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ID: ACDHN033-2
CDs: 1
Type: SACD
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Subcollection: Piano
1- 4 B. Tsoukkerman-violin, I. Boytchev-piano
5 - 6 R.de Waal-piano, Ch. Bor-violin, Tsoukkerman-violin, M. Sidener-viola, G. Hoogeveen-cello
In 1896 gold was found in the northern Canadian river of Klondike, and from that moment on the word Klondike has stood for undiscovered treasure. Recently one musical treasure after the other is being unearthed. One of these discoveries is the music of the all but forgotten composer Georgy Catoire (Moscow 1861-1926). By the end of the twentieth century Catoire’s music has been gradually gaining worldwide public recognition. Old recordings have been released again and various English, American, German and Dutch musicians have made new ones. There is no doubt that the search for new Klondike treasures will be continued! Boris Tsoukkerman |
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ID: ACDHN019-2
CDs: 1
Type: CD
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Subcollection: Clarinet
Ariadna van den Brande (vocals), Vlad Weverbergh (klarinet), Ioan Baranga, Stoffel de Laat (contrabas), Arne Lagati (drum), Peter Oerlemans (piano), Tom Verschoore, Thomas More (trombone), Marc Goris (trompet), Jan Vandemoortele (saxofonen) |
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ID: ACDHH045-2
CDs: 1
Type: SACD
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Collection: Baroque
Subcollection: Chamber Ensemble
This selection of chamber works attempts to give an impression of the originality and inventive craftsmanship of Telemann. La Barca Leyden achieve this through admirable playing and a love of early baroque music. Formed in 2007 by flutist Raymond Honing, the ensemble specialise in historical performances, actively promoting music from this period. |
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ID: ACDHJ041-2
CDs: 1
Type: SACD
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Collection: Romantic Music
FREDDY ARTEEL WITH CLASS
Freddy Arteel, one of Europe’s fi nest clarinettists, has performed throughout the world as soloist and chamber musician for more than four decades. Until his retirement in 2000 he served as principal soloist of the renowned Royal Philharmonic Orchestra of Flanders, now known as “deFilharmonie”. He also taught clarinet at the “Lemmensinstituut” in Louvain and the Royal Conservatory of Ghent. During the course of his career he has given master classes in Canada, England, France, the Netherlands and Germany, has been a guest-teacher at the University of North Carolina USA and the “Cours International de Musique in Morges, Switzerland. Freddy was the fi rst to organize the International Clarinet Society in Europe, an annual event taking place in Ghent. He is the founder of the J.C. Denner Clarinet Choir and the chamber music ensemble Contrasts. He has made many recordings for both CD, LP, and also Television. This CD was produced at the request of former students as a way to honor Freddy on his 70th birthday, and to create a lasting legacy for Freddy’s long and distinguished career. Played as a soloist with the following orchestra: “De Philharmonie Antwerpen”, “Nationaal orkest van Belgie”, the “Kamerorkest van de Nederlandse Radio”, “I Fiammingi”,“L’Orchestre de la Suisse Romande”, “The Slovak State Philharmonic” |
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ID: ACDHJ044-2
CDs: 1
Type: SACD
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Collection: Sacred Music
Subcollection: Voices and Chamber Ensemble
THE SUNG PASSION STORY
The passion story according to the four evangelists was already recited in early Christendom in the liturgy of Holy Week. One of the earliest reports dates from the fourth century. Pope Leo the Great (+461) reserved Good Friday for the passion according to St John ( Joh.18.1 - 19.42). Specifi c melodic formulas for the recitation of the passion were introduced at a very early stage. Until the thirteenth century, the passion pericope was read by a single person. In order to maintain the dramatic effect, the various personages were indicated by special letters and signs in the text.
