Debiut płytowy zespołu The Odyssean Ensemble poświęcony jest muzyce sakralnej renesansowego angielskiego kompozytora Williama Byrda. Zespół specjalizuje się w muzyce angielskiej XVI wieku. Muzycy uważają, że był to jeden z najbardziej znaczących okresów w historii muzyki.
By departing in virtually every respect from the conventional model of the baroque trio sonata, Bach’s six Sonatas for harpsichord and violin let both instruments participate equally in the unfolding of the thematic-motivic material. They establish a genuine dialog between the two performers as Well and, thereby, actually pave the way for the classic duo sonata. The dialog between these two top musicians is equel and enchanting and the intimate nature of this recording draws the listener immediately in the music. Bach’s violin sonatas, more properly called Sonatas for harpsichord and violin, represent a closed set of six works and resemble in this way a number of similar instrumental work groups consisting of half a dozen pieces of the same kind. Take for example the six Sonatas and partitas for unaccompanied violin, the six suites for cello solo, the six English Suites, or the six Brandenburg Concertos—to mention only a few. The concept Bach pursues in these work groups, however, does not aim at a cycle in the sense of a specific sequence in which the pieces are to be performed; it rather follows the principle of systematically exploring the manifold musical possibilities that can be realized in one and the same category of composition. Hence, the single works happen to form a whole, that is, a more or less closed set. If published it would constitute an “opus”, as Bach called the printed edition of his six keyboard partitas of 1731. The most important feature of Bach’s violin Sonatas consisted in their innovative scoring, an absolute novelty at the time of their origin and in Many Ways the prototype, on which the classical violin-piano sonata of a Mozart and Beethoven would be based. Even though the traditional Elements of the Baroque trio sonata For Two treble instruments and basso continuo can still be found in a number of movements or sections of movements where the violin and the right hand of the harpsichord form a duo structure over a bass fundament, the prevailing texture of the harpsichord part transcends the trio convention. In the six Sonatas BWV 1014-19, the composer Bach single-handedly created a transformation of the genre of violin sonata.
Tracklista:
Tracklista: CD 1 1. Brno Philharmonic Orchestra, Jílek, Frantisek, Kopp, Miroslav, Kratochvílová, Anna, Novák, Richard, Kühn Female Chorus, Sbormistr, Kantiléna Children's Choir, Martinu, Bohuslav - Spalícek H 214 C (Ballett) 2. Opening03:34 3. Play at the doll (1. Akt)02:06 4. Play at the prisoner's base00:57 5. Play at the little wolf01:23 6. Play at the little cock and hen03:30 7. In front of the hud (Fairy tale of puss on boots)01:33 8. Dance with the hare01:32 9. Grilling the hare00:41 10. Arrival of the King and his suite02:44 11. At the magician's castle02:26 12. Dance of the lion01:17 13. Dance of the sparrow-hawk00:36 14. Dance of the little mouse01:26 15. Transformation00:25 16. Dance of the tom-cat00:44 17. Arrival of the Kind and his suite00:32 18. Dance of the prima donna00:25 19. Dance of the mouse and tom-cat00:16 20. Juggler's performance00:57 21. Dance of the acrobats00:37 22. Finale of the chorus00:52 23. Market-place and the cobbler's workshop (2. Akt) (Fairy tale of the cobbler and the death)02:06 24. The Cobbler prepares for his journey abroad00:38 25. The market and dance of the horse01:11 26. Dance of the butterfly00:44 27. Dance of the bumble-bee01:56 28. Change