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Baroque, page 24

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Telemann - Don Quixote. Table Music - Kurlin,oboe - Gosman, conductor

Telemann - Don Quixote. Table Music - Kurlin,oboe - Gosman, conductor
ID: CDMAN171
CDs: 1
Type: CD
Kolektion: BaroqueSubkolektion: Oboe

Recorded by Petersburg Recording Studio, 1967 and 1977
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LUSATIA SUPERIOR - Music from the Six Towns of Upper Lusatia Ensemble Alte Musik Dresden

LUSATIA SUPERIOR - Music from the Six Towns of Upper Lusatia Ensemble Alte Musik Dresden
ID: RK9602
CDs: 1
Type: CD
Kolektion: BaroqueSubkolektion: Chamber Ensemble

Sächsische Musiklandschaften im 16. und 17. Jahrhundert
Music in the 'Six Towns' of Upper Lusatia


Constanze Backes und Rebecca Reese - Sopran
Britta Schwarz - Alt
Hermann Oswald - Tenor
Reinhard Decker - Bass
Ensemble »Alte Musik Dresden«
Bläser-Collegium Leipzig
Leitung: Ludger Rémy

Diese CD stellt Musik aus dem Gebiet des einstmals wichtigen und einflussreichen Oberlausitzer Bundes der Städte Kamenz, Bautzen, Löbau, Görlitz, Zittau und Lauban vor. Hier wirkten Komponisten wie Johann Pezelius, Johann Krieger und Andreas Hammerschmidt, aber auch der aus Görlitz gebürtige Meistersinger Adam Puschmann. Intraden und Sarabanden für Zinken und Posaunen, weltliche Arien sowie Kirchenkantaten und mehrchörige geistliche Konzerte in großer Besetzung zeigen ein musikalisch weitgefächertes Bild dieser Landschaft. Die meisten Werke der Einspielung sind Erstveröffentlichungen. Die Aufnahmen entstanden in der Lukaskirche zu Dresden.


Christian Ludwig Boxberg 1670-1729" Ich bin die Tür zu den Schafen"Kantate
Andreas Hammerschmidt 1612-1675"Siehe, wie fein lieblich ist's"geistl. Konzert
Andreas Kadner 17.Jh. Te Deum
Johann Kneffel 1530-1617 "Also hat Gott die Welt geliebt"Motette
Johann Krieger 1652-1735 "Das ist ein seltsam Jahr"Arie, "Der Saft tritt in die Bäume"Arie
Johann Christoph Pezel 1639-1694 "Fünfstimmig blasende Music"Auswahl, Sonata Bacchera
Conrad Pistorius 1541-1612 "Veni sancte spiritus"
Adam Puschmann 1532-1600 "Dass Christus erstanden ist"
Erhard Titius 1653-1681 "Ach, du hochbetrübtes Sachsen"Arie.
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SIEHE, MEINE FREUNDIN, DU BIST SCHON - Music based on the texts from the song of songs

SIEHE, MEINE FREUNDIN, DU BIST SCHON - Music based on the texts from the song of songs
ID: RK9706
CDs: 1
Type: CD
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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J.S. Bach - The Art of Fugue, BWV1080. - P. Kofler (harpsichord & organ)

J.S. Bach - The Art of Fugue, BWV1080. - P. Kofler (harpsichord & organ)
ID: RK3004
CDs: 1
Type: CD
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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Biagio Marini - Opus 8 con curiose & moderne inventioni (1629) - Ensemble Cordarte

Biagio Marini - Opus 8 con curiose & moderne inventioni (1629) - Ensemble Cordarte
ID: RK2306
CDs: 1
Type: CD
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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Sweelinck - Maker of organists - Leon Berben, organ

Sweelinck - Maker of organists - Leon  Berben, organ
ID: RK2205
CDs: 1
Type: CD
Kolektion: Baroque

Jan 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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Downland's Delight - Tom Daun - Harp music from Renaissance and Baroque

Downland's Delight -  Tom Daun - Harp music from Renaissance and Baroque
ID: RK3006
CDs: 1
Type: CD
Kolektion: Baroque

Tom 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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J.S.BACH - MUSIC FOR LUTE (BWV 997, 998, 995) - AXEL WOLF

J.S.BACH - MUSIC FOR LUTE (BWV 997, 998, 995) - AXEL WOLF
ID: RK2203
CDs: 1
Type: CD
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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Jacques Martin Hotteterre «Le Romain» (1673 - 1763) - La Flûte du Roy

Jacques Martin Hotteterre «Le Romain» (1673 - 1763) - La Flûte du Roy
ID: RK2207
CDs: 1
Type: CD
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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Entwurff einer wohlbestallten Music

Entwurff einer wohlbestallten Music
ID: RK2001
CDs: 1
Type: CD
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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