LIGHT DIVINE INTRODUCTION 1 Concerto in F, HWV 331 George Frideric Handel, [4.18] Aksel and I first met in the Oslo Chamber Music Arr. Mark Bennett Festival in 2016. Aksel had already recorded his 2 Eternal Source of Light Divine, HWV 74 George Frideric Handel [3.10] first album in the UK with the Orchestra of the Age 3 Passacaille from Sonata in G, Op. 5, No. 5, HWV 399 George Frideric Handel [4.54] of Enlightenment and had performed some of the Arr. Mark Bennett more well known music for soprano and trumpet. 4 What Passion Cannot Music Raise And Quell, HWV 76 George Frideric Handel [8.18] 5 Alla caccia (Diana cacciatrice), HWV 79 George Frideric Handel [6.25] We worked together on a few more projects and Arr. Mark Bennett continued to play these same pieces. A few months were - in Jar Kirke, Oslo, making it all happen. 6 Vien con nuova orribil guerra, from La Statira Tomaso Albinoni [5.33] later I was given some opportunities to direct and Despite the issues of summer holidays and Ornaments by Mark Bennett lead my own productions and I invited Aksel along. various summer festivals, it just all fell into 7 Ciaccona à 7 Philipp Jakob Rittler [4.58] place. It was a miracle. 8 Ritournelle, from Hippolyte et Aricie Jean-Philippe Rameau [1.50] I started to introduce new repertoire to Aksel Arr. Aareskjold/Bennett and he just seemed to thrive on this challenge. The MIN Ensemble, although a modern 9 Entrée d’Abaris, from Les Boréades Jean-Philippe Rameau [3.47] Projects with The Norwegian Radio Orchestra instrument group, were enthusiastic about my 0 Tristes apprêts, from Castor et Pollux Jean-Philippe Rameau [6.20] and the Oslo-based period instrument orchestra more early music approach. With a mixture of Arr. Aareskjold/Bennett Barokkanerne early in 2017 were incredibly modern and baroque instruments we feel very q Ballet figure and Air, from Zoroastre Jean-Philippe Rameau [2.21] successful, and even though Aksel’s voice was proud of the end result. Arr. Mark Bennett changing all the time, I took the chance to invite w Orage, from Platée Jean-Philippe Rameau [2.33] Aksel again for one last project up in the north For me, the approach to the music and not Arr. Aareskjold/Bennett of Norway with the MIN Ensemble in Narvik. just the instruments, has always been 90% of e Je ne sais quel ennui me presse, from Naïs Jean-Philippe Rameau [3.37] playing early music. We made a compromise r Chaconne, from Les Indes galantes Jean-Philippe Rameau [5.43] We had a great time and everything just felt so with only baroque trumpets, baroque flute, Arr. Mark Bennett natural. Aksel and I casually mentioned to Lazar, lute and harpsichord, mixed with modern Total timings: [63.47] the artistic leader of the MIN Ensemble, that strings, oboes and bassoon. We feel that we we would have loved to have had the chance to have bridged the gap to make this amazing The MIN Ensemble • AKSEL RYKKVIN TREBLE record some of this new repertoire. He replied music dance off the page. MARK BENNETT TRUMPET & ARTISTIC DIRECTOR • LAZAR MILETIC ENSEMBLE DIRECTOR with a definite offer and 6 weeks later there we Mark Bennett www.signumrecords.com - 3 - LIGHT DIVINE deadlines, as the extent of the composer’s musical from the composer’s 1720 opera Radamisto. of Queen Anne. In contrast to the dramatic da borrowings – both from himself and others – Reduced down to chamber forces, the dance’s capo aria, thriving off contrast, this through- Georg Friedrich Handel (1685-1759) and Jean- makes clear. more questioning, episodic central section composed piece maintains its rapt mood and Philippe Rameau (1683-1764) – twin musical gains a new angularity and unmoored interest, dignified pace throughout, unfolding in a giants of the 18th century, each the king of We begin with a triumphant trumpet fanfare, while the long melody lines of the outer sections single, glowing musical arc, like a beam of light his own operatic tradition. Near contemporaries, with the opening movement of the Concerto are delicately spun by single strings. pouring through a stained glass window. the two composers both inherited a genre in C HWV 331 – music best known from governed by convention and artifice, each Handel’s Water Music suite in D. The Composed over the course of just 10 days in But if Handel’s time in England focused his bending and softening it into something more original suite was famously composed for King 1739, the Ode for St Cecilia’s Day is another talents in a new direction, his musical style mutable, more human, exploiting not only its George I’s outdoor concert on the Thames, and work that takes advantage of pre-existing remained indebted to his time spent travelling expressive but its dramatic potential. the punchy brilliance of the melodies was material, in this case a set of harpsichord suites in Italy. The secular cantata Diana Cacciatrice, carefully designed to ensure that they carried by Muffat that are ingeniously reinvented by probably composed in 1707, was written at The orchestra too was amplified by both, the long distance to their audience. Handel Handel to quite new effect. Soprano aria “What the request of Handel’s friend and patron the enriched with new colours, instruments and later created a reworking of this suite Passion Cannot Music Raise And Quell” pairs Marchese Francesco Maria Ruspoli and premiered rhetoric, and it’s this particular innovation that featuring Horns in F and here, in this specially its solo singer with an obbligato cello – an privately at his country Palazzo outside Rome. emerges most clearly here in a programme that arranged version by Mark Bennett, we see the idealised musical portrait of Jubal’s lyre, the The Marchese was an enthusiastic hunter, and sets music from Rameau’s operas alongside re-emergence of the trumpets, but this time “chorded shell” from which he draws his “celestial though the cantata nominally celebrates Diana, Handel’s concert works, putting solo woodwind, in C major. Cast in three sections, this da sound”. The exquisite vocal line is, in many ways, goddess of hunting, in its martial rhythms, strings and trumpet in the spotlight alongside capo-like movements sets a minor-key middle simply a foil for the gilded, filigree ornamentation galloping semiquavers and horn-calls (rendered the solo voice. section between the blazing joy and energy of of the cello writing, which embellishes without by a solo trumpet rather than a horn) it’s also the outer parts, built around an urgent dialogue ever weighing the melody down. an elegant homage to Ruspoli himself. Although steeped in the Italian tradition of between the trumpet – the instigator of opera, the Handel we meet here is very much each lively, combative exchange – and the rest The relationship between solo voice and The trumpet is also at the fore in Tomaso the adoptive Englishman, producing music to of the orchestra. obbligato trumpet in the composer’s “Eternal Albinoni’s “Vien con nuova orribil guerra”. serve the tastes and pursuits of his wealthy Source of Light Divine” is a very different Although the prolific composer produced over patrons, works intended to entertain but also The later Trio Sonata in G major HWV 399 is one. The trumpet may echo and amplify the 50 operas for the Venice, only two survive to reflect the wealth, taste, nobility and faith of another musical magpie, this time stealing singer, but remains a supporting player rather complete, including La Statira – the source of their commissioners. More pragmatically, these themes from Handel’s operas and ballet music. than an equal in this striking lovely opening this rousing martial aria. Written for the 1726 were functional works often composed to tight The graceful, lilting Passacaille takes its melody movement from Handel’s Ode for the Birthday Carnival season, the opera explores the rivalry

