COVIELLO CLASSICS
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Label: COVIELLO 20903 Our Price: $19.00 Quantity in Basket: none SACRED MUSIC FROM THE ERA OF WILHELM VON DER PFALZ-NEUBURG (1658 – 1716) JOHANN HUGO VON WILDERER (1670 – 1724): Mass in G minor for four voices, strings and b.c.; “Quando Jesus adest” from “Modulationi sacrae”, Op. I, 1-10, solo motet for two to four voices, strings and b.c.; “Custodi me”; “Te Deum” for four voices, four trumpets, timpani, bassoon, strings and b.c. CARLO PIETRO GRUA D. Ä. (ca. 1665 – 1726): Cantata for Easter “Alleluja fideles plaudite” for five voices, two trumpes, strings and b.c.; “Laetatus sum”; “Beatus vir” (Psalm 111), Motet for Choir for four voices, strings and b.c. It was a golden age in Düsseldorf – during his nearly 40-year reign, the regent Johann Wilhelm of Palatinate (1658-1716), an art and music enthusiast who was affectionately called "Jan Wellem" by his people, was responsible for a blossoming of Baroque cultural life. The music at his court, which was equally extravagant on both secular and sacred occasions, was performed by the best musicians from the German-speaking world and Italy and could compete with that of the Emperor in Vienna or Louis XIV in Versailles. The Neue Düsseldorfer Hofmusik brings the former splendor to life again. During the festivities celebrating Jan Wellem's 350th birthday in 2008, the ensemble presented numerous concerts with music from his sphere. Now a new CD has been released featuring compositions by two of the most important protagonists of that day – sacred works by Johann Hugo Wilderer and Carlo Luigi Pietro Grua, both of whom were in the service of Jan Wellem for many years, give an authentic impression of the church music heard in Düsseldorf. |
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Label: COVIELLO 21205 Our Price: $19.00 Quantity in Basket: none ARTISTS: Thomas Fritzsche (Viola da Gamba), Shalev Ad-El (Pianoforte/ Harpsichord) |
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Label: COVIELLO 51204 Our Price: $19.00 Quantity in Basket: none ARTISTS: Matei Varga, piano. Laura Buruiana, cello. |
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Label: COVIELLO CLASSICS 20909 Our Price: $19.00 Quantity in Basket: none JOHANN SEBSTIAN BACH (1685 – 1750) – TENORE & TRAVERSO ARIAS FOR TENOR, TRANSVERSE FLUTE & BASSO CONTINUO: Lass, o Fürst der Cherubinen BWV 130/5; Erschüttre dich nur nicht, verzagte Seele BWV 99/3; Duetto III BWV 806; Ach! ich bin ein Kind der Sünden BWV 806; Das Blut, so meine Schuld durchstreicht BWV 78/4; Ach ziehe die Seele mit Seilen der Liebe BWV 96/3; Frohe Hirten, eilt, ach eilet BWV 248/15; Benedictus BWV 232/24; Jesus nimmt die Sünder an BWV 113/5; Wo wird in diesem Jammertale BWV 114/2; Erbarme dich BWV 55/3; Fughetta super Fughetta super: Allein Gott in der Höh’ sei Ehr Manualiter, from Clavierübung part 3, BWV 677; Ermuntre dich: dein Heiland klopft BWV 180/2; Sonata II e-minor for flute an b.c., BWV 1034 Tenor and transverse flute – a combination virtually predestined for giving voice to Baroque themes, particularly the great Johann Sebastian Bach's highly individual style of expressing sacred subjects with thoroughly secular exuberance. In his vocal works, Bach almost always assigns the role of the announcer and interpreter of divine truth to the tenor parts; they are on a par with the great Baroque operas in their technical and musical demands. The versatile transverse flute is the consummate partner, now providing a pastoral idyll with a mellow tone, now supporting heavenwards soaring with virtuoso runs, then spinning out long, expansive cantilenas. Daniel Johannsen and Annie Laflamme achieve this symbiosis on their new Coviello CD and demonstrate that even – and especially – in an intimate ensemble one can sense the tremendous breadth of Bach's musical cosmos. |
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Label: COVIELLO CLASSICS 21013 Our Price: $38.00 Quantity in Basket: none Rameau’s Les Paladins (1760), while subtitled “Comédie lyrique in three acts,” is actually a virtuosic mixture of serious and comic operatic traditions (comédie lyrique, tragédie lyrique, opera buffa, pastorale, morality tale, farcical parody) which, when combined with its much misunderstood ironic allusions, irritated the public at the time of its first performance. Perhaps this complexity is what makes this work especially fascinating today, and available now for the first time on CD, with Konrad Junghänel leading a superb cast of performers. 2-DISC, LIVE RECORDING! |
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Label: COVIELLO CLASSICS 50802 Our Price: $19.00 Quantity in Basket: none LEOS JANACEK (1854 – 1928): String Quartet No. 1 after Tolstoy “The Kreutzer Sonata”; String Quartet No. 2 “Intimate Letters” BELA BARTOK (1881 – 1945): String Quartet No. 4 (1928) Jirí Nemecek, Stepán Jezek, violin; Jirí Pinkas, viola; Stepán Dolezal, cello "You stand behind every note, you, living, forceful, loving ... Oh, it's a work as if carved out of living flesh. I think that I won't write a more profound and a truer one." The passionate lover's declaration of a 73-year-old. Leoš Janácek's second string quartet "Intimate Letters" can scarcely be surpassed in the profundity of its personal expressiveness. He composed his first string quartet a few years earlier and gave it the subtitle "The Kreutzer Sonata," after the novella by Leo Tolstoy. An emotional intensity is steadily built up during the four movements of the quartet. Parallels to the narrative of Tolstoy's tale, which ultimately ends in the catastrophic murder out of jealousy, are clearly recognizable. Critics also spoke of the "fiery glow of human emotions" in Béla Bartók's fourth string quartet. Soon after its establishment at the Academy of Performing Arts in Prague in 1998 Bennewitz Quartet acquired a wide reputation and quickly found its way among the most outstanding chamber music ensembles of Czech musical life. The work of the Quartet was honoured with various awards not only in the Czech Republic, but also in many places abroad. The ensemble regularly participates in various international music festivals and its reputation often attracts prestigious invitations to European venues. |
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