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Richard Strauss is considered to be both the last ‘Classical’ composer and a champion of modernity. His wide-ranging output stands as a monument to one of the most successful and influential composers of the 20th century. His spirited and compact First Horn Concerto was the product of his teenage years, while the Second Horn Concerto came six decades later, echoing the expressively lyrical and dynamic character of its youthful predecessor. Both of these concertos share the chamber orchestra character of the Four Last Songs in its arrangement by Eberhard Kloke. The Andante in C major and Alphorn in E flat major, originally composed with piano accompaniment, are heard here in arrangements for chamber orchestra by Lars Opfermann.

Richard Strauss is considered to be both the last ‘Classical’ composer and a champion of modernity. His wide-ranging output stands as a monument to one of the most successful and influential composers of the 20th century. His spirited and compact First Horn Concerto was the product of his teenage years, while the Second Horn Concerto came six decades later, echoing the expressively lyrical and dynamic character of its youthful predecessor. Both of these concertos share the chamber orchestra character of the Four Last Songs in its arrangement by Eberhard Kloke. The Andante in C major and Alphorn in E flat major, originally composed with piano accompaniment, are heard here in arrangements for chamber orchestra by Lars Opfermann.

The six cantatas come alive in Fasolis' no nonsense readings that are swift and energetic but never lose sight of the big picture. The famous opening sequence of the First Cantata sets the tone for proceedings which move along quite merrily; particular praise is here due to the Swiss radio Chorus who are infectious in their full throated and high spirited singing.

“ Vulnerasti cor meum ” literally translates as “You have wounded my heart” – which is not only the most classic of amorous metaphors, but also one of the most celebrated to be featured in the Song of Songs . In this, perhaps the greatest love poem in the history of literature, the two central characters of the story exchange promises of love that are pervaded by sensual metaphors and passionate similes verging on the erotic, in a style that lies on the border between the sacred and the secular.

A much needed filling of a gap in the Brilliant Classics discography: the world famous Maria Vespers of Monteverdi! The Maria Vespers contain a collection of liturgical chants and psalms, for a wide variety of instruments, from the festive opening with trumpets to intimate arias for solo voice. In everything one hears the great dramatic genius of Monteverdi, the “first” opera composer in history. Excellent performance, on historical instruments, by conductor Diego Fasolis, and his “Barocchisti”, and a great line of vocal soloists, among whom are the well known Marco Beasley and Marinella Pennicchi.

Georg Forsters fünfteilige Edition der ,Frischen Teutschen Liedlein' ist die wohl bedeutendste von Liedern in deutscher Sprache aus Sammlung der Hochrenaissance. Da mutet es schon seltsam an, dass bisher nur ganz wenige Einzelsätze aus dieser umfassenden Sammlung auf CD veröffentlicht wurden - eine CD, die sich ausschließlich dieser Sammlung widmet, liegt hier überhaupt zum ersten Mal vor.

Georg Forsters fünfteilige Edition der ,Frischen Teutschen Liedlein' ist die wohl bedeutendste von Liedern in deutscher Sprache aus Sammlung der Hochrenaissance. Da mutet es schon seltsam an, dass bisher nur ganz wenige Einzelsätze aus dieser umfassenden Sammlung auf CD veröffentlicht wurden - eine CD, die sich ausschließlich dieser Sammlung widmet, liegt hier überhaupt zum ersten Mal vor.