Classical
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CHRIST IN GETHSEMANE
Discovering Gregorian Chant / Monks of Solesmes
"A marvelous, brief explanation of the various types and styles of the chant, going from its early, simple forms of recitation to the elaborate, soloistic forms. Dom Saulnier's historical explanations of the origins of the texts and their use in the service is especially interesting as is their development along the way into today's usage have always been amazed at the depth of his knowledge as to the whole history of chant performance and to hear his brief and very meaningful comments is a real pleasure. . . I need hardly say that the recordings of chant from the abbey are, to my mind, still the finest on the market, thanks to Dom Claire and it is good to hear them brought out again for the American public. For anyone interested in what the various forms of chant are and where and why they were used this is a wonderfully concise and informative recording."
—Dr. Robert Fowells, Los Angeles Gregorian Schola (founder), California State University
"A very useful tool for helping people to understand what Gregorian chant really is, how it was created and for what purpose. The combination of spoken explanation (in plain English!) and the carefully chosen sung examples is the best way to begin one's acquaintance with Gregorian chant. When you finish listening to this CD, you will have a wonderful sense of just how rich and diverse is this artistic and religious treasure of Western civilization."
—Fr. Columba Kelly, OSB, St. Meinrad Archabbey
“Solesmes sets the standard for Gregorian chant performance.”
—American Record Guide
Easter with Solesmes / Monks of Solesmes
“The most famous and ‘authentic’ recordings of Gregorian chant for generations have been those made by the Solesmes monks.”
—The Boston Globe
“The music is utterly magnificent and the singing of this great choir is thrilling beyond words…it’s better to starve to this music than to live without it.”
—Classic CD
“Supremely ethereal.”
—USA Today
HE WAS PLACED IN THE TOMB
Bach: Violin Concertos / Zimmermann, Berliner Barock Solisten
Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. He has been performing with all major orchestras in the world, among which are the Berliner Philharmoniker with whom he made his debut in 1985 with Daniel Barenboim; the Wiener Philharmoniker with whom he played first time in 1983 with Lorin Maazel in Salzburg; the Royal Concertgebouw Orchestra, all London orchestras, as well as all big American orchestras. Frank Peter Zimmermann is a regular guest at all major music festivals, including Salzburg, Edinburgh and Lucerne.Over the years Frank Peter Zimmermann has built up an impressive discography, and has recorded virtually all major concerto repertoire. On this new release, he focuses on the original and reconstructed violin concertos of J. S. Bach. He plays on the 1711 Antonius Stradivari violin “Lady Inchiquin,” which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Dusseldorf, “Kunst im Landesbesitz.”
Gebel: Double String Quintet, Op. 28 - Schuberth: String Octet, Op. 23 / Hoffmeister Quartet, Wroclaw Baroque
There is a certain tradition of large-scale string chamber music in Russia. However, the diverse cultural history of Russia and Eastern Europe has concealed numerous forgotten and little known treasures, which got buried away in times of competing nationalisms and later of ideological cultural doctrines. The two works on this album, both originating in Russia, had been forgotten by musical history but can now be heard again. Franz Xaver Gebel (1787-1843) wrote his Double Quintet during the last years of his life in Moscow. The String Octet by Carl Schuberth (1811-1863) was written some time later, in the 1840s in St Petersburg, where Schuberth was active as a cello virtuoso and conductor. The works on this album are receiving here their world premiere recordings from the Hoffmeister Quartet and soloists of the Wroclaw Baroque Orchestra.
Zani, Piacentino, Torti & Schiatti: Concerti per plauto, archi e continuo / Trevisani
The sixteenth and seventeenth centuries were important for the development of the transverse flute: the technical improvements introduced by French and German flutists made the instrument become more accurate in its tuning, more powerful in its sound, and more agile in quick passages, so much so that it superseded the recorder and began to compete with the violin, even replacing it in some sonatas or concertos. Virtuoso flutists such as Philibert Rebillè, Michel de la Borre, Pierre Gabriel Buffordin, Michel Blavet, Johann Joachim Quantz and his noble pupil Frederick II of Prussia were undoubtedly a source of inspiration for the composers of the baroque and galant periods who composed music for the transverse flute and produced pieces that became landmarks in the history of music; but it was also thanks to the diffusion of the instrument among amateurs that the transverse flute repertoire was enriched by an extraordinary number of compositions, many of which were exquisite works. This is the case of these five unpublished concertos by Italian authors - some of them totally unknown, now rediscovered by the Baroque Ensemble “Carlo Antonio Marino”, led by Natale Arnoldi, and by the flute of Raffaele Trevisani.
