Baset writes the rare note "Allegro con valentía" at the beginning of his 10th symphony. It seems to be a declaration of intent when it comes to realizing his compositions, which is far removed from the fashion of Italian imitation. A breathtaking, experimental, courageous music that drinks from the theatrical effects of a fascinating time full of chiaroscuro (light and dark). A new work on the European music scene that demands an uncompromising, imaginative interpretation. Courageous! Forma Antiqva, directed by Aarón Zapico, nourished by the best generation of Spanish musicians, deals with the important phase of Spanish Baroque music in an ideal time of growth and development.

The American composer Christian Wolff (b. 1934) is the last living representative of the New York School (Rauschenberg, Rothko, etc.). Wolff was not even an adult when he studied with Grete Sultan and John Cage. Wolff’s music was much more politically motivated than that of Feldman and Cage, which is evident on this new WERGO album by Trio Accanto. The album features first recordings made in close collaboration with Wolff in the studios of Deutschlandfunk Cologne/Germany. Wolff's great “Trio IX – Accanto” (2017) is a testament to his long-standing friendship with the musicians. Peculiarly serene and unobtrusively narrative, the piece features many reminiscences and hidden quotations from music by J. S. Bach to union songs. There are also tributes to Wolff's own “Exercises”, whose more recent numbers can be heard on the album as well. These “Exercises” sound lucid and atmospheric, yet complex. Each player has to decide for himself/herself on the course of the musical thoughts and spontaneously put them together in the group as an exercise. Collective agreement for individual positions as a musical and social task. This music by Wolff “still sings a longer modernism”, writes Seth Brodsky. “You can hear the historical horizon in it, not as some grandiose prophecy, but like an outline full of white space. The music is interested in the grace of presentness, of being-here, but it doesn’t lack desire.”

Founded in New York in 2005, the contemporary music quartet Yarn/Wire is made up of two percussionists and two pianists. The group has gained an international reputation for dazzling and innovative programs. This release features outstanding studio-quality first recordings of three works that grew out of Yarn/Wire’s long association with the artistic team of Wolfgang Heiniger (percussionist, composer, sound designer) and Enno Poppe (pianist, composer, conductor). Heiniger and Poppe have worked together for more than 20 years and the piece “Tonband” (2008/2012) was a collaborative effort: Poppe composed the first two movements and Heiniger the final three. The work is indebted to Stockhausen’s “Kontakte” for piano, percussion, and four-track electronics from 1958–1960 but also contains references to rock music and has an uninhibited approach to melody. The other pieces on this album grew out of the two composers’ work on “Tonband”. “Feld” is the most explosively rhythmic music Poppe has composed to date – extremely challenging for the performers yet electrifying and highly expressive. While Bartók used the pianos for percussive effects in his Sonata for Two Pianos and Percussion from 1937, Poppe here treats the percussion instruments like “extended pianos.” Heiniger’s “Neumond” (2018) places historic electric organ sounds in a constantly shifting tonal space, recalling the dark aesthetic of old horror films as well as other pieces on which he collaborated with Enno Poppe such as “Rad”, “Arbeit”, and “Rundfunk”.

Astor Piazzolla, the great Argentine composer and bandoneon player, was born exactly a century ago in 1921. Fascinated by the music of Bach, Mozart and Chopin, Piazzolla wanted to compose great classical music. From Alberto Ginastera he received lessons in orchestration, composition and conducting, as well as in literature and poetry. Following his studies with Ginastera, Piazzolla received a scholarship to study in Paris with the renowned pianist and composer Nadia Boulanger. Under her guidance, he began to conceive of and perfect his own style of composition. Composer and bandoneon player Omar Massa hails from Buenos Aires and has lived in Berlin since 2019. He is seen by music critics as the successor to Astor Piazzolla, whose work he has been performing from the age of six. Massa is considered to be an ambassador and champion of Argentine music as he too creates bridges to classical music with his own compositions. He combines minimalism with contemplative spaces, creates impressionistic colours, uses unusual meters and expands harmonic language without losing the inner melancholy of the true Tango Nuevo. Massa catapults the music of Buenos Aires into the 21st century. For over five decades, the Berlin Symphony Orchestra has been an integral part of Berlin's musical and cultural life, enriching the German orchestral landscape, and since 1990 has been the orchestra for all Berliners. In addition to the popular and long-established symphony concerts held in the Berlin Philharmonie, the Berlin Symphony Orchestra performs throughout Berlin and the surrounding area. With guest performances in Europe and tours to North and South America, Africa and Asia, as well as their appearances at international festivals (in France, Italy, Austria, Spain, Israel, among others), the Berlin Symphony Orchestra presents itself successfully worldwide and sees itself as a cultural ambassador for Berlin.

