Britannia Stagione 1 Streaming Gratis

An exact contemporary of Haydn, Franz Ignaz Beck (1734-1809) was a pupil of Stamitz in Mannheim, but lived and worked mainly in Bordeaux, where he was rated highly. Documented information about Beck is meagre and the 3-page introduction is unable to date this Stabat Mater, which is reckoned his masterpiece. It failed initially at Versailles and caused something of a furore, because of his forward looking harmonic modulations; the orchestra sabotaged his instructions for extreme dynamic contrasts. It points towards Berlioz in its originalty and I fully endorse the commentator's claim that Beck is another neglected composer whose music, once heard, demonstrates, yet again, that the accepted canon of 'great' composers, with most of the others cast into oblivion, is misleading and regrettable.

Telemann wrote funeral compositions for many persons. His setting of the Funeral Music for Emperor Charles VII – transmitted solely in the form of a sketch in the composer’s own hand with numerous corrections and writing simplifications and in part without a text – already points to typical features of his late vocal work: a treatment of the vocal parts that is melodically sometimes austere, mostly coloratura-poor, and systematic in its employment of verbal meter, a melodic design sharpened by succinct rhythms and suspensions, and a harmonic structure enriched by pointedly set interdominants. This funerary music is set in the context of the state compositions ordered by the Hamburg city council for the elections, coronations, weddings, and deaths of Holy Roman Emperors of the German Nation.

This 2004 CD from CPO completes la Stagione Frankfurt's recordings of Franz Ignaz Beck's Symphonies, Op. 3, begun in 2000 with the Symphonies Nos. 3-5, released on CPO 999 390-2. Led by Michael Schneider and featuring members of Camerata Köln as section leaders and soloists, this fine ensemble performs on period instruments and renders Beck's works in a vivid and believable eighteenth century style, fully attuned to the various influences that shaped his music. These symphonies clearly developed from ideas promulgated by the Mannheim School, but Beck also absorbed Italian and French mannerisms, so the international flavor of these pieces is noteworthy.

Alessandro Stradella was a remarkable composer and his oratorio San Giovanni Battista is a remarkable work. Both have never fallen into oblivion. As far as the composer is concerned, that is mainly due to his adventurous life, which ended with his being murdered as a result of one of his many love affairs. The oratorio was still known in the 19th century, and it was Stradella's first work performed in the 20th century: in 1949 Maria Callas took the role of Eriodiade la figlia, better known as Salome.

Cinque Profeti is a little known Christmas cantata by Alessandro Scarlatti. It has a power and subtlety redolent of Handel coupled with touches of early Monteverdi. Sung here to great effect by the five soloists with sensitive instrumentalists, they play together to bring the gentle and subtle melodies - surely written to confer a sense of the special nature of the Christmas season - to life. It’s a recording which is sure to please. Opera was not performed in Rome for much of Alessandro Scarlatti's lifetime; that's why his vocal church music mostly comprised oratorios and cantatas, of which he wrote three for the Palazzo Apostolico. Only one survives: to a libretto by Silvio Stampiglia. Cinque Profeti takes the inventive form of a conversation between the five old testament prophets, Daniel, Ezekiel, Isaiah, Jeremiah and Abraham (the cinque profeti) about the birth of Christ – which was about to be celebrated on the occasion of the cantata’s first performance, in 1705 at the Papal Palace in Rome.

Faszinierende stilistische Fundgrube Noch immer bietet die Musikgeschichte Überraschungen und Entdeckungen, die einen bisher fast vergessenen Komponisten plötzlich in den Mittelpunkt rücken: Franz Ignaz Beck ist solch ein Fall. Die Sinfonien dieses „Berlioz des 18. Jahrhunderts“ sind dermaßen verrückt unkonventionell und kühn, dass man auch heute nur noch staunen kann über die „Modernität“ des zeitgenössischen Pariser Publikums, das ihm geradezu zu Füßen lag. Beck entpuppt sich als im wahrsten Sinne des Wortes fortschrittlicher und individueller „Stürmer und Dränger“, der die Ausdrucksmöglichkeiten seiner Zeit weit in die Zukunft öffnet. Von Mannheim aus über Italien fand Beck seinen Weg nach Marseille, wo seine Sinfonien sich zu wahren Zugstücken der berühmten Pariser "Concerts spirituels“ entwickelten und zahlreiche Druckauflagen erlebten.

Michael Schneider ist mit der vorliegenden Produktion des Magnificat von Carl Philipp Emanuel Bach vor allem eine sehr geschmeidige Einspielung gelungen. Der Brückenschlag von der barocken Kontrapunkt-Strenge der Chorfugen zur frühklassischen Kantabilität der Arien gelingt stilsicher - auch die Solisten agieren mit viel Fortune.

CPO's Franz Ignaz Beck: Symphonies Op. 4 Nos. 1-3 is the third installation in period-instrument group La Stagione Frankfurt's outstanding series of recordings of the symphonies of Beck. Beck's symphonies are strikingly advanced for their time; he was already utilizing four-movement structures by 1760, and his symphonies are rich with the violent contrasts and explosive effects associated with the Stürm und Drang phase found in Haydn's middle symphonies and those of Carl Philipp Emanuel Bach. Although all three of these symphonies are in major keys, they are no less aggressive and intense than the minor key symphonies that have attracted so much attention to Beck's work since late in the twentieth century. As to the virtues of this particular disc, the performance, led by Michael Schneider, is lively and enthusiastically played.

Charles Burney, the great English music traveller of the 18th century, was extremely positive about "Herr Kapellmeister Benda". His compositions his "new, masterly, and learned." Mozart, too, never made a secret of his high regard for Georg Anton Benda; he was well aware of how much he was indebted to the creator of the German Singspiel - right up to the "Magic Flute".

Georg Anton Benda (1722-1795), who was attached to the Berlin court initially under Frederick Great, made his mark as an innovative opera composer. However, there’s little if any innovation on display in these harpsichord concertos, which are considerably less developed in style than the contemporaneous work of Mozart or either of the Haydn brothers. Aside from the virtuoso quality of some of the keyboard writing, these concertos display some typical galant mannerisms along with the Baroque tendency to sustain a single mood during a movement, if not throughout the whole piece. But within that constraint there is a lot of variety among these four works.