Baroque in Japan? The contemporary Japanese scene
After 1945, despite the dominance of a Germanic and Romantic model, Japan’s musical landscape gradually opened up to other horizons. Bach, Vivaldi, and Rameau found their place in an archipelago where concert halls, schools, radio, and even cafés played a decisive role. Here is the second instalment of a series chronicling a musical discovery in which the recorder takes center stage!
Barocco Napoletano: Treasures from the Conservatorio San Pietro a Majella
Viva Napoli: nativity scenes and pizza, Maradona and music… But Naples is also home to Cimarosa, Pergolesi, Vinci, Leo, Porpora, Durante, as well as Jommelli and Gluck. These musical treasures from Naples’ Baroque libraries are awaiting to be (re)discovered !

“Il Giasone” by Francesco Cavalli
Between heroism and comedy, Cavalli’s “Il Giasone” was the greatest operatic success of the seventeenth century. Rediscover this colourful Baroque fresco at the Grand Théâtre de Genève, in Serena Sinigaglia’s inventive staging, under the vibrant direction of Leonardo García-Alarcón.
Handel: Solo Sonatas
How should Handel’s solo sonatas be brought to life when their publishing history, their sources and, at times, even their intended instrumentation remain fluid? Released in MDG’s Preziosa series, this double album by the Ganassi Consort with Anne Röhrig does not opt for uniformity: it entrusts the corpus to a whole range of period instruments, in order to recover, as closely as possible to historical practice, the diversity of a chamber Handel who is by turns lyrical, dance-like, theatrical and inventive.
The Transverse Flute
For her first recital on Harmonia mundi, Gabrielle Rubio returns to the composers who first established the French transverse flute as an instrument of distinction. From Michel de La Barre to Michel Blavet, via Hotteterre, Philidor, Boismortier and Couperin, the young flautist traces a journey through dances, reveries and chiaroscuro, from the hushed intimacy of the King’s Chamber to the salons of the eighteenth century.
Nola: Motetti pastorali
Giovanni Acciai and Nova Ars Cantandi bring Antonio Domenico Nola’s “Motetti pastorali per la solennità del Santo Natale” back into the light: an expansive Neapolitan fresco for four voices and basso continuo that had remained in obscurity for almost four centuries. Combining sacred narrative, expressive polyphony and echoes of popular Christmas traditions, this recording reveals a still little-known figure in Neapolitan music at the turn of the eighteenth century.



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