Violinist Arabella Steinbacher and pianist Peter von Wienhardt unite here on Violino Latino for truly a spectacular performance. Steinbacher's playing is, in a word, sexy. Though of German descent, her playing is filled with all of the hot-blooded passion, rhythmic vitality, and take-no-prisoners risk taking necessary to make these works truly memorable. Heard here on a new instrument (or rather, a much older instrument the 1736 "Muntz" Stradivarius) than what was on her previous recordings, the sound she achieves is quite memorable.
Die Hamburger Jazzszene ihre Vielfalt und Lebendigkeit bringen so manchen Musikliebhaber zum Schwärmen. Nach dem Zweiten Weltkrieg fanden sich in der Stadt an der Elbe hunderte spielhungriger Bands zusammen, für die bald auch unzählige Auftrittsorte entstanden. Der Cotton Club oder Dennis Swing Club wer kennt sie nicht? Für die Fans des Hamburger Jazz und alle, die mehr darüber erfahren möchten, entstand diese umfangreiche Kollektion. In Wort, Bild und Ton wird der Werdegang einer einmaligen Szene lebendig: von der Zeit, als die Hafenstadt in Trümmern lag, bis hin zum Sound von heute. Sie halten ein Set in Händen, das aus 18 CDs und einem 300 Seiten starken Buch besteht.
Membra Jesu Nostri (The Limbs of our Lord Jesus) is the single largest and most compelling of the 110 or so sacred vocal works left us by Dutch-German master Dietrich Buxtehude. Buxtehude is better known for his organ music and is rightfully acknowledged as a formative influence on Johann Sebastian Bach. However, Buxtehude's vocal output is slightly larger than that for organ, and he was a key player in the refinement of the German sacred concerto into what we now call the sacred cantata, which he and his wife inherited from its creator and his predecessor, Franz Tunder, in the town of Lübeck. In the years following Buxtehude's death in 1707, German composers of all kinds were gainfully employed writing cantatas in the thousands, Georg Philipp Telemann produced nearly 2,000 of them on his own.