Analog Algorithm Christoph

Demofoonte dates from the early Milan years of Christoph Willibald Gluck (1714-1787), long before the radical reform operas for which he is most famous and his break with opera seria and the librettos of Pietro Metastasio. Gluck arrived in the northern Italian city in 1737 and was mentored there by composer Giovanni Battista Sammartini. Though Sammartini primarily composed symphonies and music for the church, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal.

A contemporary of Mozart, Johann Christoph Vogel also died at an early age. Forward looking in approach, this composer of a tormented disposition, sought to extend the operatic revolution undertaken by Gluck in the 1770s. First performed in 1786 at the Opéra de Paris, 'La Toison d’or' reveals that search for an expressive art which demanded an all-embracing involvement from the performers and supplied the music with a sometimes unbearable intensity for audiences of the time.

To write a review about Christoph Spendel is not easy. Christoph is a very active musician, who has already played in more than 46 albums, which are listed at his website www.spendel.com. Inspecting these cds the problem is to find the right start . Outlining a rough sketch we have to decide between the straight ahead jazzer and the contemporary/smooth jazz musician. But this frame is really too rough, if one listens to his diverse albums. Take for his example his album "Jazz Meets Classic" with classic and jazz elements, his album "The Art Of Piano Solo", on which he is mixing jazz and hip hop incredients or his album "Electric Bolero", declared as smooth-chill out-lounge-world music.

The ensemble of the Bachakademie, the Gaechinger Cantorey, plays under the direction of Hans-Christoph Rademann. For this purpose it comprises the instrumentalists and up to four vocalists per voice, including the soloists, all specialists in their field, as Bach himself wished it. This is a vision that only now can be fulfilled in its ideal form. To this day the music will inspire its audience to devotion, challenge them to reflect and make them glad. It addresses questions of faith and comes to terms with particular situations of human life. The Internationale Bachakademie Stuttgart is performing all these cantatas in chronological order exactly 300 years later. The performances follow the latest state of Bach research documented in the new 2022 catalogue of Bach’s works BWV3.

Johann Sebastian Bach arrived in Leipzig on May 22, 1723. Just eight days later, on May 30, Bach presented his first cantata. On every Sunday and feast day outside the periods of Advent and Lent preceding Christmas and Easter respectively, it was the task of the Thomaskantor to direct such pieces in the churches. Bach composed the cantatas himself. This was not one of his duties. It testifies all the more to the passion and the enthusiasm with which he went about his new assignment. Of the cantatas performed up to Trinity Sunday, 1724, some sixety have survived: the completely new works are supplemented by pieces from earlier stages in Bach's career, notably at Mühlhausen and Weimar.

The Internationale Bachakademie Stuttgart is performing all these cantatas in chronological order exactly 300 years later. The 23 concerts in all are taking place in and around Stuttgart; the refined live recordings are being released in this CD series on the Hanssler Classic label. The performances follow the latest state of Bach research documented in the new 2022 catalogue of Bach's works BWV3. The ensemble of the Bachakademie, the Gaechinger Cantorey, plays under the direction of Hans-Christoph Rademann. For this purpose it comprises the instrumentalists and up to four vocalists per voice, including the soloists, all specialists in their field, as Bach himself wished it. This is a vision that only now can be fulfilled in its ideal form. To this day the music will inspire its audience to devotion, challenge them to reflect and make them glad. It addresses questions of faith and comes to terms with particular situations of human life.

Johann Sebastian Bach arrived in Leipzig on May 22, 1723. After peaceful years in the small residence town of Cöthen he was moving to the busy mercantile and university city, forsaking the office of Capellmeister at the princely court for the post of Cantor, as he was to call it. Just eight days later, on May 30, Bach presented his first cantata. On every Sunday and feast day outside the periods of Advent and Lent preceding Christmas and Easter respectively, it was the task of the Thomaskantor to direct such pieces in the churches of St. Nicolai and St. Thomas in turn.

Christoph von Dohnányi served as conductor of the famed Cleveland Orchestra from 1984 to 2002 and the rapport between conductor and orchestra produced some of the finest orchestral playing in this country. This recording of the Shostakovich Symphony No. 10 paired with Witold Lutosl'awski's homage to Bartok, the Musique funèbre offer the reason for the magic of this combination of ensemble and conductor. The Shostakovich is rich in sonorities and in first desk playing and von Dohnányi's control over these mighty forces makes this an immensely intense recording. The sound produced by Cleveland (captured by Decca Engineers) is huge but never less than beautiful.

The ensemble of the Bachakademie, the Gaechinger Cantorey, plays under the direction of Hans-Christoph Rademann. For this purpose it comprises the instrumentalists and up to four vocalists per voice, including the soloists, all specialists in their field, as Bach himself wished it. This is a vision that only now can be fulfilled in it's ideal form. To this day the music will inspire it's audience to devotion, challenge them to reflect and make them glad. It addresses questions of faith and comes to terms with particular situations of human life.The Internationale Bachakademie Stuttgart is performing all these cantatas in chronological order exactly 300 years later. The performances follow the latest state of Bach research documented in the new 2022 catalogue of Bach's works BWV3.