- 4 - - 5 - between Statira and Barsimo as they do battle new dramatic breadth and boldness. Composer Alphise. The bittersweet Entrée from Act IV of implied, but never fully realised. Bassoons, often for the Persian throne. Throwing down the Andre Campra even went so far as to declare, Les Boreades, coloured similarly by bassoons, crooning high in their register, once again add gauntlet in rippling semiquaver runs, the aria prophetically, that, “There is enough music in sees him on the brink of suicide, the tumbling their plangent, wordless voices to the soprano – threatens war in the most elegant of musical this opera to make 10 of them. This man will string phrases trickling down like tears. an echo, perhaps, of the voice of Castor himself? terms. The white brilliance of the C major key eclipse us all”. allows the trumpet – both the voice’s support Despair turn to horror in the Air Grave from “Je ne sais quel ennui me presse” from Nais and its musical rival – to shine brightly, And so began as astonishingly rich and fruitful Act IV of Zoroastre. A jagged descending string – Rameau’s 1749 pastorale heroique – is an disappearing in the brief central section only late-flowering of stage works wedding the figure carves out the start of the movement altogether lighter affair. Even the opening to return with renewed impact for the da capo. musical fluidity of French baroque with the like a lightning bolt through the sky, conjuring bars, with their distinctive bagpipe-like colouring orchestral weight and interest of Italian opera, the horrifying spectacle (which would have and sustained drone, establish us far from An instrumental divertissement comes in the taking a divertissement and amplifying it into been depicted by dancers in this “ballet figure”) the central musical drama with its elevated form of Czech composer and priest Philipp a music-drama. of the spirits of Hell, summoned by Vengeance. passions of courts and princes. The singer is a Jakob Rittler’s charming Ciaccona. Growing Even the lighter, comic Platee is charged with young shepherdess, who asks the seer Tiresias from a simple ground bass that circles gently in The orchestral episodes included here musical drama, including the storm that gusts to prophecy whether she will find happiness in continuo instruments, the work expands illustrate perfectly how Rameau took the dance through Act I, summoned by the vengeful Juno love. Her innocent request is reflected in an aria outwards, adding ever thicker and more movements that had always decorated French in fitful gusts of flute and strings that surge torn between the repetitive simplicity of a nursery exuberant instrumental embellishments from opera and made them part of the unfolding and snatch their way through this musical episode. rhyme and the energy of a lively country dance – an trumpet and strings, to turn a graceful dance psychology of the piece. Frowning bassoons entire character-portrait in musical miniature. into an ecstatic musical celebration, before – Rameau’s own instrument, and one the Telaire’s lament “Tristes apprêts” from the reversing the process and dying away to nothing. composer wrote for with unique creativity, final act of Castor et Pollux is one of Rameau’s One of the grandest and most extended dances elevating it from mere bassline support to greatest arias. A picture of grief at its most in Rameau’s operas, the final Chaconne from Rameau came late to opera. It was only in something much more characterful – introduce poised and contained, the power of the aria Les Indes Galantes is also one of the greatest 1733, at the age of 50, that he composed his the angular theme of the Ritournelle’s stiff, lies precisely in its restraint, its refusal to rage – the movement that, in so many ways, first. Hippolyte et Aricie startled its Parisian fugal dance from Hippolyte et Aricie, followed and vent. Faced with the death of her beloved anticipates the future of opera. Dance, here, audience with its unfamiliarity, its harmonic and imitated by the rest of the orchestra. Castor, Telaire stands in front of his funeral is no longer an interlude, but a coherent and and textural innovation, and while some Their sombre mood reflects the turmoil of the monument and contemplates her loss in music continuing part of the musical narrative, dismissed it as a mere technical experiment by despairing Queen Phedre, overcome with illicit whose apparent harmonic stillness on the page painted in the colourful detail and episodic a musical theorist, and some as “a perpetual desire for her stepson. Also in despair, Abaris translates to something much more unsettled structure of this great closing movement. witchery”, others recognised and admired its has given up hope of being united with beloved on the ear – chromatic shifts of key constantly Alexandra Coghlan, 2017

