Tampilkan postingan dengan label NUEVO. Tampilkan semua postingan
Tampilkan postingan dengan label NUEVO. Tampilkan semua postingan

0
Ginastera: Cello Concertos


"Zagrosek and the Bambergers, proven experts in the past century’s most demanding scores, give these concertos their all, with color, imagination, and precision." --Fanfare, September 2011

“The Argentinian Alberto Ginastera proves to be the winning ticket for cellist Mark Kosower… These electric and lyrical performances revel in the music's percussive rhythms as well as its reflective and mysterious melodic invention.” --The Strad




Alberto Ginastera was one of the most admired and respected musical voices of the twentieth century, who successfully fused the strong traditional influences of his national heritage with experimental, contemporary, and classical techniques. The two Cello Concertos are among his most innovative, brilliant and technically formidable compositions.

The First Concerto, the definitive version of which was premièred by Ginastera’s second wife Aurora Nátola in 1978, is notable for the provocative singing lines, Latin dance rhythms and virtuosity of its solo part, and the intense colours and abundant percussion of the orchestral accompaniment.

The Second Concerto, composed as a 10th wedding anniversary tribute ‘To my dear Aurora’, makes more prominent use of Argentine folk elements. It includes a brilliant depiction of the rising sun, percussion instruments portraying sounds of the jungle, and a celebratory rustic finale.

0
Telemann: Triple Concertos


Collegium Musicum 90 was founded by Simon Standage and the late Richard Hickox in 1990, and is today a well-established ensemble for the performance of baroque and classical music, with a repertoire ranging from chamber music to large-scale works for choir and orchestra. As an exclusive Chandos artist, the ensemble has recorded more than fifty CDs for the label, which includes nine discs of instrumental music by Telemann. In recognition of the success of the Telemann series in promoting the reputation of the composer, Simon Standage was awarded the Georg-Philipp-Telemann-Preis in 2010.




Rachel Brown (flute), Anthony Robson (oboe), Cherry Forbes (oboe), Richard Earle (oboe), Simon Standage (violin), Micaela Comberti (violin), Catherine Weiss (violin), Jane Coe (cello)

Collegium Musicum 90, Simon Standage

0
Bartók: Concerto for Orchestra & Music for Strings, Percussion and Celesta


“If you're unfamiliar with these seminal mid-20th century works, here's an unmissable chance of getting to know it.” --BBC Music Magazine, June 2012 *****

“Warmth and vitality are appropriate keywords for this coupling, a practical Bartok primer you might say, well played, persuasively interpreted and nicely recorded...In the Concerto for Orchestra's first movement Marin Alsop and her players generate plenty of energy...a fine bargain and a credible starting point for those wanting to dip a toe into Bartokian waters.” --Gramophone Magazine, July 2012




“the music seems to have been conceived with the upfront style of American orchestral playing in mind...[Alsop's] account of the Music for Strings, Percussion and Celesta...is very impressive, controlled and pungent, albeit without quite the expressionist edge that the music sometimes needs.” --The Guardian, 10th May 2012 ***

“Her orchestra's precision here is enviable, with crisp ensemble playing and solo voices of considerable character. The sound is not particularly full-bodied but neither is it bloated - rather, it is to some extent reminiscent of the finest American orchestras of past decades in privileging nuance above raw power.” --International Record Review, May 2012

“This muscular and thrilling recording amply demonstrates why Marin Alsop is such a sought after conductor and why the Baltimore Symphony is so highly thought of all over the world.” --MusicWeb International, July 2012

0
Mussorgsky: Pictures at an Exhibition


Alice Sara Ott's interpretation of Mussorgsky's "Pictures at an Exhibition" captures almost an entire orchestra's worth of musical colour and emotion in this live album . . . each movement, representing different moments on a journey round a gallery, is full of personality -- and Mussorgsky's well-known tunes are second to none . . . [the exuberant Schubert sonata]: a wide range of musical moments . . . the music shows off the best of Schubert's compositional talents, captured by a brilliant young pianist. Alice Sara Ott's effortless characterisation ensures this musical roller coaster of an album is thrilling at every turn. --Classic FM, January 2013




Rising star Alice Sara Ott’s new recording documents her summer 2012 rite of passage debut at the prestigious White Nights Festival.

