…Wer meint, im Singer/Songwriter-Genre gäbe es nichts Neues mehr zu hören, sollte sich dieser Scheibe widmen. Das Album ist in allen Belangen eine Offenbarung und zeitlos obendrein. Bei allen tollen Songs hat sich ganz besonders "Dreh den Spieß um" in mein Herz gebohrt. Katja Maria Werkers Werk ist die Vollendung ihrer Träume und gleichzeitig ein Start in eine andere, sehr hohe musikalische Sphäre.
Joseph Marx was an Austrian composer with Italian grandparents. He spent a lot of his youth staying in Italy and was inspired by the beautiful idyllic surroundings. Nature and its seasonal cycle continued to be an inspiration in his music. A selection of these seasonal inspired pieces is present on this disc, including the recording premiere of Feste im Herbst, a monumental work of great maturity which was inspired by his favourite season Autumn and was the composers last work.
Donatoni makes a speciality of chamber pieces in which the players pursue and provoke each other. The sparks invariably fly, but they don't always illuminate larger perspectives. Etwas ruhiger im Ausdruck is the earliest work included. As the title leads one to expect, it's more restrained than the rest, though characteristic of all five pieces to the extent that fragmented, fugitive activity takes place within clearly defined limits. Even this is not young man's music—Donatoni was born in 1927—but it's subtle and fascinating in its inventive way with soft sonontles.
Throughout his life Telemann collaborated with good poets who prepared sacred texts for him, usually to be set as annual cycles for the church year. This practice enabled him to design each of his annual cycles, as a rule consisting of seventy-two cantatas for each Sunday and feast day, on the basis of a unique overall idea. Annual cycles such as Geistliches Singen und Spielen, the »Annual Cycle in the Oratorio Style« and »Musicalisches Lob Gottes« not only lend expression to the artistic program and ideas of one of the most important sacred music composers of the eighteenth century but also document his deep religiosity.
"…Im Klang…," the composition originally written for accordion, makes its recorded debut here in two versions. They are separated by "Klavierstuck '87," performed by the truly gifted Marianne Schroeder. The reason for the two performances is a mechanical one: When Stiebler was going over the score with Teodoro Anzellotti, Anzellotti noted that the accordion (though certainly capable of playing everything) was not capable of making all of it audible – hence the work for organ as well…
Traditional german christmas songs from the Ore Mountains area.