Udo Wachtveitl - 12 Hoerbiografien Grosser Komponisten Von Joerg - COMPACT DISCS [CD]

You don't have to like every composer - but there's no getting around J. S. Bach. The successful series of BR-KLASSIK audio biographies is now devoted to this central star of the musical firmament. His sparsely documented life leaves plenty of room for the imagination in works of fiction, but the authentic sources - well narrated - are just as captivating in every way. InchIf ever a tone artist brought the hidden secrets of harmony into the most artistic execution, it was undoubtedly our Bach.Inch (from the Necrology published by C.P.E. Bach in 1754). Son of a town piper, organist, concertmaster, Kapellmeister, then Thomaskantor in Leipzig for 27 years. Married twice, 20 children. Active in Thuringia and Saxony. When compared with the spectacular biography of Handel (BR-KLASSIK 900911), this one seems rather short on excitement - yet Bach's biography also provides a fascinating insight into an age that is very distant and foreign to us today. An age of proud, aspiring cities, magnificent courts, simple-minded town councillors, music-loving but unpredictable princes, church music that was already somewhat antiquated, and fashionable instrumental music from France and Italy. Bach moves confidently in the field of tension created by these opposing worlds - while creating music that surpasses that of all his contemporaries in terms of it's artistry, depth and expressiveness. In Leipzig, Bach intends to raise church music to a completely new level and place it on a par with theology; he wants it to be multi-layered and speak directly to the faithful. Only a few years later, however, this initial enthusiasm wanes. Headstrong and uncompromising by nature, he now becomes restless and dissatisfied due to his frustrating battles with the petty town authorities. He composes a lot of secular music once again, seeks contact with the Dresden court, and finally retreats into his ver

Haydn's Farewell Symphony was written in 1772, occasioned by the prolonged stay of Prince Nikolaus Esterházy at his Hungarian palace. Some of the musicians had been compelled to leave their wives behind in Eisenstadt when the Prince took up his summer residence. The Symphony, in the final Adagio of which the musicians leave one by one, was intended as a delicate hint that the time had come to return to Eisenstadt, although some contemporary sources suggest that the subject of complaint was the possible reduction of the musical establishment. The Symphony, in the key of F sharp minor, is scored for the usual Esterháza forces of pairs of oboes and horns, bassoon and strings. The first movement opens with the principal theme, descending arpeggios played by the first violins against sustained wind chords and the urgent syncopation of the second violins. Sonata form is treated with considerable freedom, the second subject making it's D major appearance in the development and the following recapitulation inviting an unusual further development of the principal theme. The A major second movement allows muted violins to announce the main theme, the wind having very little to add during the course of the movement. An F sharp major Minuet follows, with a Trio that allows the French horns momentary prominence. This leads to a finale that modulates to introduce the unexpected slow conclusion, in which player after player leaves the , until only two muted violins are left. Symphony No.101 belongs to the group of six symphonies written for Haydn's second visit to London in 1794. It was played there at a concert on 3rd March, followed by operatic songs, a performance by Viotti of a violin concerto and by Fiorillo of a Chaconne. Again, as with most of the London symphonies, there is a slow introduction, this time in D minor, an eerie preface to a bright D major movement from which t

Handel's journey from Halle via Hamburg, Rome and Hanover to London is the story of an unprecedented ascent from the auxiliary organist to the child of the High Aristocracy, from the courtly conductor to the free-lancing artist in the most exciting cultural metropolis of Europe. At the age of 26, he was a European celebrity, claiming to be a leading opera composer in the hard-fought music market of London, through his activities for the royal house and his church music, which also played a political role in the Anglican state religion the king was the head of the church and The glorification of God served at the same time to represent it's temporal power. The dramaturgically directed effect of Handel's mighty splendor could and cannot escape. In Jörg Handsteins audiobiography InchThe Power of MusicInch in nine chapters and on a total of 3 albums you can hear about the life of Handel, his most famous and most important compositions are heard, which are closely interwoven with the very exciting biography. The numerous musical examples are from well-known interpreters, choirs and orchestras - all of them important baroque specialists. A lively, music-rich portrait of Handel and his time - strictly according to the original sources, but always alive and narrated and inspired.