The music theorist and critic Johann Mattheson would rather a Jew's harp or a comb wind than hear a bad oboist. With regard to the artistry of soloists Marcel Ponseele and the ensemble Il Gardellino Mr. Mattheson would certainly enables you to relax. The interpreters have some of the most beautiful baroque oboe concertos are a happy listening.

On occasion of the 300th anniversary of the first performance of Handel's Brockes Passion in Hamburg (4 April 1719), Accent presents a 2017 live performance at the G�ttingen Handel Festival with Laurence Cummings conducting the Festivalorchestra G�ttingen, the NDR Chor, and an excellent cast of singers such as the Dutch soprano Johannette Zomer and the young German tenor Sebastian Kohlhepp (as Evangelist). Barthold Heinrich Brockes' passion text is one of the most frequently set in the history of music, and was the only German text used by George Frideric Handel as the basis for a large-scale sacred composition. The original score was lost, but the surviving version, which was hand-copied by Johann Sebastian Bach, makes it possible for us to hear this 1719 oratorio today.

Unlike Bach, Mozart or Beethoven usually we do not provide us with Joseph Haydn as a performer before; He has posterity stamped solely as a composer. But he was throughout his career always performing musician: He was a singer, organist, pianist, violinist, violist, Barytonspieler, etc. So it is not unlikely that the six Haydn incurred to 1769 Sonatas for Violin and Viola Hob. VI: has 1-6 written for himself as a play and Vortragsliteratur. Anton Steck and Christian Goosses, the first violinist and violist of Schuppanzigh Quartet have recorded this previously neglected repertoire for Accent. Here once again proves the genius of Haydn by. A supposed lack, namely the reduced occupation, not just sovereign mastered, but also can appear as wealth.

Ratis: Dialoghi con l'Angelo - Dramatic Cantatas & Popular Songs Import, Nuovo Aspetto (Artist, Orchestra), Michael Ducker (Artist, Conductor), Francesco Ratis (Composer), Chiyuki Okamura, Franz Vizthum, Christian Dietz, Felix Speer, Cornelia Samuelis - There was a rumor that the Passacalli della Vita - a genuine hit in the early music scene - was not an original composition from the 17th century at all, but the work of a present-day musician. Lutenist and conductor Michael Ducker obtained a copy of the printed edition containing the song and discovered that not only was the aria original, there were other musical treasures in the collection as well. Organist Francesco Ratis had compiled numerous popular songs and provided them with spiritual texts. The aim of this music was to convert listeners with catchy melodies set to dialect texts, thereby encouraging them to be pious. The most exciting and interesting item in the collection is a type of miniature oratorio. It consists of four dialogues featuring angels and demons who confront personified figures such as the soul, the world, the conscience and the body. Through richly-colored instrumentation, the Ensemble Nuovo Aspetto is able to bring out the various characters in a particularly vivid manner.

David returns from the battle bearing the head of the giant Goliath – as a reward, King Saul promises him the hand of his horrified daughter Merab. But when David receives more popular acclaim than the King, Saul is consumed by jealousy. His daughter Michal advises David to soothe the incensed monarch with the calming strains of a harp. But Saul’s rage is merely exacerbated, and he finally casts a spear at David. When he misses, Saul orders his son Jonathan to slay David … When setting this Old Testament material to music in 1738, George Frideric Handel worked together for the first time with the librettist Charles Jennens, who later on, for example, put together the text for the Messiah. The work was premiered on 16 January 1739 in the King’s Theatre at the Haymarket in London.

The most critical Leopold Mozart appreciated the chamber music works by Johann Christian Bach the light, fluid style and remarked quite rightly that compose such music is more difficult "than all the most incomprehensible Artificial harmonic progressions and difficult to execute Melodyen". This one may be stated for the Chamber Music Carl Friedrich Abel, whose works were considered by his contemporaries even as a measure of good music. The chamber music of the two was probably for private concerts at the House of Composers in aristocratic or wealthy bourgeois patrons and of course at the soirees of the English queen who was even an accomplished harpsichordist. Abel and Johann Christian Bach are today considered an important pioneer of Viennese Classicism. Above all, they are significant and stylistic contemporaries an era that elegance and grace have the same meaning in the music meted out as the only the connoisseurs reserved contrapuntal art. Performed by a top-notch ensemble occupied as Il Gardellino unfolds the music only her charm.

