CPO
Founded in 1986, Classic Produktion Osnabrück, or CPO, aims to fill niches in the recorded classical repertory, with an emphasis on romantic, late romantic, and 20th-century music.
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Symphonies 5 & 6
$18.99CDCPO
Oct 03, 2025555558-2 -
Six Overtures, Op. 2
$18.99CDCPO
Oct 31, 2025555541-2 -
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Pseaumes de David
$18.99CDCPO
Oct 03, 2025555526-2 -
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VI Ouvertures à 4 ou 6 (1736)
$18.99CDCPO
Aug 15, 2025555519-2 -
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Duets
$18.99CDCPO
Mar 20, 2026555510-2 -
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Forkel: Four Piano Concertos
Messa per Maria Salute
Bacewicz: Symphonies Nos. 3 & 4 / Borowicz, WDR Sinfonieorchester Köln
The symphonic oeuvre of the Polish composer Grazyna Bacewicz has never before been recorded in its entirety "from one source", so that the series beginning here represents a pioneering act. The Third Symphony for large symphony orchestra was written in early 1952 and the monumental and pathetic music shows a hitherto unknown face of the composer. One of its characteristics is the use of large instrumental blocks, although fragments also appear that hint at the lighter expressivity of the neoclassical tradition. It is a masterfully constructed work and the overt formal schemes of the Classical period are complemented by the subtle use of elements that were characteristic of music between the wars - in particular the timbres of the French tradition. Nevertheless, this work is not about setting new accents. The same applies to the Fourth Symphony. The orchestra of this work from 1953 is larger than in the previous symphony - among other things, English horn, E-flat and bass clarinet, contrabassoon and harp are now also called for. In both works, the composer achieved an excellent balance between the music of the past (form referring to tradition) and new sources of inspiration (folklore) as well as a new approach to traditional elements (rhythm). As a result, she managed to reconcile the autonomous, artistic qualities of her music with the expectations of the cultural policy of the time. We are very happy to have found congenial interpreters for this project, which sets new standards in the WDR Symphony Orchestra and the Polish conductor Lukasz Borowicz.
Symphonies 5 & 6
Conti: Bravo! Bene! Arie con varie strumenti
Complete Violin Sonatas
Schubert: The Fair Maid of the Mill (arr. Andreas N. Tarkman
Heinichen: German Sacred Cantatas
Schuyt: Madrigali nuptiali; Padovane e Gagliarde
Telemann: Inauguration Cantatas 1721; Fantasias
Six Overtures, Op. 2
Gaßmann: Oboe Quintets & Quartets / Gersbacher, Wipfler, Szigeti Quartet
From today's perspective, Florian Leopold Gaßmann (1729-1774) falls into one of those time gaps that, like black holes in the universe of art, threaten to swallow up everything that cannot be easily assigned to an era in retrospect. And this despite the fact that the German from Bohemia was anything but a minor master of music notation during his lifetime and for several decades thereafter, both in Italy, where he began his actual career, and in Austria, where shortly before his untimely death he was appointed imperial court conductor: his operas were in such demand on both sides of the Alps that Gaßmann really did not have to worry about making a living, and his instrumental music was also distributed widely, mostly in the form of copies.
This production cleverly combines the two main areas of his activity, for the two quintets for oboe and strings recorded here are arrangements of some particularly popular arias from the successful opera Amor und Psyche, while other light music undoubtedly belonged to the "occasional works" that the "court and chamber composer" of Joseph II. These are all extremely beautiful-sounding, imaginative and varied creations, which are coming to life under the umbrella of the now legendary master oboist Lájos Lencsés and, thanks to their colorfulness, will no longer have to fear a black hole.
