Wolkenstein / Ensemble Fur Fruhe Musik Augsburg - Knight & Minnesinger - COMPACT DISCS [CD]

The proverbial crazy years between the two world wars produced a Parisian institution that still exists today The bar InchLe Bœuf sur le toit,Inch since 1922 a meeting place for artists and intellectuals with a pronounced penchant for the unconventional. If you went there, you could be sure to meet many of those who had rank and name in artistic circles. There was also a great deal of musical openness and curiosity. Tangos, chamber music, swing, classical piano music, chansons... in the InchBœufInch one sounded beside the other completely equally. The InchFratelliniInch, three clowns who had made it to world fame, were also among the style-defining regulars. Trio Lézard chose them as the namesakes of it's fascinating compilation of very different works of that time, which make the artistic atmosphere of departure in Paris tangible and at the same time present the since established instrumentation of the InchTrio d'anchesInch in it's variety of sound colors.

Johann Sebastian Bach certainly became acquainted with the sound of the oboe at an early age through his father Ambrosius, who was employed as a town piper in Eisenach. The fact that Johann Sebastian recognised and appreciated the expressive power of the oboe at a young age is evident in many of his early compositions, cantatas and concertos. However, there are neither solo nor trio sonatas involving the oboe among his surviving works. This CD fills this gap with a series of chamber music arrangements. Xenia Loffler, solo oboist at the Akademie fur Alte Musik Berlin, presents two flute sonatas with obbligato harpsichord on her instrument, the first of which (BWV 1030b) was probably once even written for the oboe. The two organ trio sonatas in trio arrangement with oboe, violin or viola da gamba and basso continuno elicit new musical colours from the original works. Finally, the three chorale preludes and a chaconna are also very distinctive, which - in various chamber music settings - now allow the original organ works to shine vividly in wonderful tone colours.

The 18th century was a time when deportment and noble behavior were essential for people of quality. Dance formed a major part of all social ceremonies and theatrical presentations. Nowhere was dancing more highly regarded than in France, where ballets de cour assumed great importance, and the Lullian tragedie en musique had it's counterpart in the ballet en action of the opera-ballet. The Fantaisie (1729) and Plaisirs champetres (1734) of Jean-Fiery Rebel, reflecting the differing personalities of their prima ballerinas Camargo and Salle, have been called Inchchoreographic symphoniesInch. Bucolic pastimes were a favorite subject for these courtly entertainments Rameau's Inchheroic pastoralInch Daphnis et Égle (1753) is represented by a large number of movements which illustrate it's rich orchestration and expressive depth. InchSigiswald Kuijken's Petite Bande play with brisk rhythmicality, clean-cut precision and an engaging stylishness, at the same time not ignoring dynamic contrast. Howard Crook rises to the pathos of Acis's air in Lully's Inchheroic pastoralInch, but is heard at his best in ornate fast-moving airs by Rameau.Inch (Gramophone)