The Collection of East Classics / Kubelik
The career of conductor Rafael Kubelik (1914 – 1996) provides an interesting insight into the world of music in the twentieth century. Born the eighth child of the then world-famous violin virtuoso Jan Kubelik and his wife Countess Marianne Csaky-Szell, he was already commanding attention while he was studying piano, violin and composition at the Prague Conservatory between 1929 and 1933. In 1935 he embarked on a tour of the United States as his father's accompanist. The Czech Philharmonic Orchestra (which Vaclav Talich raised to the status of a top European orchestra) hired him as its conductor in 1936. When, the following year, Talich fell ill during a tour of western Europe, Kubelik filled in for him and began consolidating his international reputation. Despite his tendency towards subversive programming (he often included works by banned composers), he was able to retain the post after taking it over in 1941. In the post-war period Kubelik’s work with the orchestra enriched the cultural life of his country and in 1946 he became one of the founders of the Prague Spring Festival. Kubelik defected in 1948, though, in protest against the communist dictatorship in Czechoslovakia. His three-year term as Music Director of the Chicago Symphony Orchestra ended as a result of the ill will born him by the music critic Claudia Cassidy. His time as Music Director of The Royal Opera at Covent Garden was brought to an end because of opposition from Sir Thomas Beecham. Nevertheless, among orchestra musicians he was one of the most well-liked and esteemed conductors. His openness, fair moral principles and the friendly working atmosphere he created brought him a degree of recognition which even produced award-winning results in the recording studio.
Intabolatura de leuto de diversi autori Milano: Peschatore c
L'histoire de la romance russe, Vol. 1
Jommelli, Clementi & Rutini: La musica per clavicembalo a quattro mani / Firrincieli, Tonda
Among practices distinguishing the European music scene in the second half of the eighteenth century, the performance of music for two players on the same keyboard is certainly one of the more remarkable and, in some ways, significant examples. The rendition of a four-handed piece on the harpsichord or the fortepiano can be considered an example of the direction that music of the second half of the eighteenth century was about to take: light-hearted, convivial, and educational, in which quality existed alongside the intention to satisfy the new “galant” tastes of the aristocracy, as well as the needs of the rising middle class. The four-handed genre becomes, in this regard, an ideal setting to express the new musical feeling. Four hands can double possibilities and exploit the keyboard’s full range. The search for expressivity is maintained by combining extended melodies with arpeggios or broken chords. In the case of performance on the harpsichord, the increased opportunity to “mix” the stops facilitates the search for unexplored colors and contrasts. On a historical copy of the famous harpsichord maker Martin Sassmann, Alberto Firrincieli and Mario Stefano Tonda perform the singular repertoire that sees protagonists Nicolò Jommelli, Muzio Clementi and Giovanni Maria Rutini, in these compositions reflecting their different peculiarities.
Tartini: Flute Concertos & Sonatas
Operatic Fantasies for Clarinet & Piano / Punzi, Salvato
“Bel canto” and operatic reminiscences are present in all the compositions included in this cd. These works, in the wake of the melodic technicality that was typical of the nineteenth century Italian clarinet school, give the virtuoso Giovanni Punzi (First Soloist Clarinet of the Philharmonic Orchestra of Copenaghen) the chance to offer us a broad range of bravura displays. The album is a world premiere by Italian composers that with these “living room” fantasies are protagonists of the fervent musical life that underwent the powerful influence of the Italian melodrama that between the nineteenth and twentieth centuries will hold the absolute primacy of the world music scene. Punzi is accompanied by pianist Amedeo Salvato and Calogero Presti at the small clarinet (for the duet from the Sonnambula by Vincenzo Bellini).