For Russian musicians, the romances of Tchaikovsky and Rachmaninov have always been a test of their artistic maturity. The very name of the genre carries a great many shades of meaning in Russian, denoting what at times are very varied forms of musical utterance. The vocal chamber works by these two composers, who are usually mentioned in the same breath as luminaries of Russian music, really do exhibit the vast range in artistic expression of their creators. You listen to a recording by the young musicians Lena Belkina and Natalia Sidorenko, who have begun the difficult journey along the road that leads to a perfect blend of tone and the discovery of a personal inflexion in these diminutive, yet complex masterpieces. It is significant that the mezzo-soprano Lena Belkina - for whom Russian, with it's awkward intonation, is a mother tongue - lives and works in Austria, Germany, Italy and France. This has given her an awareness that romances by great Russian composers are part of a worldwide musical heritage. There are several themes running through the romances brought together on this disc that pose demanding artistic challenges for their performers. Spring: from tender green leaves that have barely sprouted to luxuriant blooms of flowering lilac, rushing streams and the burble of the nightingale's song. Night: descending on us with it's unexpected warmth, sometimes stifling, sometimes melancholy, giving rise even in the midst of a storm to cradle songs, serenades and dreams of a happy life, which often dissipate on awakening. Love: past and future, lamented and desired, 'familiar to everyone and eternally new', as one of the romances puts it.

Uri Caine and Stefan Winter met for the first time in New York 30 years ago. A musical adventure begins, there is no goal, but a path. Two outstanding jazz albums are created on JMT, then Caine breaks through the boundaries between jazz, classical and new music like no other artist on Winter & Winter. New, exciting, groundbreaking things are emerging. Caine embodies sound, composition and improvisation merge, Bach and Monk meet as in a completely new duo drama and conduct a dialogue. Caine: “When Stefan Winter asked me to choose music from the past to put on an album, I hesitated. The selection of works is as difficult as if someone asked you which of your children is your favorite child." Caine made a completely surprising choice: worth hearing, enlightening, remarkable!

In her New York orchestral debut with conductor Philippe Entremont, Anna Petrova was praised for her "ultra-smooth playing style" [New York Fine Arts Examiner]. She is an assistant professor of piano at the University of Louisville, KY, holds a PhD in musicology from the Manhattan School of Music, and performs frequently as a soloist and chamber musician. The album presents the music of four composers: Sergey Rachmaninoff, Sergey Prokofiev, Alexander Scriabin, and Pancho Vladigerov. Three Russians and one Bulgarian, the music of whom spans a total of 50 years, from 1892 to 1942. “The heart is an ancestral metaphor… For example, it has been sometimes thought as the secret seat of courage or of intelligence; or as a hiding place for emotions; or as a breakable, fragile and precious object that we treasure; as a place from which sincere feelings emanate; as the locus of romantic desire; as the deep, summarizing content of a person… Also, in many languages, the word "heart" comes from either the Latin root cor/cordis, or from the Greek root kardia. That is, Spanish (corazon), French (coeur), and Italian (cuore), to give an example, take the Latin root, while German (Herz) and English (heart) take the Greek one (kardia). But what is most important for my present purposes here, and what these two roots share amongst each other, is their connection to the Indo-European root kr, which has the original sense of "vibrating." Indeed, the two consonants sound like that when pronounced together, like a gentle vibration. Krrr.... In this very sense, too, a heart is a vibrating object, a vibrating, secret, treasured place - just like I wanted the piano and my playing of it to be in this album - a dear object that secretly vibrates with the sounds of my music.” (Anna Petrova)

