Ghislieri Choir & Consort is a vocal and instrumental ensemble specialized in Italian sacred music of the 18th century. With regular invitations from major international festivals and prestigious European concert halls; from 2010 the ensemble records for Sony International. The ensemble was born in 2003 in the historic Ghislieri College of Pavia by the meeting between its director, Giulio Prandi, and the musicians Jorge Alberto Guerrero, Maria Cecilia Farina and Marco Bianchi. In addition to the consecrated authors of the late baroque and classical repertoire, with a special predilection for Mozart’s sacred production, the ensemble is passionately devoted to the rediscovery of the sacred Italian repertoire of the 18h century, displaying regularly in concert rare or unpublished works found through constant research work. The recording activity of Ghislieri Choir & Consort is mainly devoted to this repertoire.
"…Before 1840, there were limited written sources of folk music in Norway. Originally these historical attainments were believed to have a distinct Christian influence. As research continued, there was also mythical and fairy tale connections to the folk music. Overall the purpose of folk music was for entertainment and dancing. Norwegian folk music may be divided into two categories: instrumental and vocal. As a rule instrumental folk music is dance music (slåtter). Norwegian folk dances are social dances and usually performed by couples, although there are a number of solo dances as well, such as the halling. Norway has very little of the ceremonial dance characteristic of other cultures. Dance melodies may be broken down into two types: two-beat and three-beat dances. The former are called halling, gangar or rull, whereas the latter are springar or springleik…"
Prague-1770 celebrates the compositions of three such Bohemians, Franz Tuma (1704-1774), Josef Myslivecek (1737-1781), and Leopold Kozeluch (1747-1818). While listening to my satellite TV's classical music station I was introduced to the Larghetto movement of Myslivecek's Sinfonia in Es. I enjoyed it so much that I immediately set out to track down a CD recording on the Internet. Subsequent research revealed that my growing admiration for Josef Myslivecek was shared by none less than Mozart himself who after meeting the Czech in Bologna in 1770 exclaimed, "He exudes fire, spirit and life." There is now little doubt that Myslivecek's style influenced Mozart a great deal in opera, symphonies, and violin concertos. Moreover, it is worthy of note that even before 1767 Myslivecek was already writing the earliest examples of the string quintet, a form that Wolfgang made his own only much later.