Arthur-Vincent Lourié, born Naum Izrailevich Luria (Russian: Наум Израилевич Лурья), later changed his name to Artur Sergeyevich Luriye (Russian: Артур Сергеевич Лурье, 14 May 1892 in Propoysk - 12 October 1966 in Princeton, New Jersey) was a significant Russian composer. Lourié played an important role in the earliest stages of the organization of Soviet music after the 1917 Revolution but later went into exile. His music reflects his close connections with contemporary writers and artists, and also his close relationship with Igor Stravinsky.From Wikipedia
Never judge a CD by its cover; nothing about this album's tacky artwork nor the scanty information on its back will prepare the listener for the truly delectable contents inside. The refined period performances of Vivaldi's chamber concertos by the fabulous L'Astrée ensemble make this album a delightful experience, and despite Opus 111's questionable packaging, the label deserves high marks for providing exquisite sound quality and for devoting serious attention to a worthy project.
In 1705, Giuseppe Sala published in Venice the Suonote do camera a tre, due violini o violone o cembalo op.1 of Antonio Vivaldi. This set of trio sonatas marked the official 'debut' of a composer who was already more than a mere youth (the 'Prete Rosso' was then 27-years old), and probably contains the earliest works of his that have come down to us. It is very likely, though, as Michael Talbot has pointed out, that the copy of 1705 is in fact a reprint of a now lost first edition published in 1703.
This delightful intermezzo per musica in two acts - recounting the old story of a naïve young nobleman and of a sly girl who, after a series of squabbles and pranks, following the best of traditions, declare eternal love to each other and decide to get married - has pleased audiences ever since its first performance at the San Samuele theatre in Venice in 1750, and is here recorded for the first time. At that time the intermezzo was already a well-defined and self-standing music form, detached from opera seria, with which, originally, it had been combined. It was also, however, in a declining phase and nearing its disappearance. And yet L'uccellatrice by Niccolò Jommelli enjoyed many performances (Leipzig, 1751; Bologna, Ravenna and Vicenza, 1753; Parma, 1756; Florence, 1760; Pescia, 1772) and was even translated into French, with the score adapted and enlarged.
During his lifetime, from his Neapolitan years to his Spanish sojourn, Domenico Scarlatti cultivated the “cantata” genre, composing at least about sixty works – those of uncertain attribution and his Serenades excluded. Other cantatas are likely to emerge once the uncatalogued funds are systematically scanned. Since in those years the cantata was a genre on the wane, this high number is revealing of Scarlatti’s uninterrupted link with the baroque tradition, an age in which the cantata had reached its climax as an extremely refined genre, the place for daring experimentation, and exquisite writing, the appropriate gym for high craftsmanship, as expected by the elitist audience for which it was intended. The manuscripts date from 1699 to 1724.