Kwartety nr 2, 3 i 4 z kontrabasem Franza Antona HOFFMEISTERA oraz sonata "Arpeggione" Schuberta w aranżacji na kontrabas w wykonaniu Norberta Duki i towarzyszących mu solistów.
Tracklista:
Album został wydany przez wytwórnię Bis (BISSACD 2390).
Pochodzący z Austrii (spotyka się również określenie że z Niemiec) wybitny kompozytor Wolfgang Amadeus Mozart urodzony w 1756 w Salzburgu, zmarł w 1791 roku w Wiedniu. Prócz komponowania Mozart był również wirtuozem instrumentów klawiszowych, jego twórczość w większości otoczona była głównie austriackim Wiedniem. Należał do „klasyków wiedeńskich” do którego zaliczani są prócz Mozarta, Haydna i Beethovena. Tracklista: 1. Allegro 2. Adagio 3. Rondeau: Allegro 4. Adagio And Allegro In F Minor, K594 5. Andante In F Major, K616 6. Fantasia In F Minor, K608 7. Allegro 8. Adagio 9. Rondeau: Allegretto
Wolfgang Amadeus Mozart could have been proud of the unusual instrumentation of Quintet KV 452, for there had been to date no examples of this combination of piano and wind. At the same time combining piano and wind was by no means an easy compositional task, because of the problems with regard to the relative loudness of the instruments involved. This must also be the reason why this instrumentation was seldom re-used except in works which directly call to mind Mozart’s, such as, for example, the quintets of Beethoven and Danzi. There appears in the Quintet a unique blend of different genres and musical styles that expresses the underlying harmoniemusik through the four wind instruments, is reminiscent of a piano concerto and a Sinfonia concertante with the concertante treatment of the instruments involved. Ludwig van Beethoven took Mozart’s work as a direct model for his Quintett op. 16. This is not only the adoption of the same key and sequence of movements obviously, but extends to structural elements and further details. Yet even more than Mozart’s work, Beethoven’s Quintet is a kind of “chamber concerto”, with the piano and wind instruments in opposition. Both quintets belong inseparably together because no further works with this instrumentation and at such an outstanding level have been written
Lawrence Power, Britain’s acknowledged greatest living viola player, continues his fascinating and acclaimed series of Hindemith’s complete viola music. This second disc features Hindemith’s solo viola sonatas. These works were all written for Hindemith himself to perform, and are thus are of special significance—as near to a personal testament, an intimate soliloquy, as exists in his multifarious and genre-spanning output. The shadow of Bach lies over any composer writing a solo string sonata, and this is clear in the Passacaglia Op 11 No 5 Sonata, where Hindemith’s ultimate model is unmistakably the famous D minor Chaconne from Bach’s second violin partita—but viewed through a post-Brahmsian sense of sonority and architecture that produces a truly contemporary result. This ardent (and arduous) movement, a most impressive compositional feat, is the first example of a form which was to be one of Hindemith’s trademarks throughout his career, and it makes the Sonata something of a personal manifesto of artistic ambition. In later sonatas the severity of Hindemith’s mature style becomes evident—but harnessed, here, to the extraordinary virtuosity of the composer-performer, it gives rise to the most exhilarating and eloquent music.'Power's performances - characterised by his trademark tonal richness and easy, almost nonchalant technical brilliance - leave no doubt about the weighty seriousness of the music, and its significance for Hindemith' (The Guardian)'Paul Hindemith, himself a major viola player, left one of the most important of 20th-century legacies for his own instrument, including the four solo sonatas recorded here. They make a protean collection … Op 25 No 1, written in 1922 when Hindemith was at his most radical, includes a movement marked “Wild. Tonal beauty is of minor importance.” Lawrence Power easily encompasses the many moods. He has a giant sound at his command – he can make the instrument sound as if it’s being played by a man striding with seven league boots – and he makes every moment gripping' (The Irish Times)
1 - 1. Allegro2 - 2. Romance: Andante3 - 3. Menuetto: Allegretto; Trio4 - 4. Rondo: Allegro5 - 1. Adagio maestoso - Allegro con spirito6 - 2. Menuetto: Allegretto7 - 3. Concertante: Andante grazioso8 - 4. Rondeau: Allegro ma non troppo9 - 5. Andantino10 - 6. Menuetto. Trio 1. Trio 2.11 - 7. Finale: Presto
Wolumin dziesiąty z serii muzyki fortepianowej i kameralnej Roberta Schumanna w wykonaniu Erica Le Sage i muzyków z nim związanych.
Utalentowany artysta Johannes Schenck to pochodzący z Holandii muzyk urodzony w 1660 w Amsterdamie zmarł w 1712 roku. Artysta był kompozytorem i wirtuozem instrumentu viola da gamba.
Strauss’s ‘Fantastic variations on a theme of knightly character’, as Don Quixote is subtitled, is one of the composer’s most popular tone poems, principally because of the beautifully drawn central characters of the Don (performed by a solo cellist) and Sancho Panza (viola). These roles are luxuriously cast in this new recording, being taken by Hyperion artists Alban Gerhardt and Lawrence Power. The merry tale of Till Eulenspiegel completes this release.The Gürzenich-Orchester Köln, the very orchestra which gave the premieres of both works in the 1890s, is conducted by Markus Stenz, who has held the position of Principal Conductor since 2003. He visited China with the orchestra in early 2008 and conducted their first ever BBC Prom at the Royal Albert Hall in August 2008. In September 2010 he returned to China with the Gürzenich Orchestra and the Opera of Cologne to conduct the first ever production of Wagner’s ‘Ring’ in Shanghai. Among other posts he is Chief Guest Conductor of the Hallé.