This 25CD set presents the most famous, iconic and best-loved works from the Baroque Era, works which are part of our common musical heritage and conscience, eternally young and cherished for their charm, beauty and deeply human emotions, shared by audiences all over the world.
Played by specialized Early Music Groups like L’Arte Dell’arco, Musica Amphion, Violini Capricciosi, Musica ad Rhenum and many others.

Dresden was a music capital of European rank during the seventeenth and eighteenth centuries, which means that this German city and baroque music have a common history. It was in Dresden that important composers and musicians of the time lived and worked. In 1991 graduates of the Dresden College of Music discovered their shared interest in this musical epoch and founded the Dresden Baroque Orchestra. Its members are committed to offering energetic interpretations on baroque instruments in keeping with the tenets of historical performance practice and to the rediscovery of forgotten works from the collection of the Dresden court chapel – top priorities for them that have also become their trademarks.

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.

Sammartini had a long and active musical career, working as maestro di cappella or organist in as many as ten different churches, yet surprisingly few of his sacred compositions survive. In the sacred cantata Gerusalemme sconoscente ingrata, set to a text from another of his cantatas, La perfidia giudaica nella SS. Passione di Gesù Cristo, vocal texture is dominated by a typically Italianate melodiousness and virtuosity, while the orchestral writing is full of daring harmonies, sparkling themes, and an inexhaustible wealth of ideas.

The cantata Della Passione di Gesù Cristo, J-C 124 (On Jesus Christ's Passion), was first performed in San Fedele on 9 March 1759, the first Friday of Lent. This title, which was published in the catalogue of Sammartini's works (Harvard University Press, 1976), does not correspond to the text found in Father Keller's manuscript. The text belongs instead to the cantata Gerusalemme sconoscente, ingrata (Jerusalem, ungrateful and disowning), which bears the number J-C 122. In the catalogue, this number belongs to the text of the cantata La perfidia giudaica (The Jewish Wickedness), which is considered lost and is catalogued as number C-49. According to the current state of research the 1760 cantata Della Passione di Gesù Cristo, Signor nostro seems to be lost.

Sacred Cantatas Naxos' Eighteenth Century Classics series treats listeners to a couple of samplings from a genre in which Giovanni Battista Sammartini, "father of the symphony," was involved to a largely unknown extent, the sacred cantata. Both of these works come from 1751, which must have been a very sad year indeed for this composer, as they are Maria Addolorata (The Sorrowing Mary) and Il pianto di San Pietro (The Tears of Saint Peter). These works have been edited for publication by musicologist Daniele Ferrari, and are recorded here with Ferrari himself conducting.

The cantata Il pianto degli Angeli della Pace was first performed in the church of San Fedele in Milan in 1751. It features three rôles, the Angel of the Alliance, a contralto, the Angel of the Testament, a soprano, and the Angel of Grace, a tenor. After an extensive orchestral introduction, the action begins with a trio, entitled Amare lagrime (Bitter Tears). This is in the form of a refrain that returns three times in the course of the composition, giving vent to the mournful feelings which prevail, sometimes with desperate and sometimes with melancholy accents, throughout the whole composition. Each character sings a da capo aria, preceded by a recitative. The plot is not based upon an episode of the Gospel, but is an edifying dialogue about the history of salvation and its fulfilment through Jesus Christ.

Sammartini's 67 surviving symphonies exhibit the gradual but dramatic stylistic shift from the Baroque to the Classical idiom; the six recorded here stem from his early period (1724-39) to around 1750. In addition to the obvious and expected stylistic progression, Sammartini also increased and strengthened the orchestra in his later symphonies by adding parts for oboes, horns, and trumpets. Most of the early symphonies omit violas; the middle symphonies employ trumpets and horns, and the late symphonies, none of which are offered here, include independent parts for oboes.

Giovanni Battista Sammartini is considered the first great symphony composer of the European musical history. Nine of his symphonies are presented here, as part of an extensive project to release the entire repertoire of Sammartini’s symphonic writing.

Giovanni Battista Sammartini was undoubtedly one of most important musicians of early 18th-century Italy. The first performance of Memet took place in 1732, when the composer was just over thirty years old. The plot complies with the enlightened music’s widespread taste for the middle-eastern world, while the structure is that of a tragedy in three acts with five characters (Memet, Solimano, Irene, Zaide and Demetrio) and without choir. The quality of the music is certainly high, thanks to Sammartini’s mature and effective orchestration and to the variety of his melodic inventiveness - quite remarkable in some solo episodes - which spans from cantabile to agility passages of virtuoso difficulty. A world première recording that is a must for opera lovers.