4 Ristoranti Sesta Stagione Streaming Ita

Friedrich Abel, geboren 1723 in Köthen, gestorben 1787 in London hat seinen Platz der Musikgeschichte bisher stets als in zweiter Linie genannte Persönlichkeit gefunden. Er wirkt als »Ergänzungskraft«, wenn es gilt, das Bild in Bach- oder Mozart-Biographien abzurunden. Dabei gehört er zu Gruppe der ganz wichtigen Übergangsmusiker vom Barock zu Klassik, denen cpo schon seit geraumer Zeit große Aufmerksamkeit widmet und ohne deren »Pionierarbeit« so manche spätere klassische Großtat kaum möglich gewesen wäre.

An exact contemporary of Haydn, Franz Ignaz Beck (1734-1809) was a pupil of Stamitz in Mannheim, but lived and worked mainly in Bordeaux, where he was rated highly. Documented information about Beck is meagre and the 3-page introduction is unable to date this Stabat Mater, which is reckoned his masterpiece. It failed initially at Versailles and caused something of a furore, because of his forward looking harmonic modulations; the orchestra sabotaged his instructions for extreme dynamic contrasts. It points towards Berlioz in its originalty and I fully endorse the commentator's claim that Beck is another neglected composer whose music, once heard, demonstrates, yet again, that the accepted canon of 'great' composers, with most of the others cast into oblivion, is misleading and regrettable.

Alessandro Stradella was a remarkable composer and his oratorio San Giovanni Battista is a remarkable work. Both have never fallen into oblivion. As far as the composer is concerned, that is mainly due to his adventurous life, which ended with his being murdered as a result of one of his many love affairs. The oratorio was still known in the 19th century, and it was Stradella's first work performed in the 20th century: in 1949 Maria Callas took the role of Eriodiade la figlia, better known as Salome.

Charles Burney described Johann Adolf Hasse, his contemporary, as ‘the most natural, elegant and judicious composer of vocal music, as well as the most voluminous now alive…’ His output includes 63 operas, but only two are currently recorded, yet inexplicably this is the second Piramo, albeit markedly livelier and with the bonus of its two ballet suites. Schneider’s perceptive booklet note comments that too readily we find such composers immature – ‘almost like Mozart’, rather than excitingly expressive and individual. Here even the subtitle Intermezzo tragico is novel, implying a fusion of two traditions, comic and serious. The music is equally unconventional. Recitatives slip seamlessly into and out of arias, creating a strong sense of dramatic continuity.

Telemann wrote funeral compositions for many persons. His setting of the Funeral Music for Emperor Charles VII – transmitted solely in the form of a sketch in the composer’s own hand with numerous corrections and writing simplifications and in part without a text – already points to typical features of his late vocal work: a treatment of the vocal parts that is melodically sometimes austere, mostly coloratura-poor, and systematic in its employment of verbal meter, a melodic design sharpened by succinct rhythms and suspensions, and a harmonic structure enriched by pointedly set interdominants. This funerary music is set in the context of the state compositions ordered by the Hamburg city council for the elections, coronations, weddings, and deaths of Holy Roman Emperors of the German Nation.

Carl Friedrich Abel is one of a number of highly interesting musicians from the second half of the eighteenth century. Their works were unfortunately soon eclipsed by the fame of Viennese classics, but the German specialist label cpo has been doing a marvelous job of making some of them available again in excellent productions on period instruments. Abel was the son of a member of Johann Sebastian Bach's orchestra at Köthen; as a young man he became viola da gamba player and cellist at Dresden under Hasse; and in the turbulences of the Seven Years War he fled via France to London, where he soon teamed up with Bach's youngest son Johann Christian to organise a series of concerts which became known all over Europe. Abel played viola da gamba, cello and harpsichord at these concerts, and it appears that a good deal of music from his own compositional workshop was performed there (symphonies, flute concertos).