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DIE DOMORGELN VON LADEGAST
V2: MELCHIOR VULPIUS
TRIUMVIRAT
Bruckner: Symphony No. 4 in E flat Major "Romantic"
Italian Monodies & Organ Works from the 16th & 17th century
Kaleidoskop der Tonarten – Kaleidoscope of Tunes
J.E. Bach: Six Sonatas for Violin & Piano
Typical music of the late 18th century. Stilistic between late baroque and early classicism; this wonderful entertaining music was recorded catching the pure sound of the concert room in Schloss Kochberg
Mollner Klanggeschichte
Reger: A Romantic Suite & Mozart Variations
Elliptic Curves
J.S. Bach, Beyer, Buttstedt, Krieger & Muffat: Freiberger Silberklang
Freiberg has always been an important cultural location. Already shortly after its foundation in the twelfth century; as the result of important discoveries of silver ore; culture and music were documented and integral parts of urban life. Freiberg was the second Saxon city to have a band of town waits from which various musical groups were later to evolve. The town’s prosperity also made possible the building of large hall churches of which the Cathedral St. Mary numbers even today among the region’s most important cultural monuments.
Brahms in Strassbourg - The organ chorales
The late 19th century saw the expansion of the Neustadt; the German district of Strasbourg; recently listed as a World Heritage Site by UNESCO. Built during the same period; the three historic organs chosen for the complete recording of Johannes Brahms’ organ chorales are the precious witnesses to a time of exceptional artistic luxuriance. The three Fin de siècle composers whose works were additionally selected by Jean-Michel Douiller revive Brahms’s sonorous world as they breathe life into these three instruments: Ernest Chausson; Max Reger; and Gustav Busch. The works by Chausson and Busch are recorded for the very first time on the CD at hand.
Singt und klingt! Christmas in Leipzig Gewandhaus
Concert in Bachhaus Eisenach
Biber & Muffat: Begegnungen – Encounters / Szilágyi, Fábri
The release at hand presents musical portraits of two influential composers of the Baroque era through a selection from their oeuvre for violin and harpsichord: Heinrich Ignaz Franz Biber (1644 – 1709) and Georg Muffat (1653 – 1704). Their first meeting in Salzburg was unfortunately not documented. However, it is known that both talents arrived with differing previous musical experiences before spending years in the service of the Archdiocese of Salzburg. Thanks to economic growth and financial strength in this sovereign Catholic principality, all the arts, including music, enjoyed considerable support. Like in all other Baroque centers, music was an integral part of courtly representation, and in Salzburg, it also became an important channel of communication for the Counter-Reformation.
A fabulous violinist, Biber preferred his favorite instrument in his compositions and wrote two sonata collections that belong to the basic repertoire of Baroque solo literature: the “Rosenkranz” or “Mystery” sonatas (c. 1674) and the Violin Sonatas (1681). Two pieces from each of these collections can be heard on the album at hand, rounded off with a passacaglia from Georg Muffat’s collection “Apparatus Musico-Organisticus”, which holds as much significance for Baroque keyboard literature as Biber’s collections for the violin mentioned above, and last but not least a unique piece: Muffat’s only surviving violin sonata. The instruments that meet in this recording come from two worlds: Flóra Fábri performs on a harpsichord built in 2015 by Detmar Hungerberg according to Italian models; the violin played by Dóra Szilágyi was built in 1765 by Sebastian Klotz in Mittenwald.
Paraphrases de Tango - After the Melodies of Gardel / Pohlit
On the CD at hand; Hannes Pohlit plays the debut recording of the complete cycle. It contains lyrical and dramatical fantasies on tango standards like “El Día Que Me Quieras”; “Por Una Cabeza” and “Sus Ojos Se Cerraron” as well as complex showpieces which due to their virtuosity remind one of Liszt’s “Mephisto Waltz” or opera fantasies. The album is a homage both to the emotional world of the sung classical tango as well as to the exalted romantic salon. It presents the Blüthner Aliquot grand piano as a symphonic instrument and Hannes Pohlit as a versatile stylistic composer as well as a technically superior pianist.
Milhaud, Kaprálová et al: Schattenrisse / Gulbadamova, Mitteldeutsche Chamber Phil.
This 2-album set presents the Mitteldeutsche Kammerphilharmonie, led by Jan Michael Horstmann, performing works by previously ostracized composers. The Lichterfeld Foundation of Petra and Ralph-Robert Lichterfeld is committed to ensuring that works by composers who were ostracized find their place in current concert programming. Their project "EchoSpore" lists registers of these composers, yet today many people are unaware of them. To ensure that the rediscovery of these hidden musical gems is not left to a single concert experience, the Mitteldeutsche Kammerphilharmonie has added works by previously "ostracized" composers to each of its "Festliche cammerphilharmonische Concerte" (Festive Chamber Philharmonic Concerts).
Walther, Biber et al: Minoriten-Codex - Violin Sonatas / Pohn, Riccabona, Trefflinger
This debut album of Austrian violinist Nina Pohn presents seven of the sonatas from Codex 726 of the Vienna Minorite Convent (Nos. 81 to 87), all of which are premiere recordings apart from Nos. 82 and 87. Johann Jakob Walther is the author of Sonata No. 83, and Heinrich Ignaz Franz Biber of Sonata No. 84; the other sonatas are anonymous. In light of Biber's outstanding role in the history of scordatura on the violin, it is remarkable that no scordatura is included in Sonata No. 84. Here, scordatura is only required in the anonymous sonatas No. 81 in A major and No. 85 in A minor. These recordings took place in the church St. Anna in Steinbruch (Upper Austria). Its historical, single manual organ, built in 1726 by the Linz organ builder Josef Richter, is perfectly suited for this music. In the context of historical performance techniques, four of the seven sonatas were recorded with the violin resting below the collar bone. That said, all were performed using the early baroque bow grip.
