Historiska Ogonblick From Nr.4, 2015 Pdf

For their new album, Concerto Köln have tracked down yet another gem of the Baroque era. Their journey takes us to England, to the composer Charles Avison and his arrangements of Domenico Scarlatti’s harpsichord sonatas, which represents a milestone in British music history – beautifully interpreted here by one of the leading ensembles in the field of historical performance practice. Charles Avison is not exactly that what one would call a “popular composer”. He hardly plays any role whatsoever in the musical scene, the Bielefelder Katalog has documented only a handful of performances of his works and he surfaces rather sporadically within the expanse of musicology. It is basically due to historical performance practice that attention is once again being drawn to his works. And indeed: it is worth it!

Dutch cellist Mayke Rademakers performing the suites for cello solo by Bach, alternated with cello works by Gubaidulina, Britten, Kurtág, Penderecki and Schnittke. According to performer Mayke Rademakers, an authentic listening experience is, despite what we would all like to believe, simply not possible. For that reason she has strived to make a connection with today's world, by pairing the suites with works by contemporary composers, setting them in an unusual and sharp perspective.

The very best of Deutsche Grammophon’s piano recordings on 40 CDs, limited edition. From Aimard (The Art of Fugue) to Zimerman (his prize-winning Debussy Preludes on 1 CD for the first time), comprising all the great names – Argerich, Barenboim, Michelangeli, Gilels, Haskil, Horowitz, Kempff, Kissin, Pogorelich, Pollini, Richter; and the new names – Blechacz, Grimaud, Lang Lang, Trifonov, Yuja Wang, Yundi – this is the ideal set to form the cornerstone of a piano collection.

Jos van Immerseel is one of the leading representatives of historical performance practice today. Alongside his great commitment to Renaissance and Baroque music, he has consistently broadened his view of the classical and romantic repertoire as well.

Born in 1681, Georg Philip Telemann would inevitably suffer from comparisons with one of the towering figures of western Classical music, born just four years later: Johann Sebastian Bach. Although after his death Telemann may have been constantly cast into the Leipzig composers shadow, during his lifetime he was exalted as Bachs equal and was considered one of the greatest German composers of the early 18th century. Certainly, the size of his output compares very favourably with Bachs; Telemann was also a highly productive composer, writing over 3,000 works during his lifetime (although not all have survived). Despite his popularity falling away in the 19th century, today Telemann is almost as highly regarded as he was in his own lifetime ¬ the large number of new recordings on this edition pays tribute to the flurry of interest that has grown around the composer Telemann over the past 30 years.