- 6 - - 7 - 2 Eternal Source of Light Divine, HWV 74 4 What Passion Cannot Music Raise And Foriera la tromba Herald trumpet George Frideric Handel Quell, HWV 76 La meta c’addita The goal is there George Frideric Handel Col suono c’invita With the sound invites us Eternal source of light divine A un sì lieto dì. To such a happy day. With double warmth thy beams display, What passion cannot Music raise, and quell? E all’or che rimbomba, And here it booms, And with distinguish’d glory shine, When Jubal struck the chorded shell, Con voce scolpita, With a sculpted voice, To add a lustre to this day. His listening brethren stood ‘round. Un’ Eco l’imita An echo imitates it And wondering on their faces fell, Dicendo così. Saying this way. To worship that celestial sound! Less than a god they thought there could not dwell 6 Vien con nuova orribil guerra, from La Statira Within the hollow of that shell Tomaso Albinoni That spoke so sweetly and so well. What passion cannot Music raise and quell? Vien con nuova orribil guerra With new and terrible war comes L’empio fato meco irato Wicked fate, in anger, Ad insultarmi. To affront me. Egli da più forza ed armi He gives more force and arms 5 Alla caccia (Diana cacciatrice), HWV 79 La constanza del mio ben. The constancy of my beloved. George Frideric Handel Questa sol mi da spavento This alone gives me fear, Alla caccia, alla caccia At hunting, hunting E abbate e atterra And weakens and brings to nothing O mie Ninfe seguaci, O my followers nymphs, Quel valore ch’ho nel sen. The courage I have in my heart. Pria che il sol còi suoi raggi Before the sun with its rays il giorno indori, lights the day, 0 Tristes apprêts, from Castor et Pollux L’armi ogn’una prepari, The weapons each one prepares, Jean-Philippe Rameau E il can valore al proprio brando affidi, And the dog gives value to his own sword, Già son pronti i destrieri, The steeds are already ready Tristes apprêts, pâles flambeaux, Mournful apparitions, pale flames, Andiam su liete alla vicina selva, Let us go on to the nearby forest happy, Jour plus affreux que les ténèbres, Day more frightening than darkness, De’i cignali alla preda ad ogni belva. Of the wild boar to the prey to every beast. Astres lugubres des tombeaux, Dismal stars within tombs, Non, je ne verrai plus No, I shall no longer see anything

