Pandolfis Consort - Lamentare - COMPACT DISCS [CD]

Gilbert Grosse Boymann - Works for 4 & 5 Part Chorus Strings & B.C. [COMPACT DISCS] date 05/23/1995

Peter Lichtenthal, born Wolfgang Mayer in 1779 in Bratislava, was not only a physician, but also a composer and author, including of two Mozart biographies, to which high authenticity can be attributed due to his acquaintance with Constanze Mozart and his two sons Carl and Franz. As a great admirer of the genius Mozart, he created numerous transcriptions of Mozart's works. On it's first CD of a two-part series by the title InchDoktor Lichtenthals MOZARTInch, which is now released, the Pandolfis Consort presents piano works by W. A. Mozart in arrangements by Lichtenthal. On period instruments, the Consort takes over the function of the entire orchestra as a string quartet in the Concerto for Piano and Orchestra No. 20 in D minor, K. 466, featuring the Romanian pianist Aurelia Visovan on the likewise historic fortepiano. The Fantasy for Piano No. 4 in C minor, K. 475, and the Piano Sonata No. 14 in C minor, K. 457, also included on the CD, were extended by Peter Lichtenthal with a cello part, which is interpreted by Günter Schagerl.

Vivaldi, one of the most-performed composers these days, had lain dormant for nearly two centuries; his works were considered lost. All that changed when a stash of manuscripts was found in the library of a monastery in Piedmont/Italy. Vivaldi's style is so unmistakable, that we can tell his authorship after just a few bars of music. We're more likely to mix up phrases from differing works of his than we are to mistake any of his music for that of a contemporary composer. Vivaldi took the text from Psalm 126, which belongs to the Pilgrim Songs in the Book of Psalms and are meant to prepare believers for their meeting with God. The text which is ascribed to King Solomon speaks of the greatness of God without which all human toil remains fruitless. With it's contemplative, touching, even glum sound InchStabat MaterInch (RV 621) is one of the most popular works by Vivaldi. The first four tercets portray the Sorrowful Mother. The next four contemplate suffering as such. With the ninth tercet we arrive at the apex, the music thus calls to mind the image of Christ suffering from the lashes. Only the last stanza, set in a pastoral 12/8 rhythm, and a long Amen brings us any consolation.