The two great musical dynasties of central Germany, the Bachs and the Abels, were closely entwined. Carl Friedrich Abel, the greatest of his clan, was a pupil of Johann Sebastian Bach in Leipzig and the friend and business partner of Bach’s youngest son, Johann Christian in London. Abel’s output of symphonies comprises over forty works, most of which were published in sets of six, the standard number for publications of sonatas, chamber works and concertos in the eighteenth century. A concert in his time would have a range of compositions by several composers and it is more likely that only one symphony would be played in a single evening. The present day listener should not feel guilty for indulging in these fine works one by one or out of sequence. They are rich and delicate, and should be savored individually. Die Kolner Akademie is a unique ensemble based in Cologne which performs music of the seventeenth through the twenty-first centuries on period instruments with world renowned guest soloists.They have receieved the highest acclaim for their outstanding performances at major festivals all over the world, many of which were broadcast live and filmed for television.

Carl Friedrich Abel was one of the few composers to be painted by a famous painter. Two portraits of the composer, done by Thomas Gainsborough, are preserved. This shows his status as one of the foremost composers of his day. This release features his Sonatas and Trios from the Ledenburg Collection. Many of these works are receiving their world premiere recording with this release. Thomas Fritzsch is one of the finest gambists of our day. Joining him on period instruments are pianist Michael Schonheit, violinist Eva Salonen, and cellist Katharina Holzhey.

This new release presents an absorbing portrait of Abel Carlevaro (1916-2001) through his music as performed by Cristiano Poli Cappelli, an Italian guitarist making his second album for Brilliant Classics. The first was of guitar music by another relatively forgotten figure, Alexander Tansman, and it was enthusiastically reviewed by Classical Guitar magazine: ‘Highly recommended!’ Like Tansman, Carlevaro studied with Andres Segovia, the father of the modern guitar, during the 1930s. However, he broke away from his master’s teachings in order to make his own experiments in both guitar manufacture and composition. His music caught the ear of Heitor Villa-Lobos, another South American innovator, and it embraces the widest stylistic range captured by Poli Cappelli on this album, from the delicate watercolours of the Preludios Americanos (1969-74) to the vivid brushstrokes and abstract form of Cronomias (1972). Carlevaro’s later music returned often to the milonga, a tango-related dance popularised in the classical sphere by Astor Piazzolla. Milonga para Ling (1999) is brief but saturated with melancholy, while to the Milonga Oriental (1994) belongs one of the composer’s happiest melodic inspirations. Later still, a pair of milonga suites describe a peaceful return to the composer’s heritage. An essential acquisition for guitar aficionados, but also a collection of beautiful South American melodies that deserve to travel more widely.

The music in this album sings and dances, in Abel’s “colorful blend of styles that serve the emotional nature of each work to bracing and poignant effect” (Gramophone). It further clarifies why Abel is “one of the most interesting figures in American contemporary music” (Pizzicato). Composer Mark Abel has been based in California for the past three decades. Abel’s idiom eludes easy pigeon-holing. It includes chamber music and vocal works, whose contours extend from art song to larger forms with orchestra to a 103-minute chamber opera, Home Is a Harbor. This is Mark’s fifth release on Delos. The incomparable David Shifrin begins the program with Intuition’s Dance, a combination of frolic and dreamy ruminations in which he is joined by pianist Carol Rosenberger. (This is the first time Shifrin and Rosenberger have recorded together since their memorable albums in 1984!) Next comes the remarkable Hila Plitmann singing the powerfully moving Four Poems of Marina Tsvetaeva — the first-ever setting of Tsvetaeva’s poetry in English translation. She is joined by Rosenberger and English hornist Sarah Beck. Colorful and haunting, The Elastic Hours are brought to life with virtuosity by Sabrina-Vivian Höpcker and Dominic Cheli. This is Sabrina’s first Delos recording since her success with the Brahms Hungarian Dances in 2018 (DE 3558). In the richly lyrical Clarinet Trio, Shifrin and Rosenberger are joined by Fred Sherry for a musical journey beginning with “The Unfolding,” moving to “Taking Flight,” and finally ending with a peaceful and tender “In Good Time.”

The name Hitchcock not only stands for the most famous of all British film directors, but for an important family of English instrument makers from England as well. Only a few of these sonorous and extravagant keyboard instruments have survived. The multi-stringed spinet No. 1379 from the Telemann Museum in Hamburg, with its black keys elaborately set in white ivory, can now be heard for the first time in a recording. The Hitchcock Trio invites you to a typical middle-class salon concert as was customary throughout Europe at the end of the 18th century. Selected London compositions by Burney, Geminiani, Abel, and Loeillet (a celebrated harpsichordist of his time), as well as works by the famous Hamburg composers Telemann and Mattheson, are featured. The trio, whose members include Anke Dennert (London spinet from 1730), Gabriele Steinfeld (South German baroque violin), and Simone Eckert (Hamburg Tielke gamba from 1685), allow the expressive sounding Hitchcock spinet to shine, both as a solo instrument and in a chamber music setting.

Exquisite Delight awaits the listener on Viktor Töpelmann’s new solo album with viol music by Carl Friedrich Abel, Franz Xaver Hammer und Andreas Lidl. Virtuoso Allegros, sentimental Adagios and dancing Minuets come to life in Viktor Töpelmann’s interpretation of sonatas and solo music from this last bloom of viol music in the late 18th century. He plays an original bass viol by Barak Norman (London 1722) and he is accompanied by the cellist Gerhart Darmstadt.

It is a constant source of amazement that to this very day, musical gems even by famous composers often fail to receive the exposure they deserve or have even – despite modern digital access – been unjustly consigned to oblivion. The four works by Carl Friedrich Abel presented here are just such treasures, and two of them – the Sinfonie Concertanti WKO 42 and 43 – are released on record for the very first time to mark the composer’s tercentenary in 2023. The reason for this is surely that Abel’s activity and fame as a viola da gambist and as a composer for his instrument has obscured the fact that he wrote these four important concertante works for the violoncello. The present recording seeks to help restore the reputation that these works deserve.

Awarded a Diapason Découverte, André Lislevand’s debut album Forqueray Unchained (Arcana A486, 2021) celebrated one of moments of greatest splendor for the viola da gamba: that of the ancien régime in France. In this repertoire, the young musician proved to be "absolutely on top of his game and not afraid to explore the extremes of his instrument’s aesthetic world, though without ever losing touch with le bon goût" (Early Music Review). The same youthful freshness and energy can be found in his second album, though here he explores the German repertoire of the central decades of the 18th century, a period that witnessed the gradual decline of the instrument, but was still capable of expressing unexpected treasures and developing an idiom that often seems to anticipate the years to come.

In the program are sonatas for gamba and basso continuo (C.P.E. Bach’s WQ 136 and C.F. Abel’s B93 in A minor), Telemann's Fantasia XI for solo viol, two pieces by Abel from the Drexel Manuscript, and finally, the lesser-known Suite BWV 1025 by J.S. Bach, presented here in a version for viola da gamba and concertante lute. Also featured and playing a vital role in this project are the Duncumb brothers, two extraordinary chamber musicians: Emil on the fortepiano and Jadran, who played on the debut album, on the lute.

Anja Lechner devotes herself to a particularly unique convergence of three composers from vastly different contexts: J.S. Bach, Carl Friedrich Abel, and Tobias Hume. With her distinct perspective on works composed for both violoncello and viola da gamba, Lechner sheds a fresh light on music written within a span of two centuries. Produced by Manfred Eicher