Vokalensemble Novantiqua Bern Kesselberg Ensemble - Einsiedler Vesper - COMPACT DISCS [CD]

What made Mariss Jansons different from many of his colleagues? What was the key to his success? And most importantly, after all his artistic experiences, what brought about his maturity and artistic completion In addition to his own willpower and his work ethic, his extraordinary musical life was determined by many factors; they included an open-minded and supportive environment, and an orchestra of outstanding musicians. One important aspect was certainly the fact that Jansons despised any kind of routine. Even when rehearsing Beethoven's Eroica for the umpteenth time, he was always inspired anew by the work - discovering the as yet undiscovered. Routine would have prevented any change in his perspective, and hampered his enthusiasm. Moreover there was Jansons' meticulous and analytical approach to his work, which started long before he mounted the podium. He began by reading biographical information on the composer, scholarly information on the work, texts about it's era and it's milieu - everything he could lay his hands on. During rehearsals, he then passed on his profound knowledge and his resulting interpretive approach to the musicians. Jansons considered it his task, as early as the first rehearsal, to bring all the musicians up to the same level of knowledge. He wanted them to understand his thought processes, to recognise the explained concept behind the work and, ideally, to be able to feel the same way during their performance as he did on the podium. In the concerts, this synchronous implementation by one hundred musicians of the musical content of a work and of the concept inherent in it duly brought about that incredible pull that almost all of Janson's interpretations exert (ed) on his listeners. In addition to this collective aspect of everyone pulling together, Jansons also worked on the sound that is genuine for each composer. In this regard, for i

The motto of this new of Schubert's Symphonies Nos. 3 & 7 in E-major might be InchOn to new horizons!Inch In general, this phrase has positive connotations, and it offers an apt description for the sparkling innovative force driving forward Symphony No. 3 in D-major. Here, Schubert is still in a state of experimentation characterized by youthful energy, having overcome the teething troubles which plagued the previous Symphonies Nos. 1 and 2. Does the phrase, however, also apply to the completion of the score fragment of Symphony No. 7 in E-major? One has to admit that the answer is yes and no. On the one hand, the slow introduction of the Seventh in E-major sounds like something perfectly new (and something newly perfect), on the other, there may have been reasons why Schubert, who impatiently began composing straight into the sketched-out score, left the symphony a mere skeleton. Even in a version completed by another hand, this work is worth exploring, as it builds a bridge from the carefree Symphony No. 6 to Schubert's late works, the Unfinished Symphony and the Great Symphony in C-major. Two departures for new horizons - and they are two different horizons - are what we seek to document with this recording.

The Vokalakademie Berlin under Frank Markowitsch the debut recording of Scarlatti's seldom-recorded Vespers for the Blessed Virgin. The five-voice works contained therein were scattered across many different European libraries, but were reunited in the 1840s and restored in this edition in 2004. Glittering counterpoint and sumptuous harmony blend to showcase the Italian master's impressive compositional prowess.