Anna Lucia Richter returns to PENTATONE after her acclaimed Schubert album Heimweh with Il delirio della passione; a recording full of Monteverdi treasures, from heart-wrenching opera scenes (Lamento d Arianna,Pur ti miro from Poppea and the Prologue of L'orfeo) and religious music (Confitebor) to bucolic songs (Si dolce è il tormento). Richter works together with Ensemble Claudiana and Luca Pianca, one of the most eminent Monteverdi interpreters of our age. They offer a fresh perspective on Monteverdi's music by penetrating deeply into the original sources.

In this recording Luca Pianca explores the enchanting world of 17th-century French music. He introduces the listener to the unique and refined musical style of the Grand Siècle, where the lute and theorbo reigned supreme.

Acclaimed for their interpretation of Vivaldi and Barriere's sonatas, Bruno Cocset's Les Basses Reunies return to Italian 18th century music in this fantastic new recording. The programmed, comprising sonatas by Francesco Geminiani, calls upon a distinguished guest: theorist and lutist Luca Pianca. Also featured under Cocset is Bertrand Cuiller (harpsichord), Mathurin Martharel (cello), and Richard Myron (double bass).

Anna Lucia Richter returns to PENTATONE after her acclaimed Schubert album Heimweh with Il delirio della passione; a recording full of Monteverdi treasures, from heart-wrenching opera scenes (Lamento d’Arianna, ‘Pur ti miro’ from Poppea and the Prologue of L’orfeo) and religious music (Confitebor) to bucolic songs (Si dolce è il tormento). Richter works together with Ensemble Claudiana and Luca Pianca, one of the most eminent Monteverdi interpreters of our age.

Between 1680 and 1728, Marin Marais brought the pièce de viole to the peak of perfection. An ‘unremitting’ teacher, he was also the publisher of his own music and invented special signs to notate certain ornaments for the viol. In the course of his research at the Salzburg Mozarteum, the Italian gambist Vittorio Ghielmi studied these manuscript codes, in the hand of Marais himself or his direct students. ‘This led me to a new vision of French Baroque music, which applies not only to the viola da gamba, but also to vocal and orchestral music. These signs reveal the technique of playing in action.