In the course of their research for the five-part recording production "Beethoven's World 1799-1851" (2020), the casalQuartett came across not only Carl Czerny, one of Beethoven's two pupils, represented by his 28th String Quartet in A flat major, but also the Viennese composer Anton Eberl (1765-1807), who was Mozart's friend and pupil. As an outstanding pianist and composer, he achieved great popularity and, after returning to Vienna from St. Petersburg, had even more prominent supporters than Beethoven. His life ended unexpectedly at the zenith of his success in 1807. His music, as can be seen in the excellent recordings of the symphonies by Concerto Köln and the piano sonatas by Luca Quintavalle, is often surprisingly modern for its time. Like Mozart's late works and those of the new Beethoven, they augur the revolutionary dawn of Romanticism. The casalQuartett has received numerous awards, including the ECHO KLASSIK 2010, 2015, 2017, the Pizzicato Award Luxembourg, the DIAPASON Decouverte, the DIAPASON d'Or, the German Record Critics' Award and has been nominated three times for the ICMA Award and the American Grammy.

Tvær hliðar/Two Sides presents two contrasting sides of our music-making. On the first album we perform our core repertoire of Italian and Swedish Baroque music, but Barokkbandið Brák also seeks to expand the repertoire for historical instruments by commissioning new works by up and coming Icelandic composers, and the second album showcases new Icelandic music written specially for the ensemble. All of these works share the same sound world as all the music is performed on historical instruments from the baroque era.

REVIEW:

This is a gripping if curiously conceived album, divided unequally between an entertaining music from the High Baroque, and four new works by young Icelandic composers all commissioned by Barokkbandi Brák.

There are no doubts about Barokkbandi Brák’s virtuosity or musicality: the lively opening Allegro of Vivaldi’s Sinfonia bounds along with flawless intonation and ensemble. In Agrell’s vibrant Sinfonia in A and Sammartini’s energetic Concerto grosso, musical flow is always beautifully maintained, moving consistently at pace without seeming hurried. Barokkbandi Brák’s partnership with Elfa Rún Kristinsdóttir in the Agrell Concerto is immaculate, with a real sense of joy – but then Kristinsdóttir is not only one of theirs but was one of the founders of the group in 2015. The same applies to the crisp performance of Vivaldi’s triple concerto for two violins and cello, featuring the group’s co-founder Laufey Jensdóttir and cellist Steinunn Arnbjörg Stefánsdóttir.

The group’s chamber credentials are highlighted in the trio sonatas by Corelli and Stradella, and – in a very different vein – Thrainn Hjalmarsson’s string quartet Recitar cantando/Speaking in Song, a study in ethereal textures. Bergrún Snæbjörnsdóttir composed her septet Quorum Sensing to evoke the biological mechanism that can ‘regulate gene expression’ and ‘co-ordinate group behavior’. Starting in not dissimilar expressive territory to Recitar cantando, it develops, slowly, in a more focused manner. Finnur Karlsson describes Fold as ‘a kind of contemplation about different aspects of Baroque music’. Kristinn Kristinsson’s diptych BRK also explicitly references the Baroque at its opening, though the music immediately circles away from (and back to, several times) the idiom in the first span’s sedate progress. Sono Luminus’s sound is crystal clear throughout.

-- Gramophone

Note: this double-disc release contains both a CD and a Blu-ray Audio disc. The latter will only play on devices with Blu-ray read capability.

Hugi Guðmundsson writes: “The title piece, Equilibrium IV: Windbells, was the seed this whole album grew from. It was premièred under rather unusual circumstances at the 2005 World Expo in Japan in a venue that more closely resembled a stadium than a concert stage for classical music. I was an integral part of the performance due to the interactive electronics in the piece. We had practiced that I would maintain eye contact with the musicians during performances, just a few meters from the stage. However, the mixer I was operating at the concert was housed in something that resembled an air traffic control tower some 100 meters away from the stage. Or at least it felt that way. From my perspective, the musicians were like tiny ants in one corner of the enormous stage and they could not see me at all. Despite these outlandish circumstances, we somehow managed to perform the piece.

"It has since become one of my most performed chamber pieces and has received several awards and recognitions. It has never been recorded in a studio up until now. So, after a recent performance with Reykjavík Chamber Orchestra, where it received very warm reviews, we decided it was time to do something about it. That snowballed into what is now this album…”

REVIEWS:

Icelandic composer Hugi Guðmundsson has crafted an idiom combining neo-tonality and modernist inflections, with deliberate rhythms often based on slowly evolving ostinatos. Aspects of rhythmic construction loom large here on this portrait CD for Sono Luminus, as well as Guðmundsson’s incorporation of electronics into chamber works. Guðmundsson’s inclusion on the label is most welcome. He has a distinctive creative voice, and Windbells is a thoroughly persuasive recording.

