sawkins was its contention that a performing edition does not amount to a new and substantive musical work in its own right unless the performing edition is original, in the sense that it amounts to a new musical work. Thus, Hyperion contended that if an edition is an arrangement or interpretation of an existing musical work then it may obtain copyright as an original musical work. Dr Sawkins expressly made clear that he was not contending that his editions were arrangements of Lalande's music." ...