Mozart's Maestri: Johann Christian Bach & Giovanni Marco Rutini, Composer: Wolfgang Amadeus Mozart, Giovanni M. Rutini, Performer: Luca Guglielmi, Number of Discs: 1. It was only on very rare occasions that the Mozarts, father and son, had praise to spare for their composing colleagues. Amongst the few about whom they spoke favorably were Johann Christian Bach (1735-1782) and the Italian Giovanni Marco Rutini (1723-1797). On this CD, the harpsichordist Luca Guglielmi and his ensemble Concerto Madrigalesco present works of both of these composers which bear eloquent witness to this appraisal. Mozart expressed his admiration for Johann Christian Bach, whom he had met in London when still a child, in a letter of 1778 in which he wrote that he loved him 'with all my heart and I have high esteem for him'. Together with his father, Mozart adapted Bach's Sonatas Op. 5, Nos. 2-4 as concerti with accompanying strings, interpreted by Luca Guglielmi on a replica of a Silbermann fortepiano. They are notable for their graceful, cantabile style, felt by the young Mozart to be particularly worthy of imitation. Leopold Mozart was unusually generous in his praise of the then quite well-known Sonatas, Op. 5 of Rutini. Typical of these works is the varied treatment of textures and harmonies, as is the skilled use of contrasts - these, too, were elements that the young Mozart made his own. Guglielmi uses three different replicas of historical harpsichords for his recording of these sonatas.

In addition to Handel, Haydn and Mendelssohn, Franz Vinzenz Krommer (1759-1831) is one of the anniversaries this year. For his debut recording on the ACCENT playing on period instruments Amphion Wind Ensemble has therefore adopted four of his Bl�serpartiten. The special attraction of Krommer Bl�serpartiten based on the immediacy of their musical language - particularly in the catchiness of the tunes - spontaneous expression more musical intuition and a instinctive musical sensations all around ends the balance of the compositions. It is straightforward and intellectually accessible music, without slipping into inconsequential, in short, it is light music in the best sense. The musicians of the ensemble, all members of renowned early music ensembles, make this clear in it's support and open up the irresistible charm of this music.

Canzoni Villanesche - Neapolitan Love Songs Of The 16th Century, Lassus / Beasley / Kiehr / Daedalus, Composer: Anonymous, Tomaso Cimello, Orlando de Lassus, Vincenzo Fontana, Conductor: Roberto Festa, Orchestra/Ensemble: Daedalus Ensemble, Number of Discs: 2. Beginning in the early decades of the sixteenth century, Naples made a distinct contribution to the Italian musical scene with a genre peculiarly it's own, the Canzoni Villanesche alla Napoletana. These often amusing pieces are not to be thought of as popular music in any sense, but rather as music for a refined public, much of it poking fun at the madrigal and it's mystique. However, the intervention of the villanella repertory of highly accomplished composers such as Willaert and Lassus, both of whom are represented in this well-chosen selection of pieces, had the effect of bringing the genre closer in some of it's details to the language of the late sixteenth-century madrigal.

More than 300 Airs de cour (many of which today, unfortunately, lost) composed Michel Lambert (around 1610-1696) during his illustrious career, thus ensuring the musical background in the aristocratic salons at times of Louis XIV. It's Airs de cour are characterized by a direct appeal from depth of expression, which are able to raise their literary us today so little quality full appearing templates to musical jewels of refinement. Melody, bass line, harmony, metric and rhythm sets Lambert cleverly and effectively in order to create the impression of a passionate declamation. Stephan Van Dyck and his ensemble Musica Favola have therefore also takes into account the latest music and linguistic knowledge in their recording, enabling an equally impressive as authentic look in the musical salons in the age of Louis XIV. One should this expressive music love listening attentively, although or just because these emotions may seem very ciphered us today. The lover loves and suffers silently in solitude or in a discreet distance to lover. He knows how to take his complaints re always in words, to move in the hope the heart of his cruel mistress. Some pieces of the trio de la chambre and trios pour le coucher du Roi of his son Jean-Baptiste Lully round the recording perfectly.

