The Swiss composer Guy Bovet has created a chamber version of Camille Saint-Saëns' popular 'Organ Symphony', which increases the significance of the organ part to a true 'Symphony concertante' for organ and orchestra. The result is convincing and the Capriccio Baroque Orchestra presents the work for the first time on historical instruments from the time it was composed. Of writing this piece, Saint-Saëns wrote: “I gave everything to it I was able to give. What I have here accomplished, I will never achieve again.” It seems he wrote the work as a sort of history of his own career- it features virtuosic piano passages, Romantic orchestral writing, and, of course, the sound of the cathedral-sized pipe organ.

Classical Music

Classical Music

Classical Music

Aeolus continues the successful cooperation with the Dutch organist and harpsichordist Leon Berben with this release, “Melchior Schildt: Complete Organ Works.” This new album is linked with the award-winning complete recordings of keyboard works by Jan Pieterszoon Sweelinch, “Diapason d’Or,” which was released in 2015. This is due to the fact that Schildt was a pupil of Sweelinck, as well as the utilization of the meantone organ. This particular instrument is a 1624 model by Hans Scherer the Younger which is found in the St. Stephanuskirche of Tangermunder. Now this fantastic instrument can be heard once more, and in surround sound at that!

The programme of Maurice Clement's album Confluences represents 'a process of merger' in which works by a number of composers are contrasted with one another. Taking a transcription of the Prelude from Tristan (in a concert version arranged by the composer) as point of departure, the pieces illustrate the influence of Wagner on German and French composers from the mid-nineteenth century to the early twentieth. This musical concept also goes to justify the particular choice of instrument, since the organ used for the recording is well suited to both the 'Germanic' world and the more hedonistic French spirit. The interpretations (which take into account historical, analytical and aesthetic considerations) therefore also benefit from the hybrid nature of this instrument: built by Dalstein & Haerpfer and reconstructed by Manufacture d'Orgues Thomas, it represents a successful synthesis of the two sound worlds. It is therefore able to do equal justice to both Liszt and Franck, and to create a coherent and captivating symphonic context for the chosen transcriptions.

Classical Music

L�on Berben can be considered a master of his craft on the harpsichord and organ. In addition, his extensive knowledge of music history and historical performance practice make him one of the leading figures of his generation in the "early music" scene. His repertoire includes keyboard works between 1550 and 1790. He also wrote as a co-author for the encyclopedia Music in History and Present. Intensive study of sources and constant research give L�on Berben's art of interpretation a special status. His solo recordings on historical organs and harpsichords have been highly praised by the specialist press and have received several awards, including the "Diapason d'Or", the "Choc" from Le Monde de la Musique and the German Record Critics' Quarterly Prize. On his newest release, he presents hymns and organ studies by Jehan Titelouze.

The orchestra of Handel's opera company at the King's Theatre consisted of outstanding musicians, including Milan-born Giuseppe Sammartini (1695-1750), for whom London also became the new home. Here he was successful not only as an oboe virtuoso, but also as a composer. The otherwise rather critical Charles Burney praised his music "full of artistry, originality and fire". In view of their originality and quality, which is characterized by a deep emotionality and even bizarre surprises, it is quite astonishing that some of Andreas Bohlen's sonatas were recorded for the first time on AEOLUS as part of this complete recording.

Classical Music

Classical Music

The Bremen-born painter and sculptor Hugo Körtzinger (1892 - 1967) was a close friend of his much more famous colleague Ernst Barlach. Both were in the favor of the well-known Hamburg art patron Hermann F. Reemtsma. In 1937, Reemtsma financed a new workshop for Hugo Körtzinger in the small town of Schnega (Wendland), where he saved sculptures of his friend Barlach, which were considered "degenerate art", from being melted during the Nazi era. In 1937, Germany's most important organ-building company at that time, E.F. Walcker, built a new 3-manual instrument for Körtzinger's studio as their Opus 2576 - at the request of the customer with many unusual timbres. The instrument was continuously extended in individual construction steps until 1947.

A few years ago, the studio and the organ, which had been completely unplayable for many decades, were renovated thanks to the support of the Hermann F. Reemtsma Foundation. Martin Schmeding presents the instrument on a double SACD with music by baroque composers, played in the style of the 1930s aesthetic, as well as with original works from the time the instrument was built. This program gives an impression of the works that may have been played in the Körtzinger atelier between 1937 and 1967. The program is supplemented by Schmeding's improvisations on sculptures by Ernst Barlach.

USP: the first recording of an organ that is probably one of the largest private organs in Germany. Very comprehensive booklet (48 pages) with many illustrations and descriptions of Körtzinger and the recorded music. Double SACD in stereo and 5.1 surround sound. Rarely heard works from the 1930s and 1940s.

The trio sonatas by Telemann were already regarded by his contemporaries as “models of their kind”, they demonstrate Telemann’s imaginative composing style. Compagnia Transalpina under the direction of Andreas Böhlen highlights the colourful partnership of recorder and oboe, complimented by a rich bass line combining bassoon, cello and harpsichord. Sumptuous ornamentation is applied to the upper lines, inspired by Telemann’s own writing, resulting in dynamic and flamboyant ensemble playing. Recorder player and jazz-saxophonist Andreas Böhlen, professor for recorder at the renowned Schola Cantorum in Basel, Switzerland, has combined forces on this recording with leading baroque oboist Andreas Helm, professor in Vienna. Produced as a SuperAudioCD, this album presents versions in high-resolution stereo as well as in multi-channel surround sound.

The Fourth Book of Violin Sonatas by Jean-Marie Leclair is considered the pinnacle of French Baroque violin artistry. Leclair pushed the development of violin playing further and further until hardly anyone could follow him. Accordingly; these sonatas are played by only a few and are unfortunately rarely heard. Hélène Schmitt; herself celebrated as an exceptional violinist; has for many years intensively studied the life and work of the great musician; whose career repeatedly took unexpected turns and whose life ended abruptly with a murder that is still unsolved today. On this CD she shows not only the virtuosity but also the many amazingly different colours of the sonatas. She is supported by her top-class continuo group in various instrumentations. The album is the first part of a complete recording of the twelve sonatas of the Fourth Book. The booklet contains an extensive text penned by the artist; who thus shares her personal insights into Leclair's life.

The idea of light and dark, their contrast and their interaction, can be found in the Bible, is found as Yin and Yang in the great Chinese culture as well as in literature and painting. This idea remains relevant throughout the centuries and thus unites the past with the present. It also forms the guiding principle through the programme recorded here: the contrast is expressed both in the works and in the selection and configuration of the programme. The parallels between the second half of the 17th century and the beginning of the 21st century are expressed in the Magnificat BuxWV 203 by Dietrich Buxtehude and the Toccata by Bernard Foccroulle, composed in 2001 as a tribute to Buxtehude. The reference to the so-called "Stylus Fantasticus" (a musical style of the Baroque period originating in Italy and reaching its culmination in the North German organ school of the late 17th century) provides natural coherence within this very contrasting album.