Alice Sara Ott’s challenging programme centers upon Mussorgsky’s Pictures at an Exhibition. Her virtuosic technique and youthful brilliance deliver the majesty, colours and spontaneity that this music requires. The power, passion and beauty which Alice Sara brings to Schubert’s thrilling Sonata No. 17 is insightful and memorable.

Her stellar career coincides with the enthusiastic international acclaim her Deutsche Grammophon recordings and performances garner. As the Guardian writes: “... it was good to hear live the qualities that shine through on Ott’s recordings – the crystallin

0
Grieg: Music for String Orchestra


Richard Tognetti (artistic director and lead violin)
Australian Chamber Orchestra

“Tognetti's masterstroke is to have fully assimilated all the characteristics of Grieg's scoring...Transferring this procedure to the Quartet serves to enhance dramatic impact on its music narrative...The Australian Chamber Orchestra delivers playing of incredible passion and precision. Tognetti's inspired direction brings every movement to life...A triumph in every respect.” --BBC Music Magazine, July 2012 *****



“[the String Quartet is] a striking piece, driven and agitated on the one hand, sweetly lyrical on the other. The performers give it vitality and beauty and a programmatic narrative which compelling. The original solo lines are sometimes left as they were, rather poignantly so in the dramatic first movement...the Australians offer a spirited and sensitive account [of the Two Elegiac Melodies].” --International Record Review, June 2012

“The Australian Chamber Orchestra is renowned for its crisp, clean playing, superb ensemble and intonation, and vivacious style...[The Elegiac Melodies and Holberg Suite] have dozens of rivals but, while one might find equally fine renditions, I doubt there are many better ones. Excellent sound, as usual from this label.” --Gramophone Magazine, August 2012

0
Reger: Violin Concerto, Two Romances


INTERNATIONAL RECORD REVIEW 'OUTSTANDING' AWARD

“it's one of [Reger's] most heart-warming works, allowing his intensely lyrical streak free rein...Aided by first-rate orchestral playing, [Zagrosek] finds transparency in Reger's original...Chief honours, of course, go to Tanja Becker-Bender: she not only shows stamina (the violin is seldom silent), but also technical command, beauty of tone and clear sympathetic identification with the music.” --BBC Music Magazine, April 2012 *****




“this sprawling work is a constant delight and the performers bring to it rich colours that never cloy” --Classical Music, 11th February 2012 ****

“Tanja Becker-Bender is more than equal to the demands of the solo part, and Lothar Zagrosek's masterly articulation of Reger's Klangstrom ('stream of sound'), in all its transparency and modulated colour and variety of incident is, if anything, an even more distinguished contribution.” --Gramophone Magazine, March 2012

“I have been a Reger admirer for most of my adult life, but I have not heard a performance of his Violin Concerto which has excited or moved me as much as this one. It is a remarkable achievement on the part of this young violinist...This is a truly outstanding CD of very fine music, excellently performed and recorded.” --International Record Review, February 2012

“it's remarkably beautiful, and Tanja Becker-Bender does some wonderful things with it, shaping its lines with great lyrical force and a tremendous sense of drama. There's strong playing from the Konzerthausorchester Berlin under Lothar Zagrosek, too.” --The Guardian, 5th January 2012 ****

0
Debussy: La Mer, Images & Prélude à l’après-midi d’un faune


Anima Eterna Brugge, Jos van Immerseel

“[Immerseel] sees beyond the mere timbre itself and looks to the bristling impact that the music must have made when it was new...the freshness of Debussy's imagination is underlined by performances that have a strong dramatic impulse inflected with all manner of expressive subtleties that bring the music to life...Anima Eterna's disc approaches it with a compellingly rejuvenated outlook.” --Gramophone Magazine, February 2013




