Import Hybrid-SACD pressing. Bach: Cantatas, BWV 98, 180, 56, 55 (2006) Christoph Genz (tenor), Dominik W�rner (bass baritone), La Petite Bande, La Petite Bande, Petra Noskaiova (alto), Sophie Karth�user (soprano), Sigiswald Kuijken (conductor). Sigiswald Kuijken was once just the violin-playing Kuijken who used to join his brothers, the transverse flute-playing Barthold and the viola da gamba playing Wieland, plus harpsichord playing Gustav Leonhardt to perform and record Baroque chamber music. After his gut-wrenching, soul-transforming recording of Bach's solo violin sonatas and partitas, Sigiswald Kuijken gradually moved on to conducting, principally his own ensemble, La Petite Bande. But moving up doesn't always mean moving away, and with this disc of four church cantatas by Bach, Kuijken is back in familiar territory.Bach's cantatas, like his piety, tended to the gloomier side of post-Thirty Years' War German Lutheranism, and with titles like Ich will den Kreuzstab gerne tragen (I will carry my cross) and Ich armer Mensch, Ich S�ndenknecht (I am a poor man, a slave of sin), Kuijken's choice of repertoire betrays his spiritual sympathies.

The dominated by the German-Austrian musicology at the beginning of the last century ex cathedra announced estimates of who should be regarded in the 18th century as a composer of lesser importance, are only gradually put in question. Long Boccherini therefore had to wait with it's own, very individual approach to it's rehabilitation as an in relation to the composers of the Viennese classical equivalent artists. His 1770 incurred Divertimenti Op.16 for Flute and Strings show him as a composer, in which the entertainment value never at the expense of musical substance. The thematic ingenuity of this music seems inexhaustible, and her charm is enchanting in every sentence.

It was probably the Amsterdam publisher Michel-Charles Le C�ne himself, Antonio Vivaldi end of the 1720s asked after the remarkable success of twelve concerts Op.8 to write him another collection of concerts, this time for the transverse flute. Vivaldi had the instrument Although already in his chamber concerts, as well as, inter alia, in the opera "Orlando" RV 728 (1727) used, but until then he had apparently still not composed original concertos for the instrument. As Le C�ne turned to the composer, this was due to concert tours and opera productions hardly the time, entirely new art of writing well. Instead, he reached for the five concerts back on their own chamber concerts and revised it radically. The six concerts Op.10 (printed 1728) thus among the earliest published concert ante works for the then relatively new flute. They also include (especially the first three concerts with the programmatic titles "The Sea Storm", "The Night" and "The Goldfinch") today undoubtedly the most popular Baroque concertos. If two grandmasters of historical performance practice as Barthold and Sigiswald Kuijken accept this works, then not only an excellent played recording, but also with radio knowledge and insights are guaranteed that new aspects of these works illuminate without having to resort to fashionable antics.

Import Hybrid-SACD pressing. Bach: Cantatas BWV 177, 93, & 135 (2006) Christoph Genz (tenor), Jan Van der Crabben (baritone), La Petite Bande, Petra Noskaiova (alto), Siri Karoline Thornhill (soprano). It's not that Bach wrote the same cantata several hundred times. Each and every cantata is scored for a unique ensemble, has a unique sequence of movements, sets a different text to a different chorale melody, and explores different musical and spiritual issues. It's that we, in our musical and spiritual puniness, can't begin to comprehend the height, the breadth, and the depth of Bach's achievement. Designed to be heard only once a week on Sunday, Bach's cantatas are still best appreciated one at a time. Take this disc by Sigiswald Kuijken leading La Petite Bande. One of their 20-disc survey of cantatas for the complete liturgical year, the disc contains three extraordinary works for the fourth, fifth, and sixth Sundays after Trinity: Ich ruf zu dir, Herr Jesu Christ (I call to you, Lord Jesus Christ) in G minor; Wer nur den lieben Gott l�sst walten (Who leaves the loving God to guide him) in C minor; and Ach Herr, mich armen S�nder (Oh, Lord, I am a poor Sinner) in D minor.

