Sistite Sidera Ensemble - Cantatas - COMPACT DISCS [CD]

The libretto for La Romanziera e l'Uomo Nero was inspired by two plays performed in Paris in the 1820s L'Homme Noir by Eugène Scribe and Jean-Henry Dupin in 1820 and Le Coiffeur et le Perruquier, also written by Scribe in collaboration with Mazères and Saint Laurent, in 1824. By basing the opera on these plays the composer created a divertissement of the Italian querelle genre, both classical and romantic. The libretto is a satyr of the sentimental-romantic daydreams which were so fashionable at that time and takes places in the poetic world of the young Antonina, who dreams of an ideal life with an non-existent Inchuomo neroInch, the mystery man. La Romanziera e l'Uomo Nero is an InchambiguousInch and complex work it is ambiguous because it lacks a clear and decisive characterization in a comedic sense; that is to say, a clearly defined plot, complete with all the typical ingredients of a traditional opera buffa, and a precise outline and structure in this direction, from both a dramaturgical and musical point of view. It is complex because it is full of recollections and inventions, which are introduced and developed predominantly through a contrapuntal approach (all scenes invariably call for more than one soloist).

Czerny / Quinn - Organ Music [COMPACT DISCS] date 02/10/2017

The fifth concert in our series of InchMusic from Wolfenbüttel CastleInch features performances and recordings of multifaceted cantatas by Georg Caspar Schürmann. Like no other musician before him, Schürmann exercised a comprehensive influence on the Wolfenbüttel court music world during his more than fifty years of service there. During these decades he produced an impressively extensive and richly varied oeuvre almost thirty operas, numerous table compositions, a Passion, and various church cantatas for large ensembles are documented. In his Christmas cantata InchSiehe, eine Jungfrau ist schwangerInch we experience Schürmann as a composer of gripping ensemble compositions with finely chiseled fugue subjects. For many years the anonymous New Year's cantata InchNimm das Opfer unsrer HertzenInch was also ascribed to Schürmann. Although Georg Österreich is now assumed to have been it's composer, the opening aria in particular with it's highly effective postponement of the resolution of dissonances displays a clear stylistic closeness to Schürmann's opera arias from this time.