“Van Immerseel's approach can seem a bit too deliberate; there's something ponderous about Prélude à l'Après-Midi...it's the orchestral Images that gains most from the brighter, rawer colours of this performance, with the myriad subtleties of Debussy's scoring more beguiling than ever.” --The Guardian, 1st November 2012 ****

“Woodwind, brass and strings are highly individuated: the solo flute is blanched in tone, the trombones broad and warm. For sound alone, it is a fascinating experiment, though van Immerseel’s tempi are somewhat indulgent.” --The Independent on Sunday, 25th November 2012 ****

0
Krzysztof Penderecki and Jonny Greenwood


“This programme has been gathering fame since it was first performed in Poland last September...Penderecki's old-fashioned radicalism is perhaps echoed in Popcorn Superhet Receiver, and the AUKSO Orchestra plays everything with conviction.” --BBC Music Magazine, September 2012 ***

“The AUKSO Orchestra again impresses with its fearless unanimity and attack, abetted by sound of unsparing immediacy.” --Gramophone Magazine, June 2012



Nonesuch Records releases an album of works by Polish composer Krzysztof Penderecki and composer/Radiohead guitarist Jonny Greenwood in March 2012. The artists' work was presented side-by-side in two concerts in September 2011, highlighting Penderecki's influence on younger composers, at the European Congress of Culture in Wroclaw. In its report on the Congress, which celebrated Poland's presidency of the European Union, London's Independent called Penderecki "Poland's godfather of the musical avant-garde" and Greenwood "the doyen of English art-pop," describing their concert as "rapturously received." The composers went to Kraków's Alvernia Studios immediately after the performances to oversee the recording of the same music, along with one other piece by Greenwood.

The Wroclaw concert included two works by Penderecki dating from the early 1960s: Threnody for the Victims of Hiroshima and Polymorphia (for 48 strings), the latter of which inspired the Greenwood piece on the program, 48 Responses to Polymorphia; all three are on the Nonesuch record. An additional piece by Greenwood, Popcorn Superhet Receiver, which was inspired by Penderecki's Threnody, also was recorded for the album. (Greenwood incorporated material from Popcorn Superhet Receiver in his award-winning score for the 2008 film There Will Be Blood, which was also released on Nonesuch.)

For both the concerts and the recording, the pieces were performed by the AUKSO ensemble, which comprises graduates of Poland's Katowice Academy of Music. Penderecki conducted the ensemble in his works and AUKSO's artistic director-the violinist, chamber musician, and conductor Marek Mos-led the group for Greenwood's pieces. The record was produced by Filip Berkowicz-artistic director of the Sacrum Profanum, Misteria Paschalia, and Opera Rara festivals and curator of the Penderecki concerts in Wroclaw-and made in association with the National Audiovisual Institute of Poland.

A concert featuring all of the music on the album will take place at Barbican Hall in London on March 22, performed by the AUKSO Chamber Orchestra - the group featured on the Nonesuch recording - led by Penderecki and Marek Mos. The concert forms part of the 10th Kinoteka Polish Film Festival.

0
Lyapunov: Violin Concerto in D minor & Symphony No. 1


Russian Philharmonic Orchestra, Dmitry Yablonsky

“If you have a soft spot for the late-Romantic violin concerto, you'll enjoy Lyapunov's...[Fedotov] produce[s] a rich sound from his instrument, and there's rarely a sense of strain in the more virtuoso writing...Yablonsky rarely allows the music to sag.” --BBC Music Magazine, April 2011 ***





Sergey Mikhaylovich Lyapunov belonged to the second generation of Russian nationalist composers who were professionally trained and strongly influenced by Balakirev and his associates. His Violin Concerto has “a gorgeous solo part, big tunes, high energy, emotional Russian-romantic sweep, and a simply terrific cadenza … Maxim Fedotov sounds like he is having the time of his life” MusicWeb International.