Frescobaldi: Il primo libro di capricci
Giardini: Sei Duetti a due Violini, Op. 2 / Archimie Duo
It was in the mid-eighteen century London that the eclectic figure of Felice Giardini (or Degiardino: Turin, 1716 – Moscow, 1796) made his first appearance. He was a violin virtuoso with eye-catching executive skills, conductor, composer, impresario in contact with leading intellectuals. His musical production is multifaced. He experimented mainly with duet, trio, string quartet. His music is a perfect mixture of Italian and German tradition (Johann Christian Bach, Johann Stamitz and Manheim School that has typical features of the “Style Galant”). Evidence of this can be found in the Six Duos for Two Violins Op. II (1751), dedicated to Prince Heinrich of Prussia. Giardini’s style is spontaneous, easy to listen to, characterized by freshness and lyricism cantabile, joyous naturalness and refinement. Generally, it appears to be an essential musical writing, coming back to the formal clarity and to the contrapuntal simplicity. It develops a great tonal sensibility, supported by a dynamic rhythmic structure: the pure melody, without ornaments, is becoming increasingly important. The notoriety of his music is verified by Charles Burney: “I find all over Italy that Giardini’s solos are in great repute, and very justly so, as I heard nothing equal to them of kind, on the continent” (The Present State of Music in France and Italy, 1771).
Weigl: Symphony No. 1 & Pictures and Tales / Bruns, Rheinland-Pfalz State Philharmonic
Praga Magna / Capella Mariana
Bergamo: Musica d'organo per la liturgia e per il concerto
Edition Staatskapelle Dresden, Vol. 44: Richard Strauss / Thielemann, Langhein
The way Richard Strauss spoke of his “beloved Dresdeners” rang of Bavarian humor blended with a subtle touch of mischievous irony and, first and foremost, a good dose of respect and appreciation. Home to the Königliche musikalische Kapelle (“Royal Musical Ensemble”) and the Court Opera, Dresden soon became a center of Strauss’s music; many of his works were given their premiere there. Ernst von Schuch, Strauss’s “most loyal conductor of choice”, was a key figure: at the symphony concerts given by the Kapelle, the Dresden General Music Director soon acquainted audiences with all of Strauss’s tone poems, from Till Eulenspiegels lustige Streiche through Also sprach Zarathustra to Sinfonia domestica. Strauss enthused that, years later, it was “the brilliant Schuch’s untiring magic wand” that eventually opened the series of “exemplary premieres” of his operas in Dresden. Works including Salome, Elektra and Der Rosenkavalier made Strauss the leading musical dramatist of his time. He had no fewer than nine operas premiered in Dresden, his “Eldorado for premieres”, and dedicated the Alpine Symphony to the Dresden Kapelle as a token of his gratitude. The present release is the 44th volume in the Staatskapelle Dresden’s exploration of Strauss’s work, and includes, most notably, his Konzert fur Horn und Orchester op. 11.
Bazzini: String Quartets Nos. 1 & 3 / Quartetto Bazzini
Antonio Bazzini, violinist and composer, was born in Brescia on 11 March 1818 and died in Milan on 10 February. At the age of eight, he began to study the violin under the guidance of Fausto Camesani (or Camisani); at thirteen, he published his first composition; and at seventeen, he had six symphonies for great orchestra performed at the theatre of Brescia. In 1836, when he was eighteen, he was auditioned by Paganini, who encouraged him to embark on a career as a concert performer. From that time onwards, he was constantly successful. He held concerts in Germany, Italy, France, Spain, Denmark, England and Belgium. He met many contemporary composers, one of whom was Robert Schumann, who praised him saying: “Since many years no virtuoso has given me such an intimate joy and such pleasant, happy moments as Antonio Bazzini has done. It seems to me that he is too little known, and that, even here, he has not been appreciated as much as he deserves.” The works for string quartet performed by Quartetto Bazzini in this recording are no. 1 without an opus number and no. 3 op. 76. On listening to these two works, we can understand and appreciate Bazzini’s mastery as a composer: the solo parts are skillfully distributed among the string instruments, and we can detect an influence of French and German instrumental music, filtered by his creative genius, which is never predictable or recognisable.
