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ID: RK9706
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Ensemble
Melchior Franck: Du bist aller Dinge schon meine Freundin, Meine Schwester liebe Braut, Faher uns die Fuchse
Heinrich Schutz: Nachdem ich lag in meinen oden Bette SWV451, O quam tu pulchra es SWV265, In lectulo per noctes SWV272, Invenerunt me custodies civitatis SWV273, Ich beschwore euch ihr Tochter zu Jerusalem SWV339
Andreas Hammerschmidt: Siebe meine Freundin du bist schone
Giovanni Paolo Cima: Adiuro vos filia Jerusalem
Christop Demantius: Mein freund komm in meinen Garten Ensemble |
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ID: RK3004
CDs: 1
Type: CD
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Subkolektion: Organ
The Art of the Fugue marks a monument of compositional mastery. For Peter Kofler, the priorities are the sound of the music and its sensual vitality. He performs on a harpsichord made by Karl August Gräbner in Dresden in 1782. |
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ID: RK2306
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Chamber Ensemble
Ensemble CordArte
Heike Johanna Lindner - viola da gamba
Daniel Deuter - violin, violino discordarto & viola
Margaret Baumgartl - violin & viola
Fiona Stevens - violin
Frauke Hess - bass viol
Johanna Seitz - triple harp
Markus Markl - harpsichord & organ |
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ID: RK2205
CDs: 1
Type: CD
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Kolektion: BaroqueJan Pieterszoon Sweelinck is one of the principal composers in the 16th- and 17th-century Holland. As far as we know, Sweelinck only left Holland on one time. Nevertheless his works show Italien/Venetian influences, English/virginalist elements and knowledge of spanish composers. The growing cultural importance of Amsterdam in Sweelinck´s day probalbly explain his knowledge of contemporary European music. At the beginning of the 17th century, many organists travelled not only from Germany but also Poland and Sweden to Amsterdam to study under the famous Sweelinck. Later his Hamburg pupils Heinrich Scheidemann and Jacob Praetorius founded a sort of ‘Sweelinck outpost’ in Hamburg. They passed on their pupils what they have learned in Amsterdam. Léon Berben plays the pieces of Sweelincks und his pupils brilliantly at St. Jaque’s Church in Liège. This organ was reconstructed in the style of the late 16th century, following Sweelinck´s large organ in Amsterdam. RK 2205 | edition raumklang | Total: 67:32 |
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ID: MELCD1002262
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: Violin and Orchestra
Firma Melodiya presents a recording of instrumental concertos by Antonio Vivaldi.
The Italian composer went down in history as an outstanding master of baroque concerto. His legacy includes over 500 concertos (about half of them composed for violin), which combine composing and virtuosic mastership with a truly Italian temperament, strict orderliness of the whole with inexhaustible inspiration and ingenuity. Vivaldi adopted a three-movement model of concerto, but even his most conventionally built works almost always conceal a surprise - an unusual structure of a movement, sudden modulation, a striking harmonic turn, and play of Forte and Piano shades. Just as it was the case with Bach, Vivaldi was sunk into oblivion for almost two centuries, and only in the 20th century his music came out to the foreground of world culture.
Vivaldi:
Oboe Concerto in A minor, RV461
Concerto for Violin & Viola da gamba, 'La maggiore' RV546
Concerto in E minor, RV 278
Cello Concerto in B minor, RV424
Concerto for Violin & Cello in B flat minor, RV 547
Flute Concerto, Op. 10 No. 2 in G minor, RV 439 'La notte'
Antonio Vivaldi’s concertos are performed by the prominent representatives of domestic music art Oleg Kagan (violin), Natalia Gutman (cello), Evgeny Nepalo (oboe) and Albert Gofman (flute), and conducted by Rudolf Barshai and Lev Markiz, who opened the style of chamber performance of baroque music for the Soviet audience. The Night concerto features an ensemble of soloists of the Moscow Philharmonic Society led by David Oistrakh. |
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ID: RK3006
CDs: 1
Type: CD
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Kolektion: 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
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: 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
CDs: 1
Type: CD
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Subkolektion: 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
CDs: 1
Type: CD
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Kolektion: BaroqueSubkolektion: 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
CDs: 1
Type: CD
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Subkolektion: 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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