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ID: RK3006
Disk: 1
Type: CD
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Kolekce: BaroqueTom Daun has been working with early harp music for a long time and has also performed his own compositions. Here he performs on an “arpa doppia” and a much smaller gothic harp. The collection includes works by Dowland, Weiss, Reusner, Bach and Neusidler. |
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ID: RK2203
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Lute
Johann Sebastian Bach himself did not play the lute. Could his lute music really have been played on the lute as specified - or was it intended all along for a lute harpsichord of the type found in Bach`s estate? Two of the suites of this recording are expressly stated „pour la Luth“ or „pour la luth o cembal“. However, some notes were not feature of the common solo instrument of the era, the 13-string lute with a D minor tuning. Axel Wolf performs Bach`s lute music on a 14-string archlute, a theorbo lute - an instrument which could well have been played by one of the Italians employed at the court orchestra in Dresden. This recording is full of tranquility and intimacy found by Axel Wolf prior to the recording in the little Johann Sebastian Bach.
Axel Wolf studied the guitar and lute under Hans Michael Koch. After attending master classes held by Nigel North and Hopkinson Smith, he also studied under Rolf Lislevand. Since completing his degree course in the guitar in 1986, Axel Wolf has taught at Hanover Academy of Music and Theatre. In 1988 he teamed up with Simone Nill (recorder) and Robert Sagasser (viola da gamba)to form the ensemble La Sfondrata. Four years later, La Sfondrata won a prize at the Festival of Early Music in Utrecht. Axel Wolf played the lute in a number of wellknown ensembles such as Musica Fiata (Cologne), Ars Antiqua Austria, and the London-based Gabrieli Consort &Players. Axel Wolf has appeared at numerous international festivals,including inBoston, Bruges, New York and Tel Aviv. Axel Wolf is a frequent guest at the Bavarian State Opera in Munich, performing under the baton of Harry Bicket and Ivor Bolton. He has also worked with conductors such as Peter Schreier, PaulMcCreesh,Lajos Rovatkay and Alan Curtis on opera, concert and CD productions. village church in Polditz/Saxony RK 2203 | edition raumklang | Total: 74:45 |
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ID: RK2207
Disk: 1
Type: CD
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Podkolekce: Flute
Michael Form (recorder), Rebeka Rusó (treble & bass viol), Dolores Costoyas (theorbo), Dirk Börner (harpsichord)
Jacques Martin Hotteterre’s compositions are among the most substantial works of French chamber music from the early 18th Century. The two volumes of Pieces pour la flûte-traversiere have particular significance within his wide-ranging œuvre, much of which reveals didactic intent. Never before had a musical language of such expressiveness and sublime intimacy been realised in composition for a wind instrument. Aside from this multifaceted suites, the Airs et brunettes -with a bounty of original ornamentation- and the Sonates en trio -based on Arcangelo Corelli’s triosonatas- provide a particularly good impression of Hotteterre’s stylistic diversity. Michael Form has chosen the recorder for the interpretation of Hotteterres flute music. Alternative arrangements were of course a welcome means of ensuring a wider dissemination of musical works - and a common practice among composers of the time. For the majority of the suites which descend below the range of the treble recorder in f’, Michael Form decide to use a flûte de voix in d’ -with his warm timbre this instrument gives the pieces a special charm. Contenu: Les compositions de Jacques Hotteterre font partie des plus riches œuvres de musique de chambre française des premières décennies du 18ème siècle. Au sein de son œuvre variée, les deux tomes des Pièces pour la flûte traversière tiennent une place à part, également sous des aspects didactiques. Jamais auparavant, une langue sonore aussi expressive, aussi sublime de ferveur, ne fut inventée pour un instrument à vent. Au-delà de cettes suites aux nombreuses facettes, les Airs et brunettes (croulant sous les ornements originaux) ainsi que les Sonates en trio (prenant appui sur les sonates en trio d’Arcangelo Corelli) offrent une bonne impression de la diversité stylistique de Hotteterre. Pour interpreter cette musique Michael Form a choisi la flûte à bec. Pour les suites qui descendent en-dessous du registre de la flûte à bec alto en fa’ - presque toutes -, Michael Form a décidé d’utiliser une flûte de voix en ré’. Avec son doux timbre cet instrument donne la musique une charme exeptionelle. |
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ID: MELCD1002224
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Piano and Orchestra
Firma Melodiya presents recordings of J S Bach’s works performed by Emil Gilels.
