Eyck / Debus / Ebert - Cantata Per Flauto - COMPACT DISCS [CD]

Georg Philipp Telemann (1681-1767) was renowned for his modern zeitgeist, which enabled him to embrace the evolving musical tastes of his time and the preferences of his audience. His compositional output encompasses influences and musical fashions from many European counties, melting them into the so-called mixed style, the goût réuni. This mix of styles is an especially prominent feature in his XII Fantasie per il Flauto senza Basso (c. 1733, Hamburg). These Fantasias for an unaccompanied flute juxtapose German counterpoint with Italian virtuosity, French and English dance movements with Polish folk infused dances. Perhaps this is what Telemann's choice of title, 'Fantasie', refers to a fanciful, imaginative, daring, and fantastic line-up of musical languages. This invites the idea of exploring the continuing relevance of these ingenious pieces by adding the 21st century to the mosaic of compositional styles. On the occasion of Telemann's 250th anniversary of death in 2017 the City Music Foundation and Tabea Debus have commissioned twelve contemporary pieces based on each of the Fantasias. All of these freshly-penned pieces are reflections on thematic, harmonic or rhythmic material taken from the Fantasias, a (re-) interpretation of musical ideas, a reply to Telemann's musical thoughts. This recording aims not only at documenting the ever expanding repertoire for solo recorder, but also at showcasing so-far Inchunheard ofInch ways of listening to seemingly 'oldInch music. It strives to reveal the continuous relevance of Telemann's music in general and his twelve Fantasias for solo flute in particular.

Clerambault / Rignol / Alard - Cantates Francoises [COMPACT DISCS] date 01/26/2018

Following his acclaimed Linn debut, One Byrde in Hande, Richard Egarr turns to the music of Jan Pieterszoon Sweelinck for his new recording of fantasias, toccatas and variations. As well as being a notable composer Sweelinck was a skilled improviser and keyboard virtuoso whose knowledge of the stylistic innovations of his English contemporaries, such as Byrd and Morley, was evident in his work. Egarr performs on a harpsichord designed after Ruckers (1638); it's strict ¼-comma meantone tuning highlights the amazing chromaticism present in Sweelinck's music. This is particularly evident in the famous Fantasia Crommatica, a highly improvisatory, boundary-pushing work that showcases many of Sweelinck's innovations in keyboard composition. Within his lifetime Sweelinck was most celebrated for his variations on the popular tune Mein junges Leben hat ein Endt; Egarr relishes the intricate counterpoint which builds from the simple theme into a masterpiece of inexhaustible invention and limitless variety. A selection of fantasias and toccatas complete the programme in which Egarr's passion for the harpsichord and Sweelinck's music are enthusiastically conveyed.