im Moto

2009 Marks The 111th Anniversary Of Deutsche Grammophon. Over 11 Decades, The Label's Philosophy Has Always Been 'The Greatest Recordings By The Greatest Artists In The World' And Now They Showcase This With This Incredible 55 Cd Box Set. This Unique Collection Forms Dg's Major Release In Its 111th Anniversary Celebrations. The Limited Edition Box Set Gathers Together Many Landmark Recordings, From The Past To The Present. Most Of Them Appear Complete, As Originally Programmed, In Their Original Cover Art And Several Include Additional Material.

‘Induuchlen’, destined surely for cult status, finds Heinz Holliger the creative composer drawing inspiration from arcane Swiss sources, setting the poetry of Anna Maria Bacher who writes in the endangered idiom of “Pummattertisch”, and verse by the late Albert Streich, who wrote in Brienz-German. As conductor Holliger draws committed performances from a cast of gifted chamber musicians and singers Sylvia Nopper and Kai Wessel. The results are intriguing, mysterious and strangely beautiful.

Die zweite Folge unserer Quartett-Einspielung mit dem Schuppanzigh-Quartett präsentiert ausgewählte Werke von Ries, die die große Bedeutung des Komponisten unterstreichen! Ries zeigt sich erneut als Meister und im Nachhinein als wegweisender Komponist, dessen Entdeckung sich lohnt. Zeit seines Lebens hat sich der Beethoven-Schüler Ries mit der Kompositionen von Streichquartetten beschäftigt, aber erst 1816 trat er mit seinem drei Werke umfassenden op. 70 erstmals an die Öffentlichkeit, wovon das hier eingespielte Quartett op. 70, 2 das am stärksten an der Tradition orientierte in klassizistisch-heiterem Tonfall ist.

The fact that Beethoven was nearly thirty before he completed his First Symphony is indicative of his great respect for the genre. His careful preparations included a year of regular lessons with Haydn, the ‘father of the symphony’, as well as the composing of piano sonatas and piano trios that exhibit distinctively symphonic elements. Meanwhile he mastered the art of writing for orchestra by composing a number of concertos. As we know, these preparations paid off and the First Symphony has been part of the repertoire ever since its première in 1800. Already some years later Beethoven sketched some ideas for an orchestral work based on pastoral themes, but again he took his time in bringing them to fruition.

On her 2005 album for Endeavour Classics, cellist Denise Djokic explores currents of folk songs in works by composers as diverse as Ralph Vaughan Williams, Robert Schumann, Leos Janácek, and Gaspar Cassadò. The unifying plan is apparent in her choice of Vaughan Williams' pastorally flavored Six Studies in English Folk Song (1926), Schumann's rustic Fünf Stücke im Volkston (1849), and Janácek's sweet Fairy Tale (1910). Less obvious, though, are the folk song elements in Cassadò's fairly abstract Suite for solo cello (ca. 1950); and the inclusion of Igor Stravinsky's brilliant Suite Italienne (1932) – adapted from the ballet Pulcinella, and based on themes by Pergolesi and his eighteenth century contemporaries – seems outside Djokic's survey, except for the use of secondhand material.