This disc continues the series of recordings made by the great pianist. However, these recordings suggest a different view on Gilels’ performing art.
Emil Gilels entered the music life of the USSR as a virtuoso in the best, romantic sense of the word. His inspired artistry always produced a magnetic effect on the audience. He conquered the world with his performances of Beethoven’s sonatas, Mozart’s works in Salzburg, and interpretations of Tchaikovsky’s and Rachmaninov’s concertos. It was difficult to assume that a well-established stereotype of romantic pianism hid an inspired and profound interpreter of Bach’s music.
Johann Sebastian Bach was never at the centre of Gilels’ repertoire. They were more like individual pieces, but that was exactly what made them so unexpected at his concerts. Nevertheless, he kept revisiting some of them time and again.
This disc features recordings made in 1948 to 1968. Not claiming to be authentic and at the same time not falling into excessive romanticism, Emil Gilels shapes his own unique vision of the great cantor’s music world.
J.S. Bach:
Brandenburg Concerto No. 5 in D major, BWV1050
Elizaveta Gilels (violin) & Nikolai Kharkovsky (flute)
The USSR State Symphony Orchestra, Kirill Kondrashin
Concerto for Two Keyboards in C major, BWV1061
with Yakov Zak (piano)
The USSR State Symphony Orchestra, Kirill Kondrashin
Partita No. 1 in B flat major, BWV825
Prelude & Fugue Book 1 No. 10 in E minor, BWV855: Prelude
arr. Alexander Siloti
Prelude and Fugue in D Major (Bach BWV532) Transcription Busoni
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Emil Gilels (piano) |
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ID: RK2001
Disk: 1
Type: CD
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Podkolekce: Voices
Instrumentarium Lipsiense (III)
Thomanerchor Leipzig
Leipziger Concert
Dorothee Mields, sopran, Gotthold Schwarz, bass
This is an exceptional kind of CD. Quoting from the work of Johann Sebastian Bach and his contemporaries, it tries to illustrate with its choice of pieces a few of the characteristic, but also some of the exceptional, Bach instrumental combinations. Special attention is brought to instrument makers from Bach’s Leipzig milieu, the illustrative pieces for which, when possible, use original instruments from the Musical Instrument Museum. This CD recording offers the unique opportunity, with the Ricercare a 6 (BWV 1079/5), of experiencing a Hoffman (Martin Hoffman, musical instrument maker) ensemble of five viola da gambas and a violin.The Leipzig Concert Ensemble are specialists of early music and play with historically correct instrumentations appropriate to each piece. |
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ID: RK2101
Disk: 1
Type: CD
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Podkolekce: Sbor
Italian Love Cantatas and Chamber Music
Das Bouts Ensemble wurde 1999 gegründet. Die Musiker, allesamt Spezialisten auf dem Gebiet der Alten Musik, hatten in den unterschiedlichsten Kombinationen bereits mehrfach bei anderen Gelegenheiten zusammen musiziert, bevor sie sich zum Bouts Ensemble formierten, um in flexibler Besetzung Kammermusik des 18. Jahrhunderts in historischer Aufführungspraxis zu pflegen. Mit ihrem unterschiedlichen musikalischen Hintergrund bilden sie eine Mischung, die Alte Musik lebendig und facettenreich zum Erklingen bringt.
The Bouts Ensemble is a chamber music ensemble devoted to the repertoire of the "high" baroque and pre-classical periods - ca. 1725-1775. Through performance of works by both famous and unjustly neglected composers, the group aims to contribute to a greater appreciation and understanding of music from this endlessly fascinating period. The members of this young group use their extensive experience in historical performance practice on period instruments to bring to this repertoire the virtuosity, vitality and intelligence that it demands. |
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ID: RK3008
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Chamber Ensemble
Graun was a prolific composer and wrote almost 130 trio sonatas, of which only a few are dated. It was difficult for these musicians to choose just four sonatas from such an abundance of works due to their quality and consistency. They have tried to highlight the various facet’s of Graun’s works. |
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ID: DCD34112
Disk: 1
Type: CD
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Kolekce: BaroquePodkolekce: Harpsichord
John Kitchen harpsichord (1769 Taskin Harpsichord)
John Kitchen - uniquely familiar with Edinburgh's internationally acclaimed collections of early keyboard instruments - turns his attention to the world's most famous harpsichord, the Taskin harpsichord. The reign of Louis XV was the period during which the harpsichord gained its greatest popularity in France, and this glorious 1769 instrument by Pascal Taskin would have been the preferred choice of any composer. Here its opulent lushness is captured in the ideal acoustics of Scotland's oldest concert hall St Cecilia's Hall. The Hall is also home to the Raymond Russell Collection of Early Keyboard Instruments, which houses the Taskin harpsichord. The combination of instrument, venue, programme and performer creates a unique listening experience.
