In my selection, I looked for recordings that bring a unique and distinctive sound to the forefront of Early Music performance. This may arise from the choice of instruments, voices, ensemble combinations, arrangements, or interpretations. My goal is to highlight the diversity of Early Music interpretation and celebrate its endless possibilities. I hope you enjoy this playlist – and that it holds one or two revelations for you along the way!

Mala Punica / Pedro Memmelsdorff

The first time I heard medieval music, I was 16 - and completely mesmerised. It was Pedro Memelsdorff and his ensemble Mala Punica who opened the door to the magical sounds of the 14th and 15th centuries for me. Their delicate, transparent playing brought out a beauty and clarity in this complex music that felt almost hypnotic. Since that moment, the magic of their sound has never left me.

Sollazzo Ensemble / Anna Danilevskaia

Exploring new repertoire should be a much higher priority in Early Music than it often is today. A true fortunate discovery was the finding of a 15th-century songbook, now known as the Leuven Chansonnier. Anna Danilevskaia recorded all 50 songs in a variety of instrumentations, bringing them to life with her characteristic lightness and musical clarity. As always, it is a joy to experience her graceful artistry, which never gets lost, even in the most intricate textures and forms.

Orpheus’ Lute – Bor Zuljan

Until the 19th century, musicians were not just performers; they sang, improvised, and composed their own music. On his album Orpheus' Lute, Bor Zuljan revives this rich tradition in an impressive way. A significant part of the recording is based on improvisation and self-accompanied singing, fully embracing the historical performance practice of the time. Moreover, Bor explores new sonic possibilities of the lute, bringing out a brighter, more resonant tone and even percussive, snaring effects. Orpheus' Lute is an exciting album that reveals how effortlessly Bor moves through the world of Renaissance music – like a fish in water.

Concerto Scirocco / Giulia Genni

Giulia Genni and her ensemble Concerto Scirocco are most creative sound-painters. On this album, they bring early Italian Baroque music to life with a refreshing lightness and a joyful sense of play. Their instrumental ornamentation is a testament to exquisite taste, while the variety of timbres – from wind, string, and plucked instruments – adds richness and colour. The rhythmic interplay and their sense of spontaneity make listening to this recording an absolute delight.

Tobie Miller / Ensemble Danguy

A true kindred spirit to me is Tobie Miller, who has dedicated herself entirely to the Baroque hurdy-gurdy, bringing to us a new sonic dimension that had been missing before. This instrument, too, has its own original repertoire as well as fascinating historical arrangements. One of the most famous examples can be heard on this album: Antonio Vivaldi’s The Four Seasons, arranged for the hurdy-gurdy by Nicolas Chédeville. With this recording, Tobie Miller adds an exciting and unexpected sonic approach to these concerti. And, as always, we can enjoy them through her outstanding virtuosity.

Cecilia Bartoli

A true master of sound, for me, is Cecilia Bartoli. Her voice has so many colours, and she uses them just perfectly for every affetto. Her virtuosity in coloratura makes her one of the greatest voices for Vivaldi, bringing his music to life with breathtaking brilliance and precision, while never neglecting its emotional intensity.

Thilo Hirsch & Ensemble Arcimboldo

During my research, I frequently came across the Tromba Marina – an instrument that was widely used in the 18th century and even regularly taught in schools for young aristocrats. But what does a Tromba Marina actually sound like? There are hardly any musicians who play it today – its sound has nearly been lost to history. Fortunately, we have Thilo Hirsch and his ensemble Arcimboldo, who bring this unique instrument back to life. On this recording, he masterfully demonstrates just how fantastic a Tromba Marina can sound in a solo concerto by Christian Gottfried Telonius.

Clavecin Roïal – Christoph Siegmund Binder

The Clavecin Roïal was a true revelation for me. Its undamped strings and wooden hammers give it a touch of the Salterio, creating a uniquely resonant sound. In addition, it features a harp stop (where fabric fringes are pressed onto the strings), a moderator stop (where leather is placed between the hammers and the strings), and a swell mechanism that enhances crescendo and decrescendo effects. With all these features, the Clavecin Roïal comes remarkably close to the Baroque Salterio – and you can truly hear it! On this wonderful album, Ricardo Magnus and Ensemble Klangschmelze showcase the instrument beautifully, bringing its rich and expressive character to life.

La Petite Ècurie 

La Petite Écurie bring a unique sound to the Early Music scene. In the 17th and 18th centuries, arrangements for all kinds of instrumentations were common practice, and we should certainly have more of them today. This 'oboe band' is a vibrant example of this tradition. What a joy it is to hear how brilliant, virtuosic, and refined these double-reed instruments sound!

Clavichord – Giovanni de Cecco 

One of the instruments heard far too rarely in today's concert scene – certainly also due to its dynamic subtleties – is the clavichord. Giovanni De Cecco set out to record all of Mozart’s piano sonatas on this instrument – and what an experience it is! You might never want to hear these compositions any other way. The rich tonal palette of the tangent action is astonishing, and somehow, Mozart’s charm unfolds perfectly on this instrument.

To find out more about Early Music Day, visit: earlymusicday.eu