- 8 - - 9 - que vos clartés funèbres. other than your funereal beams Aksel Rykkvin Toi, qui vois mon coeur éperdu, You who see my broken heart, Père du jour! ô Soleil! ô mon pére! Father of daylight! Oh Sun, Oh my father! Norwegian treble Aksel Rykkvin (b. 2003) Je ne veux plus d’un bien que Castor a perdu, I no longer wish the gift that Castor has lost, recorded his debut album with the Orchestra Et je renonce à ta lumière. And I renounce the light. of the Age of Enlightenment at just twelve years old. Aksel! Arias by Bach, Handel & e Je ne sais quel ennui me presse, from Naïs Mozart (2016) was awarded a DIAPASON ‘d’Or Jean-Philippe Rameau découverte’, and BBC Music Magazine named him as one of the ‘six best child prodigies’ Je ne sais quel ennui me presse I do not know what tedium is pressing me in classical music. Aksel was nominated as Est-ce une peine? Est-ce un plaisir? Is it a pain? Is it a pleasure? ‘Newcomer of the year’ at the Spellemannprisen Je ne vois plus sans rougir I can not see without blushing awards in Norway in 2017. Aksel has performed Un Berger qui me suit sans cesse. A Shepherd who follows me constantly. at numerous concerts and festivals all over Et chaque regard qu’il m’adresse And in every look he is addressing me Norway, including Fjord Classics and Oslo Semble lui coûter la soupir Seems to cost him a sigh Chamber Music Festival. In 2017, he opened the Stockholm Early Music Festival and performed Dites-moi quelle ardeur le presse, Tell me what ardor press him, at the Klassiek op het Amstelveld in Amsterdam. Est-ce un peine? Est-ce un plaisir? Is it a pain? Is it a pleasure? He has performed several times on radio or tv Je le crains and ne puis le fuir I fear him & I cannot escape in Norway, Sweden, the Netherlands and the Il m’inquiète et m’intéresse. He worries me and interests me. UK, including Scandinavia’s biggest talkshow, J’ai beau languir, gémir, souffrir. Even languish, moan, suffer. ‘Skavlan’, and BBC Radio 3 ‘In tune’. Aksel has Je chéris jusqu’à ma tristesse, I cherish until my sadness, sung for the Norwegian Royal family on several occasions, including at the 80 years anniversary Dites-moi d’où naît ma faiblesse Tell me where my weakness is born party of the King and Queen with a host of Mais gardez-vous de m’en guérir. But beware of cure myself European royalty present. He has worked with the Oslo Philharmonic, the Norwegian Chamber Orchestra, Arve Tellefsen, Henning Kraggerud, Håvard Gimse, Christian Ihle Hadland, Lars Anders Tomter, Rolf Lislevand,

