Purcell / Heidelberger - Triosonatas for 2 Violins - COMPACT DISCS [CD]

In his early years, Hindemith confides that he adores Christian Morgenstern's poems, Inchperhaps because he is as crazy as I am, or vice versa.Inch In his InchLustige SinfoniettaInch Hindemith refers more to the atmosphere of Morgenstern, and in no case does he trace the single poems literally in music. Grotesque musical results arise from an intended discrepancy between the sovereignly mastered musical devices and the expressive content of the music.InchRag Time (well-tempered)Inch is the first work in which a stylized piece of InchpopularInch modern dance music was directly related to the music of Bach. Bach was here rediscovered as a composer of InchfunctionalInch music, and Hindemith was only too aware of this rediscovery InchDo you think Bach is turning in his grave? He wouldn't think of it! If Bach were alive today, perhaps he would invent the shimmy or at least take it over into respectable music. Perhaps he might even also take a theme from the 'Well-tempered Klavier' by a composer who might be to him what Bach is to us.InchFirst Recording. Album Tracks 1. Lustige Sinfonietta FÜR Kleines Orchester D-Moll, Op. 4, Mit Gedichten Von Christian Morgenstern 2. Rag Time (Wohltemperiert) FÜR Orchester

The Missa solemnis was Beethoven's reaction to his student Arch-Duke Rudolph, youngest brother to Emperor Franz I of Austria, being appointed Arch-Bishop of Olmütz in 1819. A spontaneous decision to write this music without a direct commission. He planned for the oevre to be completed on the occasion of Rudolph's enthronement on March 19, 1820, but the work proved to be much more difficult for the composer than he had anticipated, and accordingly the premiere did not take place for another four years - on April 7, 1824 in a charity concert of the Philharmonic Society St. Petersburg. It is not easy for the Missa solemnis today. This extraordinary work does not appear in the concert programmes as often as it still did some years ago. InchThe world of shareholder values doesn't care for ChristInch, as Michael Gielen says. He states that this is one of the reasons for the difficulties this work seems to cause audiences today. Michael Gielen, who passed away in March 2019, can be heard in this historical recording from 1985 with the ORF Vienna Radio Symphony Orchestra. Album Tracks 1. Overture to Béatrice Et Bénédict, Opera, H. 138 2. Falstaff, Symphonic Study for Orchestra in C minor, Op. 68-1. Falstaff and Prince Henry - Allegro 3. Falstaff, Symphonic Study for Orchestra in C minor, Op. 68-2. Eastcheap - Gadshill - the Boar's Head, Revelry and Sleep - Allegro Molto 4. Falstaff, Symphonic Study for Orchestra in C minor, Op. 68-Dream - Interlude. Poco Allegretto 5. Falstaff, Symphonic Study for Orchestra in C minor, Op. 68-4. Falstaff's March - the Return Through Gloucstershire. Allegro 6. Falstaff, Symphonic Study for Orchestra in C minor, Op. 68-5. Interlude Gloucestershire. Shallow's Orchard (Allegretto)- the New King - the Hurried Ride to L 7. Falstaff, Symphonic Study for Orchestra in C minor, Op. 68-6. King Henry V's Progress - the Repudiation of F

Under the title I vanni occulti, ensemble Al Ayre Espanol, led by maestro Eduardo Lopez Banzo offers us it's personal vision of Handel's Sonatas Op. 2. The phrase comes from the oratorio Il trionfo del tempo e del disinganno (The Triumph of Time and Dillusion, 1707). The reference to this aria is not anecdotal, because Sonata No. 1 in this Op. 2 contains references to this music- an aspect that, hardly surprisingly, constitutes a characteristic element of the composition technique of the maestro from Halle. Over the course of his life, Handel composed 20 trio sonatas, 12 of which were published in London in two different collections six sonatas were published in 1733 as Op. 2 and another seven printed in 1739 as Op. 5. In a disguised allusion to the vanitas allegory and the fleeting passage of time, Al Ayre Espanol presents, just three years after it's recording of Op. 5, an introspective version of Op. 2, which completes and, at the same time, complements the group's first rendition of Handel's trio sonatas. The two recordings form a single project that offers the listener a passionate and impassioned, southern and Mediterranean version of this exquisite chamber music. This version is marked by the emergence, with particular expressive intensity, of the two aesthetic poles present in the chamber music universe of Handel the most contained lyricism combined with the most explosive fury. Album Tracks 1. Sonata Op. 2 No. 1 in B Major, HWV 386 2. Sonata Op. 2 No. 2 in G minor, HWV 387 3. Sonata Op. 2 No. 3 in B-Flat Major, HWV 388 4. Sonata Op. 2 No. 4 in F Major, HWV 389 5. Sonata Op. 2 No. 5 in G minor, HWV 390 6. Sonata Op. 2 No. 6 in G minor, HWV 391