Siegbert Rampe - Organ Works - COMPACT DISCS [CD]

After Schubert and Brahms, Jacques Ibert is at the centre of the third production Peter Gülke has recorded with his Brandenburg Symphony Orchestra for MDG. It has become much more than a InchstopoverInch Gülke presents the special, very individual qualities of this music between impressionism and neo-classicism, between romanticism and modernism, between virtuosity and sound painting on this Super Audio album with apparent matter-of-factness that testifies to deep knowledge and great respect. It is difficult to categorize Ibert as belonging to a fixed style. He was of course in contact with the composers of the InchGroupe des SixInch, who were around the same age, and of course influences by Ravel and Debussy cannot be ignored. InchEscalesInch(stopovers), allow Ibert to visit three very different places, each with it's own coloring, as if on a journey, including the call of the muezzin and hints of Zingharese. In our country, Ibert's music is grossly underestimated. At most, the flute concerto is on the programme now and then, and Gülke's expert compilation does not pass it by. Flutist Helen Dabringhaus, whom the composer hardly ever allowed time to breathe, audibly enjoys the demanding solo part, and in the polytonal layers of the second movement, the young virtuoso knows how to rub herself wonderfully against the accompanying strings. Outside musical stimuli are not uncommon in French music, and Ibert also draws inspiration from them, very clearly in the InchSuite symphoniqueInch, rather enigmatically in the InchSymphonie marineInch. The InchLouisville ConcertInch even strikes American notes. Gülke, who due to his age only wanted to take over the Brandenburg Symphony Orchestra on a transitional basis, forms these poetic works into magical sound paintings in what is now his fourth season. A stroke of luck for the orchestra - and of course for the audience!

Album Tracks 1. Veni, Dilecte Mi, SWV274 2. Anima Mea Liquefacta Est, SWV263 3. Adjuro Vos, Filiae Hierusalem, SWV264 4. Exultavit Cor Meum in Domino, SWV258 5. O Quam Tu Pulchra Es, SWV265 6. Veni de Libano, SWV266 7. In Lectulo Per Noctes, SWV272 8. Invenerunt Me Custodes, SWV273 9. Venite Ad Me, SWV261 10. Fili Mi, Absalon, SWV269 1. Buccinate in Neomenia Tuba, SWV275 2. Jubilate Deo Omnis Terra, SWV262 3. Paratum Cor Meum, SWV257 4. In Te, Domine, Speravi, SWV259 5. Cantabo Domino in Vita Mea, SWV260 6. Jubilate Deo in Chordis Et Organo, SWV276 7. Benedicam Dominum in Omni Tempore, SWV267 8. Exquisivi Dominum, SWV268 9. Attendite, Popule Meus, SWV270 10. Domine, Labia Mea Aperies, SWV271

Arturs Maskats (b. 1957) is an award-winning Latvian composer who has been at the center of Latvian cultural life for decades, especially in the field of theater and opera. Besides operas, incidental music and film music, his catalogue of works includes several orchestral works and concertos, songs and choral works. Maskats' compositions are tonal, often romantic and cinematic, and marked by deep atmosphere. One of Maskats' latest creations in the field orchestral music is his Accordion Concerto (2021) here performed by his fellow Latvian, star-accordionist Ksenija Sidorova, one of the brightest names in classical music today. His Tango (2002) for symphony orchestra is Maskats' internationally most well-known and one of the most often performed orchestral pieces of Latvian music. Album Tracks 1. Tango 2. Accordion Concerto, What the Wind Told Over the Sea~I. Andante, misterioso - 6. Cantus Diatonicus