The first of Lyapunov’s two symphonies is a grand essay in the late Russian Romantic mould, a youthful yet masterful work of great charm and power.

This release is a follow up to the recent release of Lyapunov’s Piano Concertos Nos. 1 and 2.

0
Turina: Orchestral Works


Clara Mouriz (mezzo-soprano), BBC Philharmonic, Juanjo Mena

This disc forms part of our ongoing Spanish Music series, performed by the BBC Philharmonic and its Chief Conductor, Juanjo Mena. Here the focus is on the orchestral works of the composer Joaquín Turina, one of the two leading Spanish composers of the twentieth century, the other being Manuel de Falla.




 
Turina was a prolific composer, who in his sixty-seven years wrote more than one hundred works, in which he explored a wide range of classical genres, from symphonic music, solo piano pieces, and vocal works to ballet scores and chamber music. Most of these show the influences of traditional Andalusian music and folk tunes, often conveying feelings of rapture and immense exaltation, while also owing a debt to a range of French composers.

Turina lived in Paris from 1905 to 1914, and during this time, while taking composition lessons from Vincent d’Indy and getting to know Maurice Ravel and Claude Debussy, he absorbed certain aspects of the French style. These influences are particularly evident in Danzas fantásticas and Sinfonia sevillana. While both these works are heavily inspired by the sights and sounds of Turina’s native Seville, they also display hints of French impressionism, inevitably calling Debussy to mind.

Turina was as thrilled by the sound and style of Andalusian folk singers as he was by folksong itself, and in terms of his songs, Poema en forma de canciones (Poem in the form of songs), originally for voice and piano, is probably the best known work. Here, as in ‘Farruca’ from Triptico, the orchestra and conductor are joined by the Spanish mezzo soprano Clara Mouriz for truly idiomatic performances.

Ritmos (Rhythms) was written originally as a ballet, which never reached the stage; nevertheless it proved brilliantly effective in the concert hall. The score itself does not relate to any specific scenario, but follows a progression, which Turina himself described as ‘a gradual journey from darkness into light’.

The Saeta is the only work on this disc in which Turina completely steps away from the influences of folk tune-inspired Andalusian dance rhythms. This is a beautifully written devotional song ‘in the form of a Salutation to the Virgin of Hope’.

0
Cliffe & d'Erlanger: Violin Concertos


“The BBC National Orchestra of Wales under the inspired baton of David Lloyd-Jones play these demanding scores with such glowing sophistication and confidence it seems scarcely believable they had no performing tradition to fall back on. No less remarkable is the sweet-toned advocacy of Philippe Graffin...a thoroughly worthwhile programme of impassioned Victorian delights.” --Classic FM Magazine, April 2011 ****

“Though neither work is a masterpiece, they're both well worth reviving, especially in such accomplished, sympathetic performances.” --Gramophone Magazine, April 2011



“Graffin plays superbly, with all the fire and tenderness required, and with glorious tone. The BBC National Orchestra of Wales is as attentive and sympathetic as one would expect with David Lloyd-Jones conducting, and the recording is well judged in terms of balance and perspective.” --International Record Review, March 2011

0
Rozhdestvensky conducts Tchaikovsky, Mussorgsky & Prokofiev


“The opening of Tchaikovsky’s Fourth Symphony is immediately arresting as the brass pummels out a fateful summons. The strings respond in soulful terms, and when the music becomes animated we are thrown into the midst of emotional turmoil, Gennadi Rozhdestvensky the alchemist of an inspired performance that graced the Leeds Festival in 1979. Tchaikovsky’s great score, its accents hammered out, its balletic motions subtly turned, is here given a fervent on-the-wing account that compels attention. 