- 10 - - 11 - Sigmund Groven and many more of the most present voice teacher Marianne Lewis both in Concerto No. 2 for the first time at the age of prominent Norwegian orchestras, classical the opera and in the classical music talent 21 with Sir Neville Marriner and the Academy musicians and conductors. Aksel is something class at Majorstuen school in Oslo. Aksel’s of St. Martin in the Fields, Mark has recorded of an international phenomenon in social voice changed in the autumn of 2017 and he the work a further 6 times with the likes of media, with millions of video views on now continues to sing as a baritone, training to the Orchestra of the Age of Enlightenment, YouTube and Facebook. pursue a career as a classical and opera singer. Hanover Band and the Chamber Orchestra of Europe. While the baroque trumpet takes up At 13 years old Aksel won the Norwegian Music Mark Bennett much of Mark’s time, he is no stranger to other Competition for Youth, which is open to classical types of music making. He has played as musicians and singers up to age 22. Mark’s interest in the natural trumpet and principal trumpet with major modern symphony historical performance practices were first orchestras (London Philharmonic Orchestra, London Aksel is already a merited soloist at the sparked while a student at London’s Royal Symphony Orchestra and Royal Philharmonic Norwegian National Opera. The Financial Times College of Music. Since then he has gone on Orchestra), West End Musical orchestras described him as “freakishly good” in his first to perform and tour with some of the world’s (Andrew Lloyd-Webber’s Cats in the West-End), main stage role as ‘the Boy’ in Rolf Wallin’s finest period instrument ensembles, including and in over 100 films, including Shakespeare Elysium. He dazzled critics further as ‘Yniold’ in The English Concert (where he is their principal in Love and Stargate. Debussy’s Pélleas et Mélisande, a performance trumpet), The English baroque Soloists and that ResMusica called ‘unsurpassable’. In the Orchestra of the Age of Enlightenment, As well as now living in Oslo, Mark has September 2017 Aksel made his international as well as with some of the world’s greatest established many wonderful relationships with opera debut at Opéra Comique in Paris, conductors Esa-Pekka Salonen, Sir John ensembles and artists in Norway, not just as as ‘Anthony’ in Katie Mitchell and Raphaël Eliot Gardiner, Nikolaus Harnoncourt and Sir trumpeter, but also as a conductor. Specialising Pichon’s Miranda. Simon Rattle to name a few. in informed styles of performance, whether on original or modern instruments, Mark Aksel still sings in Oslo Cathedral Boys’ Choir In that time Mark has made a wealth of has conducted the NRK Radio Orchestra, where he started out receiving training as a recordings, from baroque concerti under Trevor Barokkanerne, The Norwegian Wind Ensemble five-year-old from voice teacher Helene Haarr. Pinnock with The English Concert for Deutsche and Kongelige Norske Marines Musikkorps When he started singing in the Children’s Gramophone Archiv, to solo recordings of Purcell amongst many others. Mark and Simon Munday Chorus of the Norwegian National Opera at the and Biber’s Sonatae Tam Aris Quam Audies both play baroque trumpets made by Matthew age of ten, Aksel began singing studies with his Sevientes. Having recorded Bach’s Brandenburg Martin and Norwich Natural trumpets.

- 12 - - 13 - The MIN Ensemble MIN Ensemble’s previous CD Party Music Lazar’s versatility lies in the fact that he plays Lazar Miletic Ensemble Director consists of contemporary music, and received the viola with the same energy whether he great critical acclaim in the national radio performs as a soloist or chamber musician. MIN Ensemble is one of Norway’s few professional and newspapers in Norway. Their first CD was In the Swedish chamber orchestra Musica chamber ensembles, and is widely considered recorded for the globally distributed label Vitae he lead the viola section for two to be one of the foremost ensembles in Norway. Marco Polo. The ensemble’s other CD production, years, and since 2016 he has been Artistic It is based in the county of Nordland but Arctic Contrasts, was released in 2000. Leader and Director of MiN ensemble. Lazar tours throughout the country as well as abroad. participates in many international festivals MIN Ensemble is part of Music in Nordland, a all over the world as a soloist and with As a large chamber ensemble (string quintet, department of Nordland County Council. his ensemble. wind quintet and piano), MIN Ensemble performs music that is only rarely heard by Lazar Miletic is widely recognized as one of today’s concert audiences. The ensemble also Serbia’s most exciting young viola talents. Born tours with various arrangements and programmes. in Kragujevac, Serbia in 1990 Lazar was a Its repertoire is dynamic and broad, ranging gifted child giving his first concert at the age from early through to contemporary music. of 10. As soloist on viola he debuted with Dusan Skovran String Orchestra from Serbia. Since its foundation in 1992, the ensemble has During his studies he was awarded the prize been enthusiastically received by audiences from “Meri Zezelj” foundation as the most and critics both at home and abroad. In 2000 distinguished string player. His artistic MIN Ensemble took part in the prestigious achievements and contributions have garnered Palaces of St. Petersburg festival. In 2002 numerous national and international prizes. the ensemble undertook a highly successful Lazar graduated in the class of Panta tour of the Czech Republic and also visited Velickovic and continued his studies with Germany (Sächsish Böhmisches Musik one of today’s most outstanding violists, Lars Festival). In 2003 MIN Ensemble was one of Anders Tomter. the principal performers at the Nordic Komponistmøte Nordkalotten (North Calotte Composers Convention).