This is John Kitchen's fourteenth solo recording on Delphian. Since his appointment in 2002 as Edinburgh City Organist, he has curated a busy series of concerts in the city's iconic Usher Hall. Recent recital series in the USA and Germany complement his busy programme of activities in the UK. Having studied seventeenth century French harpsichord music whilst Organ Scholar at Clare College, Cambridge, John is now Senior Lecturer at Edinburgh University, Conductor of Edinburgh University Singers, and Director of Music of Old Saint Paul's Episcopal Church in Edinburgh.
Track listing
1 François Couperin (1668-1733): Ordre no. 6 in B flat
1 Les Moissonneurs
2 Les Langueurs-Tendres
3 Le Gazoüillement
4 La Bersan
5 Les Baricades Mistérieuses
6 Les Bergeries
7 La Commére
8 Le Moucheron
Antoine Forqueray (1672-1745)
[attrib.]
9 La Du Breüil
10 La Leclair
11 La Léon
12 La Boisson
Jean-Philippe Rameau (1683-1764)
13 La Triomphante
14 Fanfarinette
15 Les Sauvages
16 L’Enharmonique
17 L’Egiptienne
Jacques Duphly (1715-1789)
18 La Forqueray
19 Médée
Total playing time [66:26] |
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ID: DCD34115
Disk: 1
Type: CD
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Kolekce: RenaissanceThe Marian Consort
Rose Consort of Viols
Rory McCleery, conductor
For its second Delphian recording, The Marian Consort have leafed through the beautifully calligraphed pages of the partbooks compiled in Oxford between 1581 and 1588 by the Elizabethan scholar Robert Dow, to present a deeply satisfying sequence of some of their brightest jewels. Sumptuous motets, melancholy consort songs and intricate, harmonically daring viol fantasies are seamlessly interwoven, all brought to life by seven voices and the robust plangency of the Rose Consort of Viols in the chapel of All Souls College, Oxford - where Dow himself was once a Fellow.
The Marian Consort is a young, dynamic early music vocal ensemble founded in Oxford in 2007. Combining academic insight with high levels of performance practice, the ensemble predominantly explores the repertoire of Renaissance and early Baroque music with its director Rory McCleery. They are joined by the Rose Consort of Viols, which takes its name from the celebrated family of viol makers, whose work spanned the development of the English consort repertoire.
Track listing
1 William Mundy (c.1528-c.1591)
Sive vigilem
2 Nicholas Strogers (fl. 1560-75)
A doleful deadly pang
3 Nicholas Strogers
In Nomine a 5 (No. 2)
4 (?)Robert Mallory (d. 1572)
Miserere a 5
5 Nathaniel Giles (c.1558-1633/34)
Vestigia mea dirige
6 Robert White (c.1538- 1574)
In Nomine a 5
7 William Byrd (1539/40-1623)
O Lord, how vain
8 Robert White
Justus es, Domine
9 Christopher Tye (c.1505-1572/73)
In Nomine
10 Thomas Tallis (c.1505-1585)
O salutaris hostia
11 Robert Parsons (c.15351572)
Retribue servo tuo
12 anon.
Come Holy Ghost
13 Vincenzo Ruffo (c.15081587)
La gamba
14 William Byrd
La verginella
15 anon. ['Roose']
Dum transisset Sabbatum
16 Jean Maillard (c.1515-after 1570)
Ascendo ad Patrem meum
17 Nicholas Strogers
Non me vincat, Deus meus
18 (?)Philippe Verdelot (1480s-c.1530)
Madonna somm'acorto
19 Philip van Wilder (c.15001553)
Je file quand Dieu me donne de quoy
20 Philip van Wilder
Pour vous aymer j'ay mis toute ma cure
21 Robert Parsons
Ave Maria
Total playing time [72:49] |
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