-- Sequenza21.com

Performances throughout are distinct and characterful, but the bold musicianship of flautist Áshildur Haraldsdóttir deserves special mention; her playing is assertive and daring in its breathy ferocity, while equally capable of singing with the sweetest clarity.

-- BBC Music Magazine

Once again, Ensemble Aventure presents a jewel of new music that has so far been little known in Europe within its series of works by Latin American composers on WERGO: "Flores blancas", chamber and ensemble music by the Argentine composer Mariano Etkin. Listeners are captivated by the raw power of “La naturaleza de las cosas”, the title of which is an apt characterization of Mariano Etkin’s compositional language, which is a celebration of the sensuous nature of sounds and of the human senses as a source of knowledge without illusions, realized with a small number of “sound objects” that appear and fade away with a sense of both beauty and pain. Each of the eight works (from 1992 to 2016, Etkin’s late compositional period) on this recording focuses in its own way on the physicality of sounds and the foundations of human existence.

In his last years, Etkin’s musical language became more densely lyrical, introspective, and focused on fundamental elements of human existence such as dreams (“Sueños olvidados”) or blood (“Le sangre del cuerpo”) and, above all, tears (“Estudios para lágrimas”). Mariano Etkin creates authentic crystals of intensity – an unflinchingly existential music that looks into the eye of darkness, but nevertheless spreads its wings. It sings, throbs, and shivers with excitement before dissolving in pain and beauty.

One of the most fascinating challenges that any violinist can face is the repertoire for solo violin. In this genre of music, both the musician and the listener can encounter polyphonic masterpieces performed with minimal means - with only four strings. These pieces often carry as much emotional and musical meaning as works composed for a large orchestra. This rarely represented category in musical literature has always excited the artist Agata-Maria Raatz. She wondered how Bach managed to create such a remarkably complex and demanding harmonic as well as formal structure in his sonatas and partitas for solo violin, which are considered timeless masterpieces of extraordinary brilliance in every detail. Where did he draw his inspiration from? What music did he listen to? And who was he as a person? Bach was not only a genius, but also a human being. Monuments created to honour personalities of genius often obscure their humanity, which encompasses not only the outstanding and special, but also the mundane and prosaic of life.

The album "Echo of BACH" is her personal exploration through the history of solo music for violin, tracing its origins from the early Baroque period to the present. It is a musical journey centred on J. S. Bach, an inspiration to many generations of composers. On this unique path, the great master not only inspires, but is also influenced by the works of other musicians. Among them is a composer who might have been a guidepost for Bach on his musical path. It is the composer and violinist Jean Paul von Westhoff. Bach was 18 years old at the time, while Westhoff died only two years later at the age of 49. The probability is high that they met at that time and the young Bach became familiar with Westhoff's work. For her album she has chosen the Suite No. 5 in D minor. In addition to a piece composed by the artist especially for this CD under the pseudonym Clara Jaz, we also find the work "Cette âme a six ailes tout comme les Séraphins" (This soul has six wings like the Seraphim) composed by the Swiss composer Xavier Dayer especially for Agata-Maria Raatz.

Scott Robert Shaw's debut "The English Tenor" takes us on a beautifully performed journey through a who's who of great English composers and their vocal works. The names Ivor Gurney, Benjamin Britten, Ralph Vaughan Williams, Gerald Finzi and Roger Quilter are synonymous with English Song, and a Golden Age of British music. The wide variety of accompanying instruments and artists, the broad range of text settings and the mix of cornerstone works of the repertoire alongside lesser-known cycles make "The English Tenor" a thrilling debut album.

A product of the English church music tradition, Australian born Scott Robert Shaw has been performing works in this oeuvre since childhood. Whether on the operatic or oratorio stage, as an ensemble singer or soloist, his deep cultural roots to the British music world are laid bare for all to see. This deeply personal album stands as testament to his background, and as a homecoming to his earliest steps as artist.

