Renner Ensemble Vitzthum Huber Pritschet Schmitt - Standchen - COMPACT DISCS [CD]

Since 2017, violinist Emmanuelle Dauvin plays whilst accompanying herself on the organ pedalboard - recalling the musical technique of Nicolaus Bruhns at the end of the seventeenth century. This is OVNI Baroque a spectacular yet forgotten musical practice.Alongside soprano Heather Newhouse, she created Cantata a 2 a concert programme of arias and instrumental pieces, for soprano, violin and bass, by J.S. Bach, presented here in an innovative arrangement. The arias bring a consolidating balance to the sonata trio in which the text unfolds from the vocal line. From the purity of the trio by two, emerges a bounteous expression.

Many people associate BavariaInch with the Zugspitze, the Königssee, the Isar meadows and the vineyards on the Main, Munich with the Oktoberfest and the football stars of FC Bayern, Regensburg on the Danube with the Stone Bridge and the Domspatzen. Neuschwanstein and other castles of the fairytale king characterise the landscape, as do the Wieskirche and other pilgrimage churches in the foothills of the Alps. Cars from two famous Bavarian car brands can be seen on all the roads. Music enthusiasts from all over the world find enjoyment at the Bayreuth Festival, the Munich Opera Festival and the Tage Alter Musik in Regensburg. The Derblecken at the Nockherberg and the Franconian Fastnacht are broadcast live every year in Bavarian or Franconian dialect on the TV channels. And in cosy beer gardens Weißwürste (white sausages) with pretzels, Leberkäs (liver cheese) and Bavarian beer are served. Many of these well-known Bavarian facets can also be found in the programme compilation of this CD. But some of the selected pieces also look beyond the cliché and show new, previously unknown aspects of Bavarian cultural diversity.Inch

Mason's work is the result of an intensive exchange with the musicians of ENSEMBLE RECHERCHE. He leaves the Well-Tempered Sound to let floating states arise and disappear. At the tonal center is the piano, with an enraptured mood that appears like a flicker above the sounds of the ensemble. Mason works four-dimensionally with space and time. Sounds move along their paths like meteors, fade away and dive into infinity. He composes sounds, noises and spaces in the course of time. At the end of the piece, the cello is left all alone, lost in an ecstatic semi-improvisation, while the other instruments wistfully penetrate into the distance.