The famous "Schranck II", now heard it's contents to the treasures of the Saxon State Library in Dresden, was home to a long private music archive of Johann Georg Pisendel (1687-1755), in the Dresden concertmaster for their own use and for personal interest on the years had the best collated at European music: works by Antonio Vivaldi with personal dedication, his former teacher Giuseppe Torelli, orchestral works and chamber music by George Frideric Handel and many other musical treasures. To the practical processing of these precious objects, the Batzdorfer Hofkapelle has already earned a highly regarded album on ACCENT (ACC 24202). This time she delights us with some exceptional trio sonatas from the private archive Pisendel. No doubt, the Dresden concertmaster had an exceptionally good musical taste!

As according to the legend, the Spaniard Vicente Espinel guitar added a fifth string, he had no idea that he thereby triggered a boom that was to take the whole of Europe (and in some ways continues today). Because soon threatened the instrument to oust the lute. The technique has become increasingly sophisticated, and it was not long until they took the stage of high art music, and even became the favorite instrument of crowned heads. The guitar is an instrument that inevitably invites to improvise - then and now. Many of the pieces are created in the 17th century as recorded sketches and encourage them to develop these. The musicians of Private Musicke added these inspirations thanks and designed a program that will give a colorful and varied picture of Italian guitar art of this period.

Jacquet de Berchem (c.1505-c.1565) was a Flemish composer working in Venice and Verona. He has the distinction of Being the first composer to use the term as a title capriccio musical, In His publication of 1561, Il primo, secondo e terzo book capriccio. The present program That comes from publication, and Makes use of settings of the poetic cycle furious Orlando of Ludovico Ariosto (1474-1533). That cycle portrays the legend of Roland, and Apparently Berchem's publication is designed as a set of three "scenes" Which Provide settings in a semi-folk style. Performers: Maria Cristina Kiehr (soprano), Eitan Sorek (tenor), Otto Rastbichler (tenor), Furio Zanasi (baritone), Markus Tapio (viol), Sophie Watillon (viol), Brigitte Gasser viol), Ren�e Stock (viol) Margherita Degli Esposti (recorder), Claire Freedman (recorder), Roberto Festa (recorder), Bernard Stilz (recorder), Mich�le Vandenbroucke (curtal), Joost Swinkel (sackbut), Cas Gevers (sackbut), Henning Plumeyer (sackbut), Mara Galassi (harp), Hugh Sandilands (lute), Maurizio Maiorana (recitation).

As a legacy of the Lully tradition was Michel Pignolet de Mont�clair (1667-1737) one of the brilliant musicians of the period before Rameau. His oeuvre is preserved, although narrow, but high quality. In his few instrumental works, Mont�clair preferred the contemporary fashion instrument transverse flute, which he devoted several collections. The two master flutist Frank Theuns and Marc Hantai underline the charming lightness of this music that combines the ease of Regence in notes.

For musicians and music lovers of his time Arcangelo Corelli was nothing less than the true Orpheus ("il vero Orfeo"), whose music after his death was regarded as exemplary by their sovereign classicism and it's inner greatness far. Dealing with Corelli's music took place in many ways and also affected the music for viol. So lack of original literature circulated by him numerous edits the violin sonatas Op.5. In the National Library in Paris, the anonymous manuscript of a particularly successful editing is kept, will make music here after. She does not walk idiomatic runs around, complemented melodious chords and adjusts the bass voice of caution. Many composers put their creativity to Corelli's music. This could happen through the acquisition and development of it's stylistic features, or simply by transferring his violin technique on the viola da gamba, as in the 1709 printed Sonatas Op.9 by Johann Schenck. Friederike Heumann and her musical collaborators offer us a revealing insight into the "Corellimania" at the beginning of the 18th century, which could not even gambist unaffected.