Beginning his career and training as a boy soprano at the St George’s Cathedral Perth Choir, Scott attended the McDonald College of the Performing Arts in Sydney, studying music and acting in the Stanislawksy/Laban tradition, awarded a full scholarship for Excellence in Performance. He then attended the Sydney Conservatorium of Music, and was given the Most Exceptional Contribution to the Arts award from Wesley College, University of Sydney. In London he continued his studies with the English National Opera’s Baylis Programme for young performers and was regularly engaged to perform as a recitalist and operatic tenor in festivals and opera companies in both the United Kingdom and France. He then completed his studies at the Royal Conservatory in The Hague where he studied Early Music and Classical Singing, and now based in Düsseldorf, is regularly engaged as a soloist in The Netherlands and Germany, with a particular focus on Bach oratorios and Evangelist roles in the Passions.

Divine Art presents the enchanting compositions of Australian maestro John Carmichael in this extraordinary collection. Carmichael's distinctive neo-Romantic style, an exquisite fusion of originality with echoes of Rachmaninov, offers a lush musical journey that will resonate with a broad audience, particularly those less inclined towards avant-garde new music.

This album boasts a diverse selection of duos, solos, and a Piano Concerto characterised by exuberant pianism harmoniously paired with a string orchestra, culminating in a Caribbean-flavoured final movement. Carmichael's compositions extend to a Piano Trio, Towards the Light, spotlighting the viola in works designed to elevate this often-overlooked instrument. The collection is further enriched by a Divertimento for flute, oboe, clarinet, and piano, giving the listener a varied repertoire where melodic elements take centre stage. Collaborating with Carmichael are some of highly talented artists, including acclaimed pianist Antony Gray, whose recent Divine Art recordings of Saint-Saëns piano music have earned glowing praise, making them the label's top sellers of 2022. Join us in this celebration of the potential in new orchestral and chamber music, where Carmichael's melodic brilliance and the artistry of our distinguished performers converge to create a truly remarkable album.

John Carmichael was born 1930 in Melbourne, Australia. He studied piano and composition at the University Conservatorium there, followed by two years piano studies with Marcel Ciampi at the Conservatoire National in Paris. Further composition studies followed with Arthur Benjamin and Anthony Milner in London while Carmichael joined the first group of musicians working for the newly established Council for Music Therapy, for whom he introduced music therapy programs at Stoke Mandeville Hospital and Netherden Mental Hospital, Surrey. In 1960 he became musical director of the Spanish Dance group Eduardo Y Navarra touring extensively with them both abroad and in Britain; foreign languages are one of his passions – the latest challenge being Chinese.

Dr. David Charles Johnson (27 October 1942 in Edinburgh – 30 March 2009 in Edinburgh) was a Scottish composer and a scholar of 18th-century Scottish music. Johnson was 'an internationally recognized scholar' whose work significantly contributed to rediscovering and redefining 18th-century Scottish music within its historical context. His research focused on the music and social life of lowland Scotland during the 18th century, exploring influences, tastes, and key musical figures of the era.

Johnson’s 12 Preludes and Fugues are among the few significant pieces he composed for the piano, alongside a five-minute Sonata. Written in the early to mid-1990s and published in 1995, these compositions are notable for their unique blend of sound, reminiscent of 20th-century composers like Hindemith or Prokofiev, while incorporating elements such as quotations from Bach and references to Hugh MacDiarmid's work. They also feature direct quotations of popular tunes like 'Johnny Cope' and 'The Animals Went Marching Two by Two', infused with a distinct Scottish flavor. The thematic backbone of the suite is borrowed from Aberdonian composer Shaun Dillon, using the Scots-Gaelic word bheatha, ‘life’, represented musically by the notes B-flat, B, E, A. Johnson masterfully employs this motif to form a tone row, guiding the keys across the 12 works in the suite, making his Preludes and Fugues a unique and distinguished addition to Scottish piano music.

Christopher Guild is making waves on the international music scene for his exceptional work with British, particularly Scottish, piano music. He has recorded numerous albums for esteemed labels such as Toccata Classics, Piano Classics, and Champs Hill Records, featuring works by renowned composers like Ronald Stevenson, Francis George Scott, and Bernard van Dieren. His upcoming recording for Divine Art marks another milestone in his career, further solidifying his reputation as a prominent interpreter of British piano repertoire.

Five of the best brass players in the world united in a chamber music ensemble: The Reinhold Friedrich Brass Quintett was founded in 2022 and presents here its first CD, UNITY.

For this brass quintet's lifelong dream, world-renowned trumpeter Reinhold Friedrich has brought together the best players in their respective fields, musicians who not only get along extremely well with one another in a musical sense but also on a personal level. In their playing, one can feel their mutual appreciation and their joy in making music together, and, coupled with their unique technical and musical skills, as well as their chamber music experience, this enables the musicians to merge into a single unit.

