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JOHANN FRIEDRICH FASCH (1688-1758)


OUVERTÜREN & KONZERTE · OVERTURES & CONCERTI

C5073 · 1CD PC: 01 · UPC: 84522105073X

Schon an der Wende vom 19. zum 20. Jahrhundert erkannte die Musikwissenschaft die besondere Bedeutung derWerke von Johann Friedrich Fasch. Er ist ein “Neuerer, welcher die Instrumentalmusik ganz auf eigene Füße stellte”, eine zentrale Figur in der Übergangsphase zwischen Spätbarock und Klassik. Tatsächlich greift Fasch in seinen Kompositionen auf die Formensprache des Hochbarock zurück, füllt in jene “alten Schläuche” jedoch “neuen Wein” und entwickelt im Umgangmit melodischen Figuren und harmonischen Strukturen sowie in der Behandlung von Blas- und Streichinstrumentenein hohes Maß an Freiheit und Individualität.

At the turn of the 19th to the 20th century, musicology already recognised the special importance of works by Johann Friedrich Fasch. Fasch is an “innovator who set instrumental music on its ownfeet entirely”, a central character during the transition period between the late Baroque and Classicist eras. Indeed, Fasch falls back on the formal language of the high Baroque period but frequently fills “new wine“ into those “old skins” and develops a high measure of freedom and individuality in dealing with melodic figures and harmonic structures as well as in the treatment of wind and stringinstruments.

mit / with
REINHOLD FRIEDRICH, ALAIN DE RUDDER, Trompete / trumpet
NTERLLER, Traversflöte / transverse flute · HELMUT HUCKE, Oboe / oboe
CAPPELLA COLONIENSIS · HANS-MARTIN LINDE, Dirigent / conductor

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ANTONIO SALIERI (1750-1825)

LA VENEZIANA

C5087 · 1CD PC: 01 · UPC: 845221050874

Antonio Salieri ist ein Sonderfall der Musikgeschichte: Legenden, Vermutungen und Anekdoten, die bisheute durch nichts belegt werden konnten, haben Salieri immer wieder mit demangeblichen Giftmord an Wolfgang Amadeus Mozart in Verbindung gebracht. Seine Musik dagegen war sehr bald und sehr gründlich vergessen worden – zu Unrecht. Dabei war er zu seinen Lebzeiten über dreißig Jahre lang die zentrale Figur im Musikleben der Kaiserstadt Wien gewesen. Aus den beiden hier vorgestellten Konzerten und der Sinfonia “La Veneziana“spricht deutlich der Musikdramatiker Salieri.
Wie Salieri die konzertierenden Partnermiteinander “reden” lässt, verrät den geübten Opernkomponisten.

The composer Antonio Salieri is something of an ‘odd man out’ in the historyof music.
After his death in 1825, he lived on as a macabre figure in music-lovers’minds, whereas his music soon sank into total oblivion – a most undeserved fate.Although there is no evidence to support them, legends, anecdotes and conjecturehave repeatedly placed the responsibility for Mozart’s supposed murder (by poison)at Salieri’s door. But as regards Salieri the composer, we are no wiser than before. Yet Salieri dominated the musical life of the Imperial capital Vienna for some 30 years. The two concerti and the symphony “La Veneziana” on this disc bear witness toSalieri’s gift for opera. The way Salieri has the solo instruments ‘speak’ to one another betrays thehand of the practised opera composer.

Lajos Lencsés, Oboe / oboe · János Bálint, Flöte / flute
Béla Bánfalvi, Violine / violin · Károly Botvay, Violoncello / cello
BUDAPEST STRINGS
Béla Bánfalvi (Konzertmeister / Leader), Károly Botvay (Künstlerischer Leiter / Artistic Director)

GEISTLICHE MUSIK DER BACH FAMILIE


C7100 · 5CD-Set · PC: 04 UPC: 845221071008

SACRED MUSIC OF THE BACH FAMILY

In addition to Johann Sebastian Bach, regarded by many as the greatest composer of all times, other members of this widely ramified family took up the profession of the composer: first of all his sons Carl Philipp Emanuel Bach, Johann Christian and Wilhelm Friedemann. This set of 5CDs offers sacred music written by these and other members of one of the most productive families in music history.

KANTATEN · CANTATAS


WILHELM FRIEDEMANN BACH (1710 – 1784)

C5083 · 2CD-Set · PC: 21 (2CDs for the price of 1) UPC: 845221050836

CD 1: Lasset uns ablegen die Werke der Finsternis / Let us cast off the works of darkness · Es ist eine Stimme eines Predigers in der Wüste / The voice of him that crieth in the wilderness
CD 2: Dies ist der Tag / This is the day · Erzittert und fallet / Tremble and fall

Johann Sebastian Bach’s eldest son was organist and musical director in Halle from 1746-64. The music directorate in Halle was similar in many respects to J.S. Bach’s position in Leipzig. In signing the certificate of appointment in Halle, Friedemann Bach undertook to perform a cantata every three weeks and additionally on all festival Sundays. Apparently it was not expected that a composition from his own pen should be performed every time, for Bach’s predecessor Gottfried Kirchhoff had already availed himself mainly of the works of Telemann. Friedemann too seems to have made use of this practice, but evidently had the ambition to appear on festival Sunday with his own especially carefully prepared works. The technical difficulties that his cantatas demanded of singers and instrumentalists, at all events, lie far beyond the average.

CARL HEINRICH GRAUN

FRIEDRICH II „DER GROSSE“ MONTEZUMA

C7085 · 2CD-Set PC: 22 UPC: 845221070858

Opera Complete Recording

Together with Johann Adolf Hasse, Carl Heinrich Graun was the chief representative of Italian Opera in Germany in the 18th century. The story of „Montezuma“ accords with the historical fate of the last ruler of the Aztecs. The text is by King Frederick II, Graun had a close friendship to him and became chief of the circle of Berlin composers. „Montezuma“ can be seen as Frederick’s countersignature to his own fate, which made him into a martial war-prince. „Montezuma“ shows him in a field of tension: thus the artistically-minded idealistic prince became the royal practical politician: if justice is to be seen to be done to life’s reality, Montezuma must die. Montezuma is mor than just a Baroque opera. This opera can allude to the history of its own nation. It directs our ear to the destiny of America and the destiny of Prussia, to the German’s view, 200 years ago, of America, and American history as the mirror of its own.

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