Trippie Redd Mansion Musik

In this premiere recording, René Jacobs leads a cast of outstanding singers and musicians in a grand production of Georg Philipp Telemann's 'Orpheus.' The manuscripts of this operatic drama were only recently rediscovered and because of some missing material, the version presented here cleverly interpolates other music by Telemann (and his contemporaries) to complete the story.

Bach's second son didn't write a great many symphonies, but all of them are good, and well worth hearing. As a composer, CPE has fallen between the cracks of musical history. Neither baroque nor fully classical, he's seen as a "transitional" figure, which is, musically speaking, like telling someone that they are "a little pregnant." The implication is that his style is somehow unformed or impure, when in truth it's both highly developed and utterly personal. As you can clearly hear in these excellent performances, CPE had his own things to say and a unique way to say them, and the fact that he wasn't Haydn or Mozart doesn't make his music one bit less interesting or enjoyable.

Symphonies & Concertos in HM Gold series is the second entry among a pair of excellent C.P.E. Bach discs by the Akademie für Alte Musik, Berlin, recorded in the late '90s. To be fair, of the two this is probably the lesser release, although that's not by a margin of very much; one wishes Raphael Alpermann's harpsichord was a little louder in the Concerto in C major H. 654/Wq. 20, but that's about the only inequity between this and the other disc. This concerto appears along with the "first" cello concerto and three additional symphonies; Akademie für Alte Musik, Berlin, handles all of these works with an unbridled, no-holds-barred exposition of this Bach's sense of aggression and otherness, yet with crisp, precise playing that remains exceptional in its energy and drive.

Gottfried August Homilius, now considered the greatest cantor of Dresden's Kreuzchor, was, for a while a student of Johann Sebastian Bach. A composer of music for the church, and a great organist, he was described, in 1790, as 'one of the greatest and worthiest organists alive.' While Homilius's name is found on only one score for this passion, stylistic criteria make it almost certain that he wrote this music. This St. Matthew Passion closely resembles Bach's passions - it contains choral movements, recitatives and arias with orchestral accompaniment, and tells the story of the Passion in the same way as was done in churches all over Germany in the 18th century. However, Homilius uses many more short sections with recitative (a total of 89 pieces altogether - most less than one minute long), but his arias are generally much longer than those in Bach's passions and cantatas.

After the pan-global success of her disc of Vivaldi arias, mezzo Cecilia Bartoli is clearly a woman on a mission to rescue the neglected operatic output of otherwise well-known composers. Of the eight arias by Gluck on this disc, six have never been recorded before–and it's likely that the operas they have been taken from will be unknown to all but the most obsessive buffs. Unfortunately, even Bartoli can't quite make a case for all the material here: it sometimes lapses into the excessive passage-work and routine arpeggios which are especially obvious in the first track.

It was when the young Haydn was appointed Kapellmeister to Prince Nikolaus Esterházy that he composed his Missa Cellensis, a work of vast proportions, whose popularity is demonstrated by the many surviving copies. In this interpretation full of vivid contrasts, the RIAS Kammerchor and the Akademie für Alte Musik confirm their extraordinary ability to reveal every subtlety of a composition that possesses almost operatic energy.

The Berlin public of the mid-Eighteenth Century was fascinated by the ‘original genius’ of C. P. E. Bach and never tired of listening to his concertos. These works call for a talented soloist capable of mastering the multiple facets of an original and finely worked musical texture: a challenge taken up with panache (and on a period instrument) by the oboist Xenia Löffler, surrounded by her distinguished colleagues of the Akademie für Alte Musik Berlin.

The Akademie für Alte Musik Berlin continues its PENTATONE Mozart series with the composer’s 29th and 33rd symphonies. These works are coupled with his ravishingly beautiful Clarinet Concerto, performed by Ernst Schlader in the original edition for basset clarinet. Schlader, a specialist in historical instruments, has written an essay on the basset clarinet for the album booklet that includes a rare historical image showing the original shape of the instrument used in the years after the concerto’s premiere. The first release of this series was longlisted for the Preis der deutschen Schallplattenkritik.

With the belief that “No opera loses so much as Die Zauberflöte if one strips it of its drama and that means, above all, the spoken dialogue,” René Jacobs’ agenda in Die Zauberflöte is to rehabilitate the reputation of Schikaneder’s libretto. At the heart of his reassesment is the idea that Schikaneder and Mozart’s Masonic message is deeper and more carefully presented than we have thought. He suggests that seemingly silly or inconsistent aspects of the story are put there as intentional false paths as the audience, not only the prince and the bird catcher, undergoes its own trials of initiation. The opera’s symbolism and structure are explained in convincing detail in an essay in the booklet by the Egyptologist and Mozart researcher Jan Assman.

Johann Sebastian Bach and the Akademie für Alte Musik Berlin go back a long way together. This recording, made with the welcome participation of Isabelle Faust and Antoine Tamestit, follows the complete violin concertos (2019), which left a lasting impression. Ever since a memorable first recording in the late 1990s, the Berlin musicians have returned regularly to the inexhaustible source of the Brandenburgs. They have achieved a sovereign mastery of what is not a single work, but six. In their hands, they become successive episodes of a piece of musical theater in love with dance, transparent sound and freedom.