The BBC Symphony Orchestra responds to its then Chief Conductor with focussed and expressive resources, audibly hanging onto Rozhdestvensky’s capricious baton in the measured but tensile first movement, its passionate peaks charted with symphonic surety.” --Classical Source online - Sep 2011

0
Wagner: Orchestral Music


In 1960, Otto Klemperer's 75th birthday was celebrated in style, partly by the release in a handsome two-LP box of EMI's recordings of the great German-born conductor and Walter Legge's Philharmonia Orchestra in a selection of orchestral excerpts from Wagner's operas.

So successful were these records, that Legge and Klemperer immediately set about recording a third LP (issued in 1962) and the Siegfried-Idyll (released a year later). Now, in this two-CD box, all these Klemperer Wagner recordings are available togther for the first time.


 


0
Ferdinand David: Violin Concertos No. 4 & 5


'David's slow movements are especially appealing … but you can turn almost anywhere here to find unreserved melodic delight … Hagai Shaham's playing is sweetness itself, and he's secure in every technical detail … Under Martyn Brabbins' alert direction, the BBC Scottish players impart a refreshing clarity to David's Mendelssohnian orchestral writing, their attentiveness supported in Andrew Keener's transparent recording … In short, this disc offers an hour of unremitting pleasure which you would be daft to deny yourself' --International Record Review




'Shaham and the BBC Scottish Symphony (at their most sparkling and sensitive under Martyn Brabbins) play with supreme virtuoso ease throughout … Played like this, these concertos constantly delight with their deft invention. Exemplary sound too' (Classic FM Magazine)

'Sweet melody coupled with passages of virtuosic fire, underpinned with graceful, discreet orchestral writing' (The Observer)

'Hagai Shaham delivers a fastidious and vivacious sympathy to the flow of figures, a real acolyte of an otherwise marginal repertory' (American Record Guide, USA)

'Hagai Shaham pulls off that great virtuoso trick of making the music sound complex, but also making clear that he has every note under his fingers and that he is not sweating it. To non-violinist listeners, the greatest attraction of this music is its lyricism, and Shaham always brings this to the fore, especially in the exquisitely crafted middle movements … Excellent playing from the BBC Scottish Symphony Orchestra, who again demonstrate that they are a force to be reckoned with' (MusicWeb.com)

0
Puccini: Orchestral Music


The earliest work on this disc is the Preludio sinfonico of 1876, written when Puccini was 18. As in other early works the melodic writing is warmly persuasive but lacks a final Puccinian distinctiveness, sounding more like Mascagni. Chailly, a degree more flexible than Scimone on the Erato version, leads up well to the brass fanfares of the climax. In the Capriccio sinfonico we have the intriguing experience of registering the first fully Puccinian inspiration emerging, when after a warm but rather bland preludial passage there suddenly emerges at full force the theme which was later to open Acts 1 and 4 of La boheme, representing the Bohemians themselves. 



Here it gets incongruously mixed with what in effect is a waltz theme, though, even in that, Puccini manages to inject a snapping perfect cadence of the kind with which he later peppered La boheme. Written as a school-leaving exercise for the Milan Conservatoire, it is a striking work for a beginner, and well worth having on record.

As to the items from the early operas, the two from Le villi make an effective contrast—the opening prelude here taken much slower and more lovingly than on Lorin Maazel's complete set (CBS 76890, 5/81). The rather longer central interlude, "L'abbandono" (the desertion preceding the brilliant "La tregenda"), is left out presumably because it needs a chorus at the beginning and end. The Edgar Prelude written for Madrid is not included in the complete CBS set (79213, 1/78) but makes an effective enough piece on its own, as does the Act 3 Prelude with an eerie march theme leading to a reprise of love themes. Even so, the Manon Leseaut item with its Italianate echoes of Wagner's Tristan shows how far Puccini advanced there in his first mature opera. The Berlin Radio Symphony Orchestra plays for Chailly with real warmth, and the digital recording is both brilliant and vivid.