Rossler: Sextet, Op. 16; Piano Quintet, Op. 28
E.W. Wolf: Four Christmas Cantatas / Willens, Kölner Akademie
Repertoire expansion for the Christmas season In the 18th century, "well-stocked" church music was a natural tradition throughout central Germany: church services were embellished along the ecclesiastical year with cantatas appropriate to the liturgy for the glory of God, but also for the joy and "spiritual edification" of the visitors. From this treasure of hitherto unknown Christmas music, four cantatas by Ernst Wilhelm Wolf are presented for the first time on this recording. Wolf worked as court kapellmeister in Weimar, and the fact that Goethe rejected him as "self-indulgent" should not prevent us from admiring him as a very important composer of the transition. Musically, Wolf was greatly influenced by Carl Philipp Emanuel Bach in the empfindsamer Stil and by the works of the Berlin Kapellmeister Carl Heinrich Graun. He was also a prolific composer whose works were received with admiration by his contemporaries. The four cantatas show elements of the early classical and sensitive styles; the cantata choruses are often homophonic and songlike, polyphonic sections rather rare. All the cantatas prove to be individually conceived works that testify to the composer's mastery. Beautiful sounding arias, the naturalness of their expression and the dramatic compression in the individual movements are still convincing today. At the same time, the cantatas bear witness to the high quality of Protestant church music in the period after Johann Sebastian Bach and illustrate the high value of music within the liturgy. Today they can be a welcome addition to the repertoire for the Christmas season.
Pseaumes de David
Musica Instrumentalis Imperialis - Festive Sonatas from Impe
Damcke: Piano Trios Nos. 1 & 2
First the discovery of his works in the Bibliothèque Nationale in Paris, then the new edition of the chamber music works in the Kammermusikverlag from 2020 and finally the contact to the three performers / inside who had great interest to record these works. So, finally, with these first recordings, about 160 years after the composition of these works, one can have a listening impression of the chamber music of Berthold Damcke: a German composer, pianist, conductor, music educator and critic, and newspaper correspondent. Born in Hanover, he first studied theology and later music in Frankfurt am Main. in 1845 Damcke went to St. Petersburg. From 1859 he lived and worked in Paris, where he was active as a correspondent, among other things. The 2 piano trios at the center of this production are works that were very much heard in Paris at the time, or in its salons. The Revue et Gazette described the music as "the best chamber music". Liszt spoke of Damcke as one of the most sought-after composition teachers in Paris. Berlioz called him a "great musician, an artist." The recorded works are worth rediscovering and performing.
VI Ouvertures à 4 ou 6 (1736)
Pachelbel: Magnificat II / Kobow, Himlische Cantorey
In the last decade of his life, Johann Pachelbel (1653-1706) worked as a church musician in his hometown of Nuremberg. In this capacity, he was extremely productive, even by the standards of the time: he set the Magnificat, the Virgin Mary's hymn of praise to the greatness of the Lord, who chose her to be the mother of the Savior, almost a dozen times for Protestant vespers services. And he did so with admirable creative imagination and a feeling for instrumental colors that still has an immediate effect today: as in the first episode of this series, we are confronted here with a full-bodied, pithy life that by no means perceives the world as a vale of tears. The Himlische Cantorey, under its founder, conductor, and tenor Jan Kobow, once again lives up to its name.
REVIEW:
The Himlische Cantorey is the perfect advocate of Pachelbel’s oeuvre. The ensemble is impeccable, and the solo contributions of the individual singers are indeed impressive. Veronika Winter is the ideal interpreter of ‘Mein Fleisch,’ and Joel Frederiksen delivers an incisive performance of ‘Ach Herr, wie ist meiner Feinde so viel.’ Veronika Skpulik needs to be mentioned for her highly impressive interpretations of the obbligato violin parts.
— musica Dei donum (Johan van Veen)
Heinichen: Two Passion Oratorios / Willens, Kölner Akademie
Affecting Passions by Heinichen. The Passion music Johann David Heinichen wrote for the Dresden court is a document of cultural and confessional openness of the Saxon residence, and his two Italian oratorios heard here are surrogates of large-scale Passion music. "Come? S'imbruna il ciel" - composed in 1728 - is the latest of the sepolcri, his other Passion "L'aride tempie ignude" the first of the sepolcri to survive from Heinichen in Dresden. Both texts are by Stefano Pallavicino, who had been active at the Dresden court since 1719. In the first-mentioned Passion, the meditation on the Passion event recurs to the experience of the earthquake that, according to biblical accounts, occurred immediately after the death of Jesus. The description of the violent natural events gives Mary the Mother of God, John (Jesus' favorite disciple), and Mary Magdalene an opportunity to reflect on their relationship to the Crucified. Different aspects of affection and love are thematized. The meditation on the Passion event in the second-named Passion is designed as an allegorical play of death (Morte) and hope (Speranza), divine love (Amor divino) and penance (Poenitenza), and follows an easily comprehensible dramaturgy. The affinity to opera seria is evident in both passions not only in the arrangement of the pieces. The keys, gestures and instrumentation also correspond to the models familiar from baroque musical theater. Full of affect!