Many settings of the passion story survive from the polyphonic age; written for the Catholic liturgy and largely in the responsorial form, they originate particularly from Venice and Rome, and were composed by Ruffo, Asola, Soriano and others. The turbae are usually written in a simple polyphonic style. The four musically more elaborate passions by Orlando di Lasso (written around 1580) and da Vittoria (1585) served as models until the seventeenth century. In the sixteenth century, the so-called Lied-passion arose in the Lutheran liturgy, employing either Latin or German. The prototypes were the St. John and St. Matthew passions by Johann Walter, a friend of Luther. Walter’s example was followed in the seventeenth century by Heinrich Schütz, who cultivated and developed both forms, paving the way from about 1650 for the oratorio-passion, with its interpolated musical refl ections and contemplative episodes, both vocal and instrumental. The eighteenth century witnessed the climax of this development in the oratorio passion, with its commenting da capo arias. The grand masters of this genre were Johann Sebastian Bach and Georg Philip Telemann.
In the nineteenth and twentieth centuries, passion composition fell into decline. Independent oratorios focused on particular parts of the text, such as Christus am Ölberg by Ludwig van Beethoven (1803). In The Crucifixion by John Stainer (1887), a modest return is evident - in romantic guise - to the responsorial passion, but the achievements of a bygone age were hardly equalled. In his Choral-Passion (1933), Hugo Distler sought to connect with the polyphonic technique of the Renaissance and early Baroque.
Examples of more recent passion compositions include Proeve van een Passie in de volkstaal volgens Johannes by Bernard Huijbers (in Dutch, 1959), Passio secundum Lucam by Krzystof Penderecki (in Latin, 1965), Mattheus-Passie by Willem Vogel (in Dutch, 1994) and St.John Passion by John MacMillan (in English, 2007).
Passion Motets
The polyphonic style is characteristic of Netherlands composers of the Renaissance, and to some extent of the Baroque, particularly with regard to vocal music. Contrapuntal techniques such as motivic and melodic imitation were employed, including various canonic forms. At the same time, increasing attention was paid to text depiction and the expression of sentiments, as is convincingly demonstrated by the mostly six-part motets on this recording.
Although new techniques and styles arose, the polyphonic style held ground, again predominantly in vocal music. German choral repertoire of the second half of the twentieth century is hardly conceivable without polyphonic writing, as in the music of Hugo Distler mentioned above.
This style was embraced in Holland, particularly in church music. The choral passages or turbae in the passion story on this recording owe their origins to this movement. Contrapuntal technique is clearly manifest in the canonic treatment of several strophic verses of this passion story, as also in the organ work by Bernard Bartelink (*1929) and the instrumental In Passione Domini by
Jan Valkestijn (*1928). Both compositions correspond to the opening hymn of the St. John passion recorded here. Most of the motet texts are taken from the Office chants for Holy Week. Alexander Utendal
Alexander Utendal, born in the Netherlands between 1530-1540, probably began his career as a member of the Brussels court chapel of Queen Mary of Hungary. In 1564, he sung countertenor in the choir of Archduke Ferdinand of Prague. When Ferdinand moved to Innsbruck in 1566, Utendal followed, dying there in 1581. The polyphonic texture of his music is rich and sonorous, and sometimes features chromaticism, as in the six-part passion motet Plangent eum.
Michel Du Buisson
Buisson, probably born in Lille, was active between 1560-1573. Like Utendal, he served at the Viennese court of Archduke Ferdinand, later emperor, between 1559-1564. In the latter year he followed the dukal chapel of Ferdinand II to Prague, and in 1566 to Innsbruck.
Johannes Flamingus
Johannes Flamingus is known to us through 32 works that he wrote down in the Leiden choirbooks between 1565-1567. He left Leiden before the Alteration, and in 1571 he became chapelmaster to the court of Duke Johann Albrecht I at Schwerin, where he served until 1573. If the name Johannes Flamingus is synonymous with Johan Vlamincx, he was employed in 1592 at the Onze Lieve Vrouwekerk in Mechlin, where he died around 1598.