Boccherini: Divertimenti, Op. 16, Vol. 2 / Sensi, Piccolo Concerto Wien, Composer: Luigi Boccherini, Conductor: Roberto Sensi, Orchestra/Ensemble: Piccolo Concerto Wien, Number of Discs: 1, CREDITS: Cello [Violoncello] - Franziska Romaner, Stefano Veggetti, Composed By - Luigi Boccherini, Double Bass - Roberto Sensi, Ensemble - Piccolo Concerto Wien, Flute [Transverse Flute] - Marcello Gatti, Illustration [Front Illustration] - Francisco Goya, Producer, Engineer [Recording Engineer], Photography By - Roberto Meo, Producer, Recording Supervisor, Edited By [Digital Editing] - Sigrid Lee, Viola - Johanna Gamerith, Violin - Jenping Chen, Johanna Gamerith

Much is known about the special and particular circumstances surrounding the composition of Mozart’s Requiem. 1791 was a tumultuous year, and before Mozart’s life was cut short at the start of December he had composed, among other works, Die Zauberflöte, La Clemenza di Tito, the Clarinet Concerto and evidently this Requiem, although it was left in an unfinished state. Arthur Schoonderwoerd presents this work as a complete “Missa da Requiem” in its liturgical context, with Gregorian chant, and adds a newly composed “Amen” by Schoonderwoerd himself and a “Libera me” by Ritter Ignaz von Seyfried (both world premiere recordings). The starting point of this recording is the performance of a Requiem Mass as it would have sounded in Vienna around 1800 – i.e. in a scoring which Mozart could possibly have visualised. The vocal part is sung by the soloists of the Gesualdo Consort Amsterdam, well-known for their recordings of the complete vocal music of J. P. Sweelinck.

Margret Köll is one of the most important interpreters of the historical harp. In her new album she dedicates herself to the "single pedal harp", which was developed at the beginning of the 18th century. By using pedals, the player now had the possibility to change the pitches of the strings by a half-tone, and in this way was able to play more complicated harmonies and chromatic melodies. In 1728 such a harp was presented to Emperor Charles VI and under the rage of his daughter Empress Maria Theresa (since 1740) this instrument conquered the hearts of Vienna and other European centers. On the basis of works by Wagenseil, Krumpholtz, Joseph Haydn and Gluck, Margret Köll shows how this instrument conquered the Viennese salons: as a soloist, as a popular accompanying instrument, as an equal-ranking chamber music partner or as a solo instrument with string accompaniment. A very colorful program around the harp of the early and high Viennese classical period.

For some, challenging the popular ranking of the string quartets of Joseph Haydn might seem pedantic and snobbish. Nonetheless, as with his symphonies, a far too small selection of this group of works has been able to secure a place in the repertoire of ensembles and in the catalogues of record companies. This disc by the Schuppanzigh Quartet, one of the most renowned quartets performing on historical instruments, aims to document the significance of Haydn's string quartets by focusing on the lesser-known works from among the sixty-eight masterpieces Haydn has left us.

This 8-album set presents the complete recordings of flute music by Johann Sebastian Bach and his sons made by Barthold Kuijken on the Accent label. Always playing historically accurate transverse flutes, on these albums, he teams up with harpsichordist Ewald Demeyere and other fine early music specialists in his recordings of chamber music. The recordings were made between 1978 and 2014 and are presented together for the first time. This is an opportunity not to be missed of listening to the legendary flautist in the delicate Bach repertoire. Barthold Kuijken is a Belgian flautist and recorder player, known for playing baroque music on historical instruments and particularly known for pioneering this manner of performance with his brothers, cellist and viol player Wieland Kuijken and violinist Sigiswald Kuijken and the harpsichordist Gustav Leonhardt. He studied the modern flute at the Bruges Conservatory and the Royal Conservatories of Brussels and The Hague. For playing early music he originally turned to the recorder. Research on authentic instruments, frequent collaboration with various flute and recorder makers, and assiduous study of sources of the 17th and 18th centuries helped him to specialize in the performance on original instruments.