Duets
Praetorius & Schutz: Sacred Works in Parallel Settings / Cordes, Weser-Renaissance
In our series "Music from Wolfenbüttel Castle," the sixth concert in the series featured and recorded parallel settings of sacred works by Michael Praetorius and Heinrich Schütz. One does not immediately think of counting the great Dresden composer Heinrich Schütz among the kapellmeisters at the Wolfenbüttel court, and yet he was officially engaged there as "Capellmeister von Haus aus" from 1655 until at least 1666. Michael Praetorius, however, had long since died around this time. By juxtaposing compositions with identical texts (so-called parallel settings) by Praetorius and Schütz, this album makes it possible to compare the styles of these two "heroes of music history". This is particularly appealing inasmuch as the stylistic upheaval at the beginning of the 17th century, which originated in Italy, falls into the creative period of both composers, and it is revealing to observe in what way the new developments influenced the oeuvre of both masters. At the same time, the works of both composers with identical texts are not exactly numerous, which is related to the fact that Praetorius turned to the arrangement of Protestant church hymns to a particularly strong degree, a genre that either interested Schütz little, or that his position at the Dresden court did not offer any occasion to serve.
Fauchard: Complete Organ Works / Flamme
At long last, CPO is able to release Auguste Fauchard’s complete organ works in these congenial interpretations by Friedhelm Flamme.
Fauchard was highly successful as a student in Paris, where Vincent d’Indy was his composition teacher and André Marchal and Louis Vierne were his organ teachers. Vierne had the greatest influence on Fauchard the composer. Four symphonies representing the highest compositional standards and the most demanding playing technique form the heart of Fauchard’s organ oeuvre, and in them we repeatedly catch glimpses of his Vierne's model.
Mattheson: Boris Goudenow / Marchiol, Theresia
Boris Godunov - but not by Mussorgsky! The story of how Johann Mattheson's political comedy "Boris Goudenow" came into being reads in large parts more exciting than many a mystery script: written in 1710 for the Hamburg Opera at the Gänsemarkt, the work was suddenly withdrawn by the composer. The score fell into oblivion, eventually ended up in the Hamburg City Library, and was long considered lost after World War II. It was not until the end of the 20th century that the opera was tracked down in Armenia and returned to Hamburg, where the premiere finally took place in 2005 after a delay of almost 300 years.
The place of action is the Moscow Kremlin. The opera's plot revolves around the story of how the Russian prince Boris Goudenov rises to power through intrigue and becomes Russian tsar. The new Innsbruck production, under the musical direction of renowned Italian harpsichordist and conductor Andrea Marchiol, makes this baroque gem resound anew.
Pasquini: L'Idalma / Vendittelli, Rosati, De Marchi, Innsbruck Festival Orchestra
It's already a tradition: at the opening of the Innsbruck Festival there's a baroque opera rediscovery. This time it is "L' Idalma overo Chi dura la vince" - "Idalma, or Whoever perseveres wins" by Bernardo Pasquini. Competing against Alessandro Scarlatti, Pasqini composed his "Idalma" in the Roman Carnival of 1680. It is about marital fidelity and steadfast love: themes that were already a favorite of Italian noble houses in the 17th century, and Bernardo Pasquini was, after all, in the service of the Roman Borghese family for over forty years. Together with Giovanna Barbati, conductor and artistic director of the Festwochen Alessandro de Marchi has created a new version of the work, which has been forgotten for some 350 years, based on the composer's own handwriting. This version dispenses with lengthy musical repetitions and instead scores with a fireworks display of affects: brilliant arias full of expressivity and power, instrumental richness, sweeping ensembles and a sensitive musical design that takes full account of the permanent change of affects and dramatic situations.