Orlando di Lasso
Orlando di Lasso [Lassus] (1532-1594), born in Bergen in Henegouwen, was a choirboy in Sicily and Milan. He held various posts in Napels, Rome and Antwerp, before his appointment in 1560 as court chapelmaster in Munich. Lassus is the last and greatest representative of the composers of the Netherlands Renaissance. His oeuvre of sacred and secular music comprises more than 2000 compositions. His genius is manifest primarily in the expressivity and architecture of his compositions. The text of the motet O crux splendidior is taken from the Office of the feast of Holy Rood.
Fritz Heller & Jan Valkestijn |
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ID: ACDHH046-2
CDs: 1
Type: SACD
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Collection: Chamber Music
Subcollection: Viola
Since the beginning of musical history, the violin has played the leading role, while the viola has remained in an accompanying one. The viola has a rich and warm sound, and so is often considered as the ideal chamber music instrument. The larger size of the viola means that the distance the fi ngers have to cover between the notes is greater and therefore the margin of error is increased. Considering this difference, it is of course easier to play virtuosic passages on the violin. But should the viola only be destined to play chamber music? Several violists in the course of history have wrestled with this matter. Having asked himself this question for a few years, Màtè Szücs realises his own vision with this CD. |
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ID: ACDBH052-2
CDs: 1
Type: SACD
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Collection: Instrumental
Subcollection: Quartet
World renowned recorder quartet, Bassano, take us on a whirlwind tour of Spanish consort music, performed on some remarkable instruments. All exceptionally recorded and available in up to Studio Master 192 quality.
The Bassano Quartet is formed by recorder players Adriana Breukink, Ronald Moelker, Sanne Vos and Wolf Meyer. The quartet plays on historically built consort recorders with a length up to almost 3 meters (worlds largest recorder). These hand built instruments come from the workshop of Adriana Breukink. Her instruments are played by famous players and ensembles all over the world. |
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ID: ACDBH051-2
CDs: 1
Type: SACD
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Collection: Vocal Collection
Subcollection: Voices and Orchestra
Anna Cramer was born in Amsterdam on July 15th, 1873. She studied at the Conservatory of Music in Amsterdam, and on her graduation in 1897 she travelled to Germany to study composition with Wilhelm Berger and Max von Schillings. She enjoyed some early successes, and in 1906-07 several of her songs were performed in The Netherlands and Germany. Between 1907 and 1910 her songs op.1 - 4 were published in Germany.
The time she spent in Germany and Austria brought Anna Cramer into close contact with the latest compositional developments of the day. Her songs are products of German romanticism, although she created her own distinctive style. Despite not being avant-garde by the standards of the early twentieth century, Cramer was capable of writing passages of striking modernity. She felt her debt to Wagner and Strauss, and acknowledged the influence of Mahler, Wolf and Berg, but also incorporated features of folk music and cabaret into her songs. It would appear that Cramer often composed with an orchestra in mind, and Jeppe Moulijn’s orchestration of her Sechs Lieder, op.4 is a natural step forward in the exploration of her oeuvre, which is still widely unknown.
Soprano Nathalie Mees performs the lost works of Dutch composer Anna Cramer, discoverd after her death. Ably backed by the Leiderdorps Chamber Orchestra, Mees' light vibrato and monochrome approach highlights the musical treature that has been uncovered and recorded by Aluid Records: A true labour of love. |
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ID: ACDBH050-2
CDs: 1
Type: SACD
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Collection: Chamber Music
Subcollection: Chamber Ensemble
Ensemble Rossignol, a leading recorder and theorbo ensemble, perform works from the master composers in the shadow of Hanel.
Pieces by Loeillet, Axel D. Ruoff, Babell, Bach, Geminiani and Handel himself all in celebration of the city that played host to Handel's music and became his creative home.
London was an exceptionally prosperous city in the 18th century, which was reflected by its lively musical society.Handel, a German by birth, played a dominant role in this. Although he travelled extensively, he spent most of his life in this city and was even officially made a British subject in 1727. Although he was primarily known for his brilliant operas and oratorios, with their treasure trove of splendid arias, he was also a composer of lovely and sophisticated chamber music works. At this time, composers from all different countries travelled to London in the hope of launching a successful career there. However, this proved a difficult venture indeed for most of them, as they remained firmly overshadowed by Handel.
