Giovanni Felice Sances (1600-1679)
Stabat Mater

Theodor Schwartzkopff (1659-1732)
Chaconne, extrait de "Pièces à trois violes de gambe"

Stanislaw Szarzynski (1670-1713)
Antiphone "Ave Regina"
Sonate pour deux violons
Motet "Jesu spes mea"

Francesco Cavalli (1602-1676)
"Lucidissima face", extrait de "Calisto"

Giovanni Battista Bononcini (1670-1747)
"Ombra mai fu", extrait de "Xerse"

Claudio Monteverdi (1567-1643)
Si dolce è il tormento

Johann Heinrich Schmelzer (1620-1680)
Sonata variata

Jan Dismas Zelenka (1679-1745)
Christe Eleison, ZWV 29

Johann Sebastian Bach (1685-1750)
Aria "Erbarme dich", BWV 244, extrait de "Passion selon St. Matthieu"

Nicholas Spanos, contre-ténor
Pandolfis Consort

Elzbieta Sajka-Bachler, violetta, alto
Ingrid Rohrmoser, violon, alto
Gloria Ternes, violon
Maximilian Bratt, violon
Günter Schagerl, violoncelle
Hermann Platzer, théorbe

From Claudio Monteverdi to J. S. Bach, the album Adoration by Pandolfis Consort with counter tenor Nicholas Spanos spans one century of baroque music history. Despite the stylistic developments that took place over this period there are still mand aspects that these pieces have in common: the calm steps taken by the basso ostinato, the delicate, polyphonic weaving of the instruments and the melancholic, touchingly clear vocal part. Historical instruments and intense study of historical performance practice provide for exciting soundscapes. Besides Monteverdi and Bach, the Arias, Madrigals, Motets and instrumental Sonatas were composed also by lesser known composers from Italy, Germany/Austria and Poland like Giovanni Felice Sances, Giovanni Battista Bononcini, Jan Dismas Zelenka, Theodor Schwartzkopff, Stanislaw Sylwester Szarzynski, Johann Heinrich Schmelzer and Francesco Cavalli