- 14 - - 15 - The MIN Ensemble

Mark Bennett Fredrik Blikeng Conductor and Baroque Trumpet 1 Contrabass

Atle Sponberg Ingrid Åhlander Bennett Violin solo Bassoon 1

Øivind Nussle Embrik Snerte Violin Bassoon 2

Maren Elle Jørgen Fasting Violin Oboe and Cor Anglais

Lazar Miletic Marianne Svenning Viola and MiN artistic leader Oboe and Cor Anglais

Gunnar Hauge Simon Munday Cello solo Baroque Trumpet 2

Hans-Urban Andersson Karoline Bjørhei Cello Timpani © Sant & Usant / Łukasz Zamaro Jørgen Skogmo Lynetta Taylor Hansen Lute and Theorbo Baroque Flute

Knut Johannessen Harpsichord

- 16 - - 17 - ALSO AVAILABLE on signumclassics

Aksel! Arias by Bach, Handel & Mozart Recorded from 4th to 7th July 2017 in Jar Church, Bærum, Norway Aksel Rykkvin treble Producer, Recording Engineer & Editor – Sean Lewis Orchestra of the Age of Enlightenment Nigel Short conductor Cover Image – © Nikolaj Lund Design and Artwork – Woven Design www.wovendesign.co.uk SIGCD435

“Exceptionally polished performances … mightily impressive P 2018 The copyright in this sound recording is owned by Signum Records Ltd vocal control from the 13 year old Norwegian treble. The arias are © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd well chosen.” BBC Music Magazine Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action ‘Rykkvin is certainly a treble worth preserving – a mature, by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored musical performer whose unbroken voice offers a fascinating in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. alternative take on much of the familiar repertoire recorded here SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. … The music here is carefully chosen – not just textually but +44 (0) 20 8997 4000 E-mail: [email protected] musically appropriate for so young a performer.” Gramophone www.signumrecords.com

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 18 - - 19 - - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD526 BLACK Job Title: Light Divine

SIGNUM CLASSICS SIGCD526 LIGHT DIVINE

1 Concerto in F, HWV 331 George Frideric Handel [4.18]

2 Eternal Source of Light Divine, HWV 74 George Frideric Handel [3.10] DIVINE LIGHT 3 Passacaille from Sonata in G, Op. 5, No. 5, HWV 399 George Frideric Handel [4.54] 4 What Passion Cannot Music Raise And Quell, HWV 76 George Frideric Handel [8.18] 5 Alla caccia (Diane cacciatrice), HWV 79 George Frideric Handel [6.25] 6 Vien con nuova orribil guerra, from La Statira Tomaso Albinoni [5.33] The MIN Ensemble 7 Ciaccona à 7 Philipp Jakob Rittler [4.58] 8 Ritournelle, from Hippolyte et Aricie Jean-Philippe Rameau [1.50] RYKKVIN / BENNETT / BENNETT / RYKKVIN 9 Entrée d’Abaris, from Les Boréades Jean-Philippe Rameau [3.47] 0 Tristes apprêts, from Castor et Pollux Jean-Philippe Rameau [6.20] q Ballet figure and Air, from Zoroastre Jean-Philippe Rameau [2.21] w Orage, from Platée Jean-Philippe Rameau [2.33] e Je ne sais quel ennui me presse, from Naïs Jean-Philippe Rameau [3.37] r Chaconne, from Les Indes galantes Jean-Philippe Rameau [5.43]

RYKKVIN / BENNETT / Total timings: [63.47] The MIN Ensemble MIN The The MIN Ensemble AKSEL RYKKVIN TREBLE MARK BENNETT TRUMPET & ARTISTIC DIRECTOR LAZAR MILETIC ENSEMBLE DIRECTOR LIGHT DIVINE

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD526

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2018 Signum Records DDD SIGCD526 © 2018 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05262 4 SIGNUM