Ensemble Polyharmonique - Auferstehungshistorie - COMPACT DISCS [CD]

Born in 1987, Emanuele Delucchi has gained renown both in his native Italy and farther afield for his cool-headed mastery of the 'hyper-virtuoso' composers after Liszt who pushed the boundaries of keyboard technique to it's farthest limits. He is among the foremost modern exponents of Charles-Valentin Alkan, and this is his third album for Piano Classics celebrating both the original works and transcriptions made by Leopold Godowsky. 'For an entrée into the polyphonic world of Godowsky, Emanuele Delucchi's programme could hardly be bettered,' said Gramophone of Delucchi's programme of the Passacaglia, original Poems and a selection of transcriptions. The performances are distinguished by 'great technical accomplishment and a relaxed, assured empathy' a verdict echoed by Classics Today in reviewing Delucchi's 2017 album of the elaborations and transformations wrought by Godowsky on Chopin's Etudes Op.10 'every inch a viable contender alongside the Marc-André Hamelin and Carlo Grante reference versions... Delucchi's total comfort with and absorption of Godowsky's serpentine idiom makes itself felt in every measure. Needless to say, I look forward to Delucchi's performances of the remaining studies.' This desire is now granted with the of the complementary set of works based on Chopin's Op.25 Etudes. Godowsky composed them over a period of decades, and they challenge every facet of the pianist's technique, condensing some studies into a left-hand only part, adding secondary voices to others and taking still others as the basis for free variation and fantasy. He could claim without false modesty that the fingering and pedaling involved in such feats were of 'an often revolutionary character' and in Delucchi he has a dedicated modern advocate. As an introduction to the works on this album we quote Godowsky himself Inchthe studies' aim is to develop the mechanical, tec

Various Artists - Rajasthani Folk Music / Various [COMPACT DISCS] date 12/12/1995

During the seventeenth century the historia developed in Protestant church music as a genre telling the Easter, Passion, and Christmas stories in the words of Luther's Bible. The Dresden chapel master Heinrich Schütz, who was renowned far and wide already during his lifetime, drew on this form as early as 1623. And when he had his Weihnachtsthistorie published in 1664, it replaced the older historia in the setting by Rogier Michael, Schütz's predecessor as chapel master, though Schütz retained most of Michael's text. As manifold tractates and introductions in printed music of the seventeenth century often indicate, the works to be performed are to be presented in keeping with the circumstances and resources available in the performance location. Accordingly, Schütz also let it be known in his introduction to the Weihnachtshistorie that he Inchleft it open to set these ten concertos in a manner pleasing to them and for the corpus musicum available to them, either entirely anew by themselves in a different way or to have them composed by others.Inch This idea inspired the members of the Polyharmonique ensemble to produce an alternative version of the Weihnachtshistorie that would be practicable for their particular ensemble. The resultant HISTORIA NATIVITATIS strictly follows the formal intention of InchSagittarius SchützInch and was set for a Inchcorpus musicumInch of six voice parts, two violins, curtal, and a colorful basso continuo.