Following the recent CPO releases of Johann Wilhelm Hertel’s opulent Christmas oratorio and passion cantata Der sterbende Heiland, the label now presents several other highly imaginative sacred works by this composer, most of them written for religious services at the Mecklenburg-Schwerin court. Along with the sinfonia from a cantata for the birthday celebration of the then Duke Friedrich, the program includes two motets, a peace composition, and two cantatas. All the choral works are closely associated with chorales and their special execution during the 18th c.

Following its dazzling, standard-setting eight-disc complete recording of Telemann's wind concerti, La Stagione here embarks on a new four-disc series dedicated to the same composer's concertos for mixed ensembles, taking us to the very heart of his oeuvre. Like Bach in his Brandenburg Concertos, concertizing by instrumental formations against the backdrop of an accompanying string orchestra evidently most greatly stirred Telemann's compositional imagination. It is with these works that the term “mixed style” unfolds in all its colorful glory.

Despite the international triumph of his operetta Der Bettelstudent (1882), Carl Millöcker (1842-99), even in his lifetime, appeared fated to stand in the background. His conducting career everywhere that was not a part of the Austrian musical big time, despite his many stage successes, may be deemed one of the reasons why.
Gasparone (1884), the last of his trilogy of masterpieces (Die Dubarry, 1879, being the first), tells the story of the feared Mafiosi bandit Gasparone (or, more precisely, the bandit masquerading as G.) attempting to save the heiress Carlotta from the town Mayor and his son.

At the suggestion of Freiberg’s cathedral music director Albrecht Koch, CPO here releases sacred music from the Freiberg Latin School Library on Freiberg instruments from the time of this repertoire’s composition (16th c.), thus rendering audible a practically unknown and forgotten sound world. The Te Deum of Rogier Michael, one of the leading Saxon chapel masters prior to Heinrich Schütz, is the concert’s highlight. The program is complemented by more music collected and preserved in Freiberg.

Boris Papandopulo has to be regarded as the most important 20th c. Croatian composer. His imposing musical oeuvre of more than 450 works reveals a multifaceted style: folklore, neoclassicism and neo-baroque as well as impressionistic and expressionistic idioms flow into his music. Most importantly, however, his works are full of optimism, vibrancy and captivating resiliency. His Piano Concerto No. 2 and the Sinfonietta form the ideal introduction to this artist - with more yet to be heard!

The release of these three great concerti marks CPO’s conclusion of its complete edition of Andrzej Panufnik’s symphonic works. For Panufnik it was vital to assign genuine importance to the orchestra in the Piano Concerto; it was never to drown out the soloist’s part but instead rely on tonal texture contrasts. In his Violin Concerto, he exposed the solo part to keep it ever-prominent, as well as achieve a specific color and texture. His last major work turned out to be the Cello Concerto (1991).

Following the great success of Gerhard Weinberger’s new and most comprehensive recording ever of Bach’s organ works (German Record Critics Prize, 2009), Mr. Weinberger and CPO now turn to a new edition featuring the organ compositions of Max Reger in performances on selected magnificent organs surviving from Reger’s period. The composer’s overall oeuvre for the organ enabled this instrument to gain new prestige. Vol. 1 contains works offering eloquent testimony to Reger’s veneration of Bach.

This release joins the nearly complete, sensational interpretations of the Bruckner’s symphonies by the Swiss conductor Mario Venzago. “A Bruckner edition bringing unheard-of and previously unheard things to light… Nobody can afford to neglect this way of viewing Bruckner.” -Christoph Jetzschke (klassik-heute.com) + “It is the eighth symphony’s genuinely opulent orchestral ensemble that makes it an exception, for here the otherwise so very conservative Bruckner actually calls for harps, even ‘if possible, three’ such instruments… [and] percussion instruments (cymbals and the triangle)! Until this time no symphonic work without programmatic ties had contained these tone colors deriving from the opera orchestra.” -Hartmut Becker

Like Telemann, Christoph Graupner (1683-1760) was a universal spirit and a highly original, independent composer, undeserving of his relative obscurity. This selection of his bass cantatas is free of baroque overloading, extreme figurations or colorations in the vocal part, and evidences his assimilation of musical innovations through to the end of his creative career. The bass baritone Klaus Mertens, holds a "prominent position among German singers in the field of early music." (klassik-heute).

For the first time on CD, a substantial fragment of Robert Schumann's youthful Piano Quartet in c (1829) can now be heard in a version completed in 2009-10 by Joachim Draheim. +This work of Schumann's youth shares the bill with another premiere recording, the Piano Quartet No. 2 of Ferdinand Thieriot (1838-1919). +A now-forgotten composer, he here proves to be a master of musical form and architecture. +Since its inception in 1996, the Valentine Piano Quartet has established itself as a top ensemble.

Robert Kahn (1865-1951) and Johannes Brahms formed a mutual admiration society; each respected the other’s work. +For decades he taught at the Berlin Royal Academy until his expulsion by the Nazis in 1934. +Wilhelm Kempff and Arthur Rubinstein number among his most famous students. Kahn’s peak years of creativity, prior to 1918, saw the writing of all four original piano trios. +These works, distinguished by their comprehensibility and concise design, are filled with charm, color and verve.

"•Moritz von Hessen-Kassel, ""Maurice the Learned"", ruled Hessen-Kassel from 1592-1627.
• He had a broad interest in the arts and sciences and felt urged toward artistic expression.
• In his own compositions he initially imitated Franco-Flemish composers with whom he had become acquainted. The art-loving landgrave also developed his taste from works dedicated to him by Praetorius, Schütz and others.
• The WESER-RENAISSANCE ensemble led by Manfred Cordes here present some of his sacred and secular works."

"•The Cologne Academy led by Michael Alexander Willens present on CD the first of Johann Wilhelm Hertel's ten fully dimensioned sacred passion cantatas, Der sterbende Heiland (The Dying Savior) of 1764.
• The musical style of Hertel's cantata is distinguished, first, by a strong affinity to baroque tone painting, and, second, by unconventionality and impulsiveness in the harmonic sphere.
• Johann Friedrich Loewen, the librettist, rher educed the passion narrative to its most highly affective moments."

•Dorothee Mields is one of the leading female vocalists in the field of the music of the 17th – 18th centuries and is especially loved by the public and press for her unique timbre and moving interpretations. Possessing in addition a flawless technique and an ethereal vocal clarity, makes her a fortunate choice for the interpretation of Haydn's Scottish songs and English canzonettas. The ensemble Les Amis de Philippe assists her with great sensitivity.