Jaroslav Tůma: clavichords by Martin Kather (Hamburg)

Michael Mantler: trumpet; Bjarne Roupé: guitar; Maximilian Kanzler: vibraphone, marimba; David Helbock: piano Leo Eibensteiner: flute; Peter Tavernaro: oboe; David Lehner; clarinet; Fabian Rucker: bass clarinet; Christoph Walder: french horn; Daniel Riegler: trombone;Simon Teurezbacher: tuba; Joanna Lewis, Ulrike Greuter, Diane Pascal, Tomas Novak, Simon Frick, Maximilian Bratt, Magdalena Zenz, Emily Stewart: violins; Simon Schellnegger, Anna Magdalena Siakala, Daniel Moser, Tamara Stajner: violas; Asja Valcic, Arne Kircher: cellos; Tibor Kövesdi, Philipp Kienberger: basses. Christoph Cech: conductor

David James: countertenor, Roger Covey-Crump: tenor, John Potter: tenor, Gordon Jones: baritone

Codex Speciálník, a manuscript containing polyphonic music which originated in Prague in the course of the last two decades of the 15th century, is considered one of the most important sources of music from Bohemia in the late Middle Ages. The original name of the collection signifies a “special” type of singing, characteristic of the Czech milieu and different from the common liturgical collections. The contents of the codex mostly relate to the mass liturgy of the Utraquist Church and comprise parts of the ordinary, motets, and religious songs, but also non-liturgical sacred music, as well as repertoire intended for instrumental interpretation. Containing some 200 polyphonic pieces, the collection contains music by important composers of the time which was known and performed in Latin Europe (e.g. Bedyngham, Frye, Weerbeke, Josquin, Isaac, and Obrecht), but also works by authors who were mostly active in Central Europe (e.g. Tourout, Flemmik, and Finck) as well as anonymous works (in some cases on Czech lyrics) among which we find some remarkable examples of the local reception of Franco-Flemish polyphony. A special category is formed by compositions from the late 14th century and the first half of the 15th century that were written in an older style but purposely performed in the Utraquist environment as part of a unique and quite independent tradition whose beginnings can be traced to the pre-Hussite period.

Dietburg Spohr: mezzosoprano, Brigitta Zehetner: mezzosoprano, Andrea Baader: soprano, Rita Huber: soprano, Dzuna Kalnina: alto, Rica Rauch: alto

András Schiff: piano
Miklós Perényi: violoncello

Sonate F-Dur op. 5, Nr. 1
Variationen über ein Thema aus Händels Oratorium “Judas Maccabaeus” G-Dur WoO 45
Sonate G-Moll op. 5, Nr. 2
Sonate F-Dur op. 17 (Horn-Sonate)

12 Variationen über „Ein Mädchen oder Weibchen“ F-Dur op. 66
Sonate A-Dur op. 69
7 Variationen über “Bei Männern, welche Liebe fühlen“ Es-Dur WoO 46
Sonate C-Dur op. 102, Nr. 1
Sonate D-Dur op. 102, Nr. 2

Natalia Zagorinskaya: soprano; Gerrie de Vries: mezzo-soprano; Yves Saelens: tenor; Harry van der Kamp: bass

Jean-Guiten Queyras: violoncello; Elliott Simpson: guitar; Tamara Stefanovich: piano; Csaba Király: pianino, spoken word

Asko/Schönberg Ensemble, Netherlands Radio Choir, Reinbert de Leeuw, conductor

Agnus Dei (2006); Sonata da Chiesa (2015); Con Anima (2006-7); String Trio (2008); String Quartet No. 3 (1993); Die Tänzerin (2014)

Movses Pogossian, Varty Manoiuelian: violins; Kim Kashkashian, Teng Li: violas; Karen Ouzounian, Michael Kaufman: cellos; Tatevik Mokatsian, Steven Van Hauwaert: piano; Boris Allakhverdyan: clarinet