Fame Der Weg Zum Ruhm

They are relicts of a bygone era: the traditional marches of the former Prussian and Austrian regiments, and yet a large number of these works can still be found in the standard repertoire of the German Bundeswehr, for example. This "classical stock" of pieces of music goes back to the time of Frederick the Great, Ludwig van Beethoven contributed his York March, and legendary military bandmasters such as Johann Gottlieb Piefke or Carl Teike wrote classics such as "Prussia's Gloria" or the "Königgrätzer Marsch". A selection of the 25 best-known Prussian and Austrian traditional marches can be heard on this new album in their original instrumentation. A piece of music history all about "music with history".

Haydn’s Missa in tempore belli (Mass in Time of War) ‒ a classical work for our times. Indeed, his faith was never of the bleak, incessantly penitential kind, but cheerful, reconciled and trusting, and it was in this spirit that he composed his sacred works, too. (Georg August Griesinger on Joseph Haydn, 1810).

One of the least explored areas of Beethoven’s compositions is the miscellaneous sequence of canons, early exercises in counterpoint, mature jokes and jeux d’esprit that he wrote over many years. He composed a two-part canon for the composer Hummel in 1816 and in 1823 one for four voices (written in a tavern) for Count Lichnowsky. He also wrote birthday and Christmas greetings for colleagues and friends, and songs that punned on recipients’ names or poked fun at them.

Naples was in the mid-18th century the third largest European city and one of the greatest centres of political, commercial and cultural influence. The conservatoires there were founded by religious orders and were originally intended as charitable institutions for the accommodation and education of orphans, but soon became real centres of musical education and performance; many leading composers were pupils and teachers there and so contributed to the founding of the Neapolitan School.

The Ensemble Hofkapelle München under the direction of expert Rüdiger Lotter presents the first excellent and historically informed recording of the opera "Der Stein der Weisen oder: die Zauberinsel". The opera is regarded as the forerunner of W. A. Mozart's celebrated masterpiece "The Magic Flute", with a libretto by Emanuel Schikaneder, who would later also write the libretto for "The Magic Flute".

The Ensemble Hofkapelle München under the direction of expert Rüdiger Lotter presents the first excellent and historically informed recording of the opera "Der Stein der Weisen oder: die Zauberinsel". The opera is regarded as the forerunner of W. A. Mozart's celebrated masterpiece "The Magic Flute", with a libretto by Emanuel Schikaneder, who would later also write the libretto for "The Magic Flute".

The Ensemble Hofkapelle München under the direction of expert Rüdiger Lotter presents the first excellent and historically informed recording of the opera "Der Stein der Weisen oder: die Zauberinsel". The opera is regarded as the forerunner of W. A. Mozart's celebrated masterpiece "The Magic Flute", with a libretto by Emanuel Schikaneder, who would later also write the libretto for "The Magic Flute".

Apparently Couperin's music is extraordinarily difficult to perform; artists heard here are recognized as masters of the repertory. Mieneke van der Velden plays a 1617 viola da gamba as well as another instrument from 1768; Glen Wilson plays a contemporary harpsichord copied after a French instrument dating to the mid-18th century. They produce a rich sound which doubtless will appeal strongly to those interested in this repertory. On this recording they are larger than life, placed primarily in front of the listener but with much reflected sound as well.

For once, a recitative is the focus of a cantata. In BWV 47, the opening chorus, two arias, and the final chorale are grouped around the central statement "Mankind is dirt, stench, earth and ashes," which can hardly be surpassed in clarity. It takes a soloist with a powerful voice and experience of life to get the message across credibly!

Johann Sebastian Bach appears to have had a lifelong interest in chamber music. He was the son of a musician and the father of a large family: playing together was part of everyday life for the Bach family.