爱而为一 S.h.e

Henry Dutilleux - Musique de Chambre (1994)
Contemporary | 2CDs | FLAC noLog noCue | Easy CD-DA | 294 Mb| + Booklet PDF 300 Dpi | 24 Mb
Erato Recordings | RS

I was plannig to upload theses a bit sooner… but I had to prepare for auditions and exams. Sorry for the cover I couldn't find any better-looking one…
Anyway behold:
Dutilleux's Chamber Music, with Piano Works by Genevieve Joy and Dutilleux himself on Figures de resonances.
Followed by major works 3 strophes sur le nom de S A C H E R by David Geringas and the string quartet Ainsi la nuit with Quatuor Sine Nomine .
Plus various pieces for baritone/piano and Les Citations for oboe, harpsichord, double bass and percussion.
Nearly the complete chamber works… What are you waiting for ? Go get it !

C.P.E. Bach’s two surviving oboe concertos both began as keyboard concertos that were later transcribed for oboe; their intended performer was probably Johann Christian Fischer, a virtuoso based in Potsdam in the mid 1760s. This would perhaps account for their technical and immensely challenging solo lines, which suggest that, like his father, Carl Philipp Emmanuel revelled in pushing instruments and performers to their limits.

The Easter Oratorio of J.S. Bach has been paired here with one of the most vibrant compositions by his son Carl Philipp Emanuel: This recording includes the first, sacred part of C.P. E. Bach’s Dankhymne der Freundschaft (1785), a work which was forgotten for more than two hundred years. Once again Frieder Bernius gives these two works a stellar performance.

John McCabe's recording of Herbert Howells' clavichord music is a chance to hear some twentieth century music inspired by C.P.E. Bach's favorite instrument. While other composers were re-discovering the harpsichord, Howells' love for early English music and the instruments of two modern clavichord makers led to the composition of the three sets of miniatures: Lambert's Clavichord and Howells' Clavichord Books One and Two. Howells dedicated every piece in each set to a friend, and in the last two sets he even sometimes attempted to put something of the dedicatee into the music, whether it was a description of that person's character or an imitation of a fellow composer's style. Howells' titles, and in many instances the style of the piece, is a reference to the keyboard compositions of the English virginalists of the late sixteenth/early seventeenth centuries. On the one hand, "Lambert's Fireside" and "Goff's Fireside," named after Herbert Lambert and Thomas Goff, the two clavichord makers, are almost completely idiomatic of virginal music. On the other, the meandering tonality of "Rubbra's Soliloquy" and "E.B.'s Fanfarando" marks them as twentieth century compositions.