cd

ALESSANDRO SCARLATTI: LA COLPA, IL PENTIMENTO, LA GRAZIA

Oratorium / Oratorio (1708)
La Stagione · Michael Schneider

2CD-Set: C5126 PC: 21 UPC: 845221051260


SCHULD, REUE UND GNADE · SIN, REPENTANCE AND GRACE
Oratorio per la Passione di Nostro Signore Gesù Cristo
Text von / Libretto by: Kardinal Pietro Ottoboni (1667-1740)

In 1708 the celebration of Easter and the Passion in Rome was dominated by two
outstanding musical events: Here, within an interval of four days (from the Wednesday to the Easter Sunday) were performed two oratorios in which a remarkable amount of the most elaborate effort had been invested and which reflected sequentially the Passion and the Resurrection: the Passion oratorio composed by the Italian "doyen" Alessandro Scarlatti was followed by the "Resurrezione" by G.F. Handel, the young, talented 23-year-old Saxonian genius. Whereas the "Resurrezione" has found some new acclaim following the Handel renaissance, Scarlatti's oratorios, like all his vocal works (apart from a few uncharacteristic exeptions), has fallen into oblivion. This full-length work is among Scarlatti's most mature compositions and is certainly the most representative example of the type of passion music cultivated in Italy.
This genre is based on a totally different conception to that of Bach's passion music. His stylistical language was typical and had a determining influence on the period between the early baroque style of Monteverdi, Cesti and Cavalli and the development of the "galant" style of his pupil J.A. Hasse which leads directly into the classical period.

Weitere Bilder

JOHANN ADOLF HASSE

MESSE IN D · MISERERE
Rheinische Kantorei · Das Kleine Konzert · Hermann Max

C5125 PC: 21 UPC: 845221051253

Hasse's lifespan covers a period "between the epochs": he was almost a generation younger then Bach and Handel, who were born in 1685, but on the other hand a generation older than Haydn (b. 1732) and even two generations older than Wolfgang Amadeus Mozart (b.1756).
Hasse's music, however, from the outset was influenced by the new. Among his
contemporaries he was famous beyond all others. Hasse was not just any musician: he was one of the formative composers of his time, especially in the decades between 1730 and 1760. Hasse's Mass in D minor is a „number Mass" typical of its time, in which the five sections of the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) are subdivided into fifteen smaller passages of text with their own musically independent movements. In style the Mass displays a trend similar to the Italian but also Hasse's personal style become clear: with virtuosity, elegant melodic lines coupled with the course of the voice parts, harmony „pre-classically" two-dimensional, at the same time as rich in chromaticism, chords of the seventh and bitter suspensions.

Weitere Bilder

KHACHATURIAN: SPARTACUS

Ballet in 3 Acts (Complete Recording)
Deutsches Symphonie-Orchester Berlin · Michail Jurowski

C5112 PC: 21 UPC: 845221051123

in the BOLSCHOI THEATRE MOSKOW Version
nach der Fassung des BOLSCHOI THEATERS MOSKAU


K
hachaturian’s music is strongly stamped by the tradition of his Caucasian homeland, and consequently feels as much at home in Azerbaijan as in Georgia. His music is conventional, so catchy that, for example, the BBC chose the Adagio from Act 3 of his ballet Spartacus as title-music for the soap opera series „The Onedin Line", broadcast worldwide. First sketches for the Spartacus subject were already written in 1940, but completion of the ballet Gayaneh and the world war delayed their continuation. Not until 1952 was work on Spartacus finished, and in

1956 the first performance took place by the Kirov Ballet in the Kirov Theatre in Leningrad, in the choreography by Leonid Banyaminovich Jakobson. It was Khachaturian's last great work. soon after the Leningrad première doubts were
expressed about the choreography. For Moscow, lgor Moiseyev then mounted a new production in 1956, which also, however, failed to convince. In 1968,
again for Moscow, the ballet was completely newly constructed according to plans by Yuri Grigorovich for the Bolshoi Theatre. In this version Spartacus had worldwide success; it also forms the basis for the present recording.

Weitere Bilder

DANIEL BEHLE - RICHARD STRAUSS

Lieder
Daniel Behle, tenor · Oliver Schnyder, piano

C5110 PC: 21 UPC: 845221051109

Seen from the outside it may seem as if everything has gone pretty fast; four CDs of songs within two years, a Zauberflöten-recording under René Jacobs and in addition, continuous opera- and concert engagements. In reality, what may now seem as a »breakthrough« has been prepared by Daniel Behle over the long term. Also, the plan to record pieces by Richard Strauss after songs by Schubert, Schumann, Beethoven, Grieg, Brittan and Trojahn has developed over the years. Thus, the singer systematically broadened his repertoire on the stages of opera houses and concert halls as well as on recordings. »I am a lyrical Tenor and as such, one just gets introduced to the Schöne Müllerin, later to the Dichterliebe and eventually to the Winterreise (although I allow myself more time for that one) in the course of one’s studies. At the moment I am quite happy to have opened another page besides the lightly lyrical: to dip into the late romantic era and to discover the outgoing, active and hands-on aspects of the period.«

Weitere Bilder

FRITZ KREISLER

Liebesfreud - Liebesleid · Caprice Viennoise · Corelli Variations
Budapest Strings · Béla Bánfalvi

C5120 PC: 01 UPC: 845221051208

For decades, Fritz Kreisler left the music world under the
misapprehension that he had found compositions by Cartier, Couperin, Dittersdorf,
Padre Martini, Porpora, Pugnani, Stamitz or Vivaldi in monasteries and castle archives and arranged these himself for violin and piano. He left questions as to the original sources unanswered. A number of friends knew all about how the public had been misled, but did not consider this to be deceitful or ruthless and had kept quiet: Efrem Zimbalist, Jascha Heifetz, Georges Enescu, and chiefly Kreisler's accompaniment on the piano, Franz Rupp, were some of these.. For they all knew the nature of this charming, almost casually relaxed violinist, who, for David Oistrach, was the "summit of violin art“. At sixty, he then publicly and freely admitted that he had played a superb joke around thirty years before: he had concealed most of his own works behind the names of masters of the 17th and 18th centuries (he had generously omitted to draw the royalties payable to the author). The piano-accompanied miniatures (arranged here for strings) which caused offence to many a duped critic sixty years ago are part of the relaxing "Encores" of every great violinist today.
 

Weitere Bilder

Older Newer