If you were to set up a pantheon of musical history, Girolamo Frescobaldi as likely (1583-1643) entitled without doubt one of the most prominent places. The recording of the Italian harpsichordist and organist Luca Guglielmi illustrates very clearly two very distinctive aspects of musical aesthetics Frescobaldi: on the one hand, the free form models in which is revealed the seemingly inexhaustible ingenuity of the composer, on the other hand the art of counterpoint, thematic and metric-rhythmic variation, as they can be found in his partitas suites, dances and Capricci for keyboard instruments. In his mature period (from about 1624) to Frescobaldi's main focus of variation and it's various aspects appears to have turned. His special preference was given to the mixing of different forms and modes of composition, where he constantly explores new ways of combining. For his recording Guglielmi uses the excellent copy of an anonymous Italian harpsichord from the 17th century and was built in 1750 by Giacomo Filippo Landesio organ of the Church Parish in Piedmont Luserna San Giovanni.

Zelenka, Heinichen or hatred are no longer an insider. But there's more to make delightful discoveries such as Giovanni Alberto Ristori (1692-1753) among the composers of the Dresden Baroque, among others in Dresden served as court organist and assistant music director and had often represented it's absent or ailing colleague Hasse and Zelenka. He provided the Court Church with numerous sacred works, which are of remarkable quality and a Dresdner special this time have: to 1751 served in Dresden namely the remodeled Klengelsche Opera House as a Catholic Court Church. The relatively small building offered for the musicians, although very little space, but it had an excellent acoustics. The composer responded with small, sometimes even intimate occupations. Ristori Divoti Affetti for Lent can actually call in this context as a "chamber duets for the Church". Their musical language mixed in so delightful way secular and religious elements, so that they were in use in Dresden until well into the 19th century. Listening to the stations with Doroth�e Mields and Franz Vitzthum, then you know why.

As early as the 11th century Arab historian praised the Ash-Shaqundi Seville not only because of the magnificent gardens and parks, but also explicitly for the excellent music. Later, in the 16th century, the golden age of Spain, she was still a thriving city and a thriving center of art and culture. In this environment had Alonso Mudarra (ca.1510-1580) most of his life as a canon at the cathedral of Seville. 1546 he published there his Tres Libros de M�sica. a collection of pieces and songs for and with Vihuela. They are a particularly fine example of the many different literary forms and musical currents that were in Sevilla found in the mid-16th century. Private Musicke spreads along with the Spanish soprano Racquel Andueza of the fascinating diversity of songs and Vihuelast�cke Mudarras, ranging from simple, catchy song held to elaborate polyphony.

No work in the 18th century reached a nearly high number of re-runs A. Corelli's violin sonatas Op.5 (published 1700). At the latest with this work of Corelli had finally become a classic. 1984 played a Sigiswald Kuijken a Auswahk from this influential Opus, a recording which has become itself a classic.

Mozart & Beethoven: Quintets for Pianoforte and Winds (Oboe, Clarinet, Horn and Bassoon) performed by Jan Vermeulen (Pianoforte) on Anton Walter's pianoforte (Cir. Vienna 1795) & Il Gardellino Marcel Ponseele (oboe), Benjamin Dieltjens (clarinet), Luc Berge (horn) and Alain Derijckere. 'I have written 2 great concerts and then get a quintet that extraordinary applause; I even think it is the best thing I've written in my life. ' - Mozart. Given previously incurred works as the opera Idomeneo KV 366, the Wind Serenade Gran Partita KV 361 or three of the six Haydn quartets (K. 387, K. 421 and K. 428) like some this statement in favor of the Quintet for Piano, Oboe, Clarinet, Horn and bassoon KV 452 wonder something. But a closer look shows the work that Mozart's assessment is not far-fetched as it seems at first. Beethoven took the piece anyway as a model for his quintet Op.16, and since then the two compositions are inseparable. Mozart mentioned in the cited letter, that the work has been interpreted exceptionally beautiful in it's premiere. The same enthusiasm he would bring surely meet even the interpretation of il Gardellino and Jan Vermeulen. This shows once again that only masters bring a masterpiece to it's best advantage.

Breakfast was suspected in the harpsichord concertos of Bach arrangements of lost concertos for one or more melodies instruments. By studying the solo part to some of the pieces could be reconstructed as oboe concertos. The results were sometimes so convincing that, for example, BWV 1055 and BWV 1060 now listed almost exclusively in this version. Marcel Ponseele and Il Gardellino make two more concerts for discussion here.