Jean-Baptiste Loeillet, born in Ghent, moved to London in 1705 after he completed his studies. He started as principal oboist of the Queen’s Theatre and later at the Opera, making a name for himself as a virtuoso flute player. He was also known as the first composer of recorder music of renown in England and thanks to his efforts the instrument gained substantial popularity. John Walsh published his music in London under the name: John Loeillet of London.
The British composer William Babell spent his entire life in London. His work is strongly influenced by Handel, whom we can presume to have been one of his teachers. The exceptionally virtuoso ornamentation in the slow movements of his sonatas has been written out meticulously.
In the first half of the 18th century Handel enjoyed even greater fame than his contemporary Johann Sebastian Bach. Although both composers were born in 1685 within a distance shorter than 200 km of each other - Handel in Halle en Bach in Eisenach - the two never met. Bach’s solo sonatas for cello lend themselves exceptionally well to the theorbo.
The Italian violin prodigy Francesco Geminiani was born in Lucca. In 1714 he too left for London, where he gained a formidable reputation as a violinist and teacher of the violin. His best-known work is The Art of Playing on the Violin (1731), one of the earliest treatises on the technical aspects of the instrument. The aria What shall I do to show how much I love her from Purcell’s opera Dioclesian was originally set for flute and harpsichord. |
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ID: ACDBH049-2
CDs: 1
Type: SACD
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Collection: Instrumental
Subcollection: Saxophone
Internationally renowned Dutch classical saxophonist performs works by Fauré, Schuber, Scriabin and Folkert Buis.
There is often a thin line between composed and improvised music, and this recording mosaics the two styles to create a cross-section that is beautifully effective in its simplicity - often dramatic and melancholy but also light-footed and assured.
Since Guido of Arrezzo laid the basis for musical notation in the 11th Century, music aficionados have challenged each other with the question: Who is the best composer of all time? Although the answer is normally someone like Bach, Mozart or Schönberg, the composer Shane Fage has offered the most original answer: The writer Charles Dickens. “Your first job is that of the story teller. Owing to the power of Dickens’ language, one could see the room, smell the stale cigar in the ashtray, feel the warmth of the fire, everything.......And that is why Dickens is the best composer I have ever heard.”
Telling stories as the basis for music. An art form from long before Guido of Arrezzo, and one that is effective in all genres. The story behind El Cant dels Ocells (Song of the Birds) is the birth of Christ, until the legendary cellist Pau Casals transformed it into the epitome of the Catalonian soul, “The birds in this piece sing “Peace, Peace, Peace!” And the music is a music that Bach and Beethoven and all the greats would have loved and admired. It is so beautiful, and it is also the soul of my country, Catalonia.” If you compare Schubert’s Adagio, Fauré’s Nocturne and the fourth Prelude of Scriabin with the ancient traditional Catalonian folksong, it is apparent that both Fage and Casals are right. For centuries the craftmanship of composers has been defined by the ability to base music on a simple but very effective melody.
A craft that is being carried on by Folkert Buis. In his “The Devil and the Deep Blue Sea” the requisite beautiful melody is constantly interrupted by cold dissonance and the violence of blows on the piano. In the middle of the piece it seems that peace and quiet have triumphed, but it quickly becomes apparent that this is no more than the eye of the storm.
That the craft is genre-free is obvious in Kirkland’s Dienda. Even in improvised music simplicity is often the trump card, but sometimes a masterwork can be brought to a higher plain by Jazz musicians. uch as Branford Marsalis’ version on his album Royal Garden Blues. His brilliant phrasing of this melody is only surpassed by the story that he brings to it with his own improvisation.
The final composition by Paquito D'Rivera, a musician who has based his carrer on a perfect mix of musical tradition and enjoyment of performance. Ultimately it is all about emotion. |
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