– Edward Greenfield, Gramophone [3/1983]
reviewing the original LP release of this title

0
Mendelssohn: Symphonies No. 1 & 4


Bergen Philharmonic Orchestra, Andrew Litton

“From the hushed polyphony of the slow introduction [of the First]...to a truly exultant finale, Litton and his spruce Bergen orchestra banish any hint of turgidity. Tempo and character are acutely judged...Litton's Scottish likewise combines verve, textual clarity and a vivid sense of atmosphere.” --Gramophone Magazine, June 2010





“…one of the most enjoyable discs I've listened to in a long time… Litton, for my money, gets it right every time. He… makes clear distinctions between fast and slow: in the Italian Symphony, the first movement goes like the wind, though with no sense of undue haste, while the third movement still retains the grace and dignity of the minuet from which it derives.

How good, too, to come across a conductor who is not afraid to make his orchestra play pianississimo! ...one of the most delicious moments comes near the start of the second movement of the Italian Symphony where the strings are joined by the two flutes, both vibrato-free. At the other extreme, the C major coda of this movement lifts you out of your seat.” --BBC Music Magazine, February 2010 *****

0
Respighi: Chamber Works


This disc contains the premiere recording of Respighi's String Quartet in D minor. The Ambache, a group of between three and thirty musicians, was formed in 1984 by Diana Ambache, one of the few women in Britain to found and direct her own classical chamber orchestra.

"The Ambache, an eminent group of five on this disc, play it all superbly well" --musicweb-international.com




Like most of us, I am sure, knowledge of Ottorino Respighi’s music is probably restricted to the Roman tone poems, Fountains of Rome, Pines of Rome, and Roman Festivals. He was a fine orchestrator, and rather trapped into pastiche arrangements of the works of his greater predecessors like Bach. Strangely, I came across him when writing my biography of Max Bruch, for, like Vaughan Williams, Respighi was an unlikely pupil of the old man when he was Professor of Composition at the Berlin Academy from 1890-1911. Bruch would have approved of Respighi (he castigated VW for his use of the flattened seventh, and luckily the Englishman ignored his teacher’s advice to stop using it for it became his trademark for the rest of his life!) because the Italian had an obvious respect for and assimilation of the past in his own music. Even Rachmaninov deferred to Respighi when he entrusted the orchestration of five of his Etudes-tableaux for piano ‘to your masterly hands’. He is due for rediscovery, or maybe it is more basic than that, discovery.

This disc goes some way to doing just that. The music is a surprising revelation, very delightful, tuneful, and imaginative. The Presto of the string quartet had me reaching for the skip-back button. All the works cover the first decade of the last century, when the composer was in his thirties, the Brahms influence still strong yet not without the sunny southern Italian climes of Respighi’s own nature, at the same time, Janus-like, looking ahead to what would happen in the first two decades of the 20th century, monumental times for music. Add in some Rimsky-Korsakov (another brilliant colourist), a dash of Mendelssohn, and some Richard Strauss and you have pretty well got an idea of how attractive this music is. Apparently there’s a lot more undiscovered chamber music to be explored, so the auguries are good.

The Ambache, an eminent group of five on this disc, play it all superbly well, the crowning duo of Ambache and Crayford in the beautiful Six Pieces rounding off a highly enjoyable feast of unfamiliar music.

Christopher Fifield, musicweb.internacional.com

0
Alwyn: Symphonies No. 2 & 5 'Hydriotaphia', Lyra Angelica


Suzanne Willison (harp)
Royal Liverpool Philharmonic Orchestra, David Lloyd-Jones

“I would… strongly recommend this performance of the Lyra Angelica, Lloyd-Jones and harpist Suzanne Willison revealing more dark and ecstatic poetry than in any other performance had led me to expect.” --BBC Music Magazine, October 2005





“All three works here show the composer at the height of his powers. The Second Symphony (1953) was Alwyn's own favourite of his five. Economically argued and cast in two parts, it's a stirring, heartfelt creation, full of striking invention and resplendently scored. Impressive, too, is the Fifth from 1973 (dedicated 'to the immortal memory of Sir Thomas Browne', from whose 1658 elegiac discourse Hydriotaphia the work derives its inspiration), a tightly organised singlemovement essay of considerable emotional impact and touching sincerity.