The players that form this top-class quintet come together from a variety of European countries: Jeroen Berwaerts hails from Belgium and as a former principal trumpeter of the NDR Symphony Orchestra is a much-sought-after soloist who now teaches at the Hanover University of Music, Drama and Media. The Dane, Lasse Mauritzen, who was knighted to the Order of Dannebrog by Queen Margarethe II, is first principal horn of the Copenhagen-based Danish Radio Symphony Orchestra (DRSO). Although Ian Bousfield is British, he now lives in Switzerland and is accustomed to performing around the world as a former principal trombonist with the Vienna Philharmonic Orchestra, as well as being a soloist and a conductor. Fundamental to the quintet is the Norwegian Thomas Røisland, who now lives in Sweden and is principal tuba in the DRSO, as well as playing in other renowned European orchestras.These five musicians are united by their desire to set new standards in brass chamber music for their audiences and to present premiere recordings and commission arrangements of classics that have not yet been recorded at a world-class level.

Beethoven's three most famous sonatas have received hundreds of recordings. Why another, especially from a company like Divine Art which usually avoids duplicating repertoire? Because we believe that each piece of music demands a performance tailored to the composition, and that recently, every recording of a major work seems to sound the same. Beethoven's sonatas are fiery, storm-filled works which require playing not only of consummate skill but also total passion and commitment. They receive that here, together with a piano of individual character, with a "visceral" quality (to quote Goldstone), and ideal for this music. But this CD contains two special tracks: We offer the world premiere recording of Moscheles' arrangement of the Overture to "Fidelio". And also, two alternative versions of the first movement of the "Pathetique" Sonata, one incorporating Goldstone's belief regarding the correct execution of the exposition repeat. We could not pack any more onto a disc!

In 1930s Britain, the biggest "pop star" was Henry Hall, leader of the BBC Dance Orchestra, whose daily broadcasts were heard by millions. Now tunes he made famous are introduced in brand new recordings by Mart Sander and the Swing Swindlers! This is a great way to hear the fine soft swing in super sound and fine performances.

Jill Crossland - Live at Restoration House

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

RENAISSANCE AM RHEIN • Singer Pur Ens • OEHMS OC 820 (66:39 Text and Translation)


Music of JEAN DE LATRE, ZANGIUS, PEVERNAGE, HAGIUS, PEUDARGENT, JOHANNES DE CLEVE, LASSUS, MANGON, CASTRO, ANON


The occasion for this recorded program was an exhibit in Bonn (just concluded) devoted to the art and culture of the Renaissance as it flourished in the lower Rhineland, from Liège and Aachen to Cologne, Düsseldorf, and Cleves. The program mixes seven Latin-texted works, some with unfamiliar texts, with eight secular songs in German or French. The works are mostly obscure, but certainly one of the most obscure is O Dee cunctipotens by Martin Peudargent (active at the court of Cleves), which the notes describe as “one of the few works [of his] that has not been released on CD.” Since I couldn’t find his name in any record catalog before this, this seemed strange, but it turns out that a full SACD of his music appeared on an obscure German label a couple of years ago. Petit Jean de Latre, who served in Liège, had a whole LP devoted to his sixth book of chansons ( Fanfare 7:4), but none of his three selections here duplicate that program. These composers are poorly represented on discs, nothing here being duplicated. Such names as Konrad Hagius and Johannes de Cleve are totally obscure. Even the single Lassus motet seems to be a first recording.


Singer Pur, graduates of the Regensburg choir school (with a soprano added), have been recording regularly. This is one of their more imaginative programs, interesting for its variety, the rarity of the selections, and the special occasion that resulted in its production. Pevernage’s Salve Regina is interesting for its alternation between the solemn chant setting and polyphony, considerably more than simply intoning the first phrase in chant. Lassus’s meditation on death, O mors quam amara , is exquisite. The program ends on a lighter note with two German songs, hard to appreciate fully in the German dialect without English (only the Latin texts are translated into German). The Bonn museum exhibit focused on art and culture as well as music, emphasizing the distinct character of the Renaissance in northern climes, inconsistent with the familiar Italian models. This program will not duplicate anything in your collection.


FANFARE: J. F. Weber