D'Anglebert,Jean-Henry / Willi,Barbara Maria - Complete Orig Works for Harpsichord #2 - COMPACT DISCS [CD]

D'Anglebert / Willi - Complete Works for Harpsichord 1 [COMPACT DISCS] date 09/09/2000

Album Tracks 1. Pieces de Clavecjn Du Sixieme Ordre, en Si Bemol Majeur 2. Suite de Pieces de Clavecin en Re Mineur 3. Pieces de Clavecin Du Septieme Ordre, en Sol Majeur Et Mineur

The term used to describe the epoch in which the works brought together on this album were composed is a matter of dispute. Did it come before the period of Viennese classicism, which means that it represents Inchpre-Classicism?Inch Or is it part of this period, that is, InchEarly Classicism?Inch The Austrian musicologist Rudolf Flotzinger came up with a pithy formulation for this phase of music history, terming it Inchthe epoch between the epochs,Inch which means that it is no longer Baroque and not yet Classicism. During this period, in the middle of the eighteenth century and in the age of Empress Maria Theresa, the genres of instrumental ensemble music continuing even today to dominate the concert repertoire were developed - including the Inchclavier concerto,Inch which was performed in equal measure on the organ, on the harpsichord, and later on the pianoforte. The designation InchclavierInch current at that time merely generally referred to an instrument with claves (keys). A collection of clavier concertos extant in the Studies Library in Ptuj (Pettau), Slovenia, preserves the compositions recorded here in manuscript form. The harpsichordist Michael Hell, along with the Neue Hofkapelle Graz, led by him and Lucia Froihofer, performs these exciting works. Two highly outstanding instruments were available to Michael Hell for this recording the harpsichord built by Johann Leydecker in Vienna in 1755, now freshly restored, and it's copy built by Martin Pühringer in 2017. These instruments enable listeners to become acquainted with two instruments forming a perfect match for this repertoire on an extremely well-preserved original instrument and on a copy that in it's way is tonally just as suitable - after all, even during the time of it's composition the music was performed on new instruments. The Ptuj collection shows how fragile and incomplete our knowledge of t