Lloyd-Jones provides a tauter, more convincingly paced view than either of the earlier recordings but the RLPO, enthusiastically though they respond, can't quite match Richard Hickox's LSO (Chandos, only available as a download) in terms of tonal sheen.

Sandwiched between the symphonies comes Lyra angelica, the ravishing concerto for harp and string orchestra that Alwyn penned in 1953-54. Inspired by lines from Christ's Victorieand Triumph (1610) by the English metaphysical poet Giles Fletcher, it's a work of unbounded lyrical beauty and leaves an indelibly rapt impression here.

The immaculate soloist, Suzanne Willison, is placed well forward in the sound picture without any undue masking of detail. In the symphonies, on the other hand, the orchestral balance is neither as effortlessly natural nor helpfully transparent as that struck by the Lyrita engineers three decades earlier – and the distant toot of a car horn breaks the spell after the diminuendoa niente conclusion of No 2's first half.
Small niggles but not enough to withhold a solid recommendation.” --Gramophone Classical Music Guide, 2010

0
Bassani: Sinfonie (12), Op. 5


Ensemble StilModerno

Giovannni Battista Bassani (born in 1650 in Padua) was one of the foremost representatives of the Bolognese School. His works were well known during his lifetime, and composers like Handel and Bach knew and esteemed them highly. The Sinfonie Op. 5 displays a wide variety of styles, from solemn toccatas to playful dances, and is written for a several string instruments and basso continuo. Ensemble StilModerno adheres to the Historically Informed Performance Practice, and plays these original and skilfully written works with passion and virtuosity. 


New recordings, liner notes written by specialists in this field.

Giovanni Battista Bassani, born c.1650 in Padua, Italy, was one of the representative composers of Bolognese music; during his lifetime he stood alongside the likes of Torelli and Corelli, but the popularity of his music declined rapidly after his death. This new recording of his Sinfonie Op.5 is an opportunity for listeners to become acquainted with his music, which thoroughly deserves to be rediscovered. Not only was Bassani one of the most celebrated musicians of his era, held in high esteem by Bach and Handel, his Sinfonie Op.5 proved extremely popular with audiences and performers: four reprints were made and a number of handwritten copies spread throughout the world.

Somewhat confusingly, the work is actually a set of 12 sonatas for strings and basso continuo, possibly written with church use in mind. Stylistically, these sonatas demonstrate Bassani’s versatility and ability to draw together different styles and techniques; movements range from solemn toccatas to quick dances, and, in many cases, music of great contrast is created through building upon the same musical materials. Displaying Bassani’s skill as a composer, violinist and organist, the sonatas that make up the Sinfonie Op.5 are some of the most accomplished and forward-looking works of the late 17th century, foreshadowing sonata form in their structures.This new recording is an exciting chance to discover Bassani’s previously overlooked music, played by Baroque-performance specialists Ensemble Stil Moderno.

0
Martin, Honegger & Schoeck: Three Cello Concertos


Christian Poltéra (cello)
Malmö Symphony Orchestra, Tuomas Hannikainen

“Poltera connects convincingly with the overall mood of [the Honegger]...The lyrical interweaving of soloist and orchestra [in the Schoeck] is beautifully realised on this memorable recording...although Poltera enjoys a fairly prominent place on the sound stage, his contributions never hog the limelight unduly. First-rate in every way.” --Gramophone Magazine, July 2012



“Christian Poltéra performs throughout with style and sensitivity. His playing never sounds self-conscious. He delivers bold playing that he projects extremely well. Under Tuomas Hannikainen the Malmö Symphony Orchestra is highly responsive and cannot be faulted.” --MusicWeb International, July 2012
Older Post ►
Langganan: Postingan ( Atom )
eXTReMe Tracker
 

Copyright 2011 CLASSIC JAZZ is proudly powered by blogger.com