The cornetto player William Dongois and his ensemble, Le Concert Brise, already have an extensive and successful discography on Accent (with their Bertali, Scheidemann or Buxtehude recordings in the mind of plenty of early music lovers). The music contained in this album, a selection of Sonatas by the Austrian early Baroque composer Johann Heinrich Schmelzer, bears many influences: from the noble sacred to the almost popular, with lots of references to the educated secular and the opera. Through the inclusion of passages in the form of toccatas, chaconnes and passacaglias, we are even introduced to the world of improvisation at court. Le Concert Brise performs here on period instruments, including the violin, organ, natural trumpet, sackbut, and dulcian.

Collecting publications also offered in the 16th century the opportunity to be not only comprehensive, but also provides information on the latest musical trends varied, as well as by means of a fine selection of the best music. Especially the collection Symponia Angelica of 1585 had apparently successful because the famous publisher Pieter Pahlesius put to 1629 a total of four new on. Jungh�nel in 1989 recorded with his band a "Aswahl choosing".

All four pieces - on period instruments, played in accordance with the intonation and interpretation rules of that practice - resound throughout delightfully peppy and played with verve.

Classical Music

Classical Music

Classical Music

During the seventeenth and eighteenth centuries, hundreds of guitar music prints and booklets were produced throughout France and Italy, many of which are still extant. However, the instrument’s country of origin, Spain, only has nine remaining books for the instrument from this time. Half of these solo works come from the guitar composer Santiago de Murcia (1673-1737). His fourth book, Cifras selects de guitarra from 1722, includes a variety of Spanish variations and only resurfaced a few years ago in Santiago de Chile. The original intent of this release was to record only pieces from this recently discovered book, and a large portion of works chosen for this release are indeed from this literature. Other works are also included, however, as the producers became more and more curious about the versions of these songs contained in other books. The ensemble Private Musicke was founded in 1998. The majority of their repertoire hails from the early Renaissance to the late Baroque, and the ensemble frequently performs in viol consort formation. Their previous recordings have won numerous awards from Gramophone, BBC Music, and more.

Classical Music

Handel’s Messiah is already very well represented on the market with dozens of existing recordings and new productions appearing at regular intervals. Yet this is a very special version, carefully crafted by the Prague-based Collegium Vocale and Collegium 1704 under the baton of Vaclav Luks, founder of the ensemble and one of the most exciting conductors of the Baroque and Classical repertoire. The fine young singers Giulia Semenzato, Benno Schachtner, Krystian Adam, and Krešimir Stražanac joined the ensembles for two moving live performances in Prague’s Rudolfinum in March 2018, and those performances are now presented here. Collegium 1704 and the Collegium Vocale 1704 were founded in 2005. Since 2007, Collegium 1704 has been ensemble in residence of the St. Wenceslas Music Festival in Ostrava and a regular guest at leading European festivals and concert venues in France, Belgium, the Netherlands, Germany, and more.

Bach: Cantatas For The Complete Liturgical Year Vol 8 / Sigiswald Kuijken, La Petite Bande, Release Date: 05/26/2009, Composer: Johann Sebastian Bach, Performer: Christoph Genz, Petra Noskaiov�, Jan Van der Crabben, Gerlinde S�mann, Conductor: Sigiswald Kuijke, Orchestra/Ensemble: La Petite Bande, Number of Discs: 1. Import Hybrid-SACD pressing.

Among the more than 1,400 preserved church cantatas from the pen of Georg Philipp Telemann's are a remarkable number of works for solo bass. A Erkl�run this is found quickly: Telemann himself was an accomplished baritone, the absence of adequate singers often also himself "sang to the point of fatiguing" if he had to. The four cantatas of this CD come from the so-called "Brussels Year". In Klaus Mertens they find an excellent singer, the Telemann would certainly like to let go first.

Classical Music

Jos van Immerseel is one of today's leading exponents of historical performance practice. Alongside his great commitment to Renaissance and Baroque music, he has consistently broadened our view of the classical and romantic repertoire. For the occasion of his 70th birthday in November 2015, Accent presents this specially-priced retrospective of Immerseel's recordings from the period 1979 to 1986. Included are examples of his keyboard virtuosity in both solo and chamber settings and his insight and command as a conductor.

Prior to his career as a conductor Ren� Jacobs was in demand as a countertenor whose repertoire included not only the classics, but also long-neglected composer. On this CD from 1981, he showed not only that there were significant and interesting cantatas even before Bach, but also that Telemann as Thomas cantor in Leipzig, as well as Bach, the office boasts glorious sacred music had filled as it yes indeed did in Hamburg as music director of the main churches.

It is unbelievable that such a popular work in the current repertoire as Ludwig van Beethoven’s Violin Concerto Op. 61 only conquered the concert hall around three to four decades after its composition. The work ultimately gained its popularity through two revised printed versions published in Vienna and in London, which both reveal substantial revisions in the solo parts. The quest for Beethoven’s “original version” proves to be extremely complicated, as Beethoven himself offered up to four alternatives to the soloists in some spots of the manuscript. A study of the different inks and quills used in that autograph has allowed the violinist Anton Steck to propose the new und unusual version recorded here, which thanks also to the use of historical instruments results in a tangible and transparent rendering of a very well-known piece. In addition to Beethoven’s composition, Steck presents the world premiere recording of the Violin Concerto of the Viennese violinist Franz Alexander Pössinger – a friend of Beethoven who was probably involved in the revision of the solo part of his concerto. Pössinger’s work was written in 1805, just one year before Beethoven’s.