Sassmanshaus Violine

Karlheinz Stockhausen - In Freundschaft für Violine, Bassklarinette, Viola, Tuba, Violoncello (2014) {Stockhausen-Verlag No. 102}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 280 Mb | MP3 @320 -> 189 Mb
Full Artwork @ 300 dpi (png) -> 48 Mb | 5% repair rar
© 2014 Stockhausen-Verlag | Stockhausen 102
Classical / Avant-Garde / Experimental / 20th Century

Since 1991, a complete edition of all recordings in which Karlheinz Stockhausen has personally participated is being released on compact discs. Each CD in this series is identified by Stockhausen's signature followed by an encircled number. The numbers indicate the general historical order of the works. Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director. He personally mixed down the recordings, mastered them for CDs, wrote the texts and drew the covers.

Buxtehude’s Opus 1 and 2 Sonatas for violin, viola da gamba and harpsichord belie the composer’s common image as austere and sober. They instead delight the listener with what Johann Mattheson, writing in 1739, called their « unfamilar progressions, hidden ornamentation, and ingenious colourations ». It comes as no surprise to learn that the sonatas were a great success when they were first published in Germany in the 1690s, in the midst of the fashion for the ‘stylus fantasticus’ (described by Athanasius Kircher in 1650 as “…especially suited to instruments. It is the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject. It was instituted to display genius, and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues.")

Arcangelo Corelli - Sonate a violino e violone o cimballo op.V
EAC+LOG+CUE | WV: 404 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Harmonia Mundi # HMA 1951307 | Country/Year: France 2000, 1989
Genre: Classical | Style: Baroque, Chamber

"Ensemble 415 is a chamber ensemble devoted largely to the performance of Baroque music on period instruments. The numerical reference in the group's name derives from the pitch used for tuning instruments in the Baroque era. In performing chamber music, Ensemble 415 consists of just a few players, but for larger compositions, the number expands to a minimum of 13 and can reach up to as high as 40 performers. The ensemble's repertory has been broad over the years, taking in many Baroque standards by J.S. Bach, Vivaldi, and Handel, as well as lesser known fare by Muffat and others…"

The renowned artists, violinist Jascha Heifetz and cellist Gregor Piatigorsky, joined forces in 1949 at Chicago's Ravinia Festival. Twelve years later, and now good friends, both artists were in semi-retirement from the concert stage, yet enjoyed their evenings of chamber music with friends. Here they conceived The Heifetz-Piatigorsky Concerts as a way to share their love of chamber music with the public. They aimed to present repertoire not often heard in concert and then record them. The Heifetz-Piatigorsky Concerts continued for several years, with a series of performances in Los Angeles, San Francisco and New York that included a range of distinguished guest artists. The last of these concerts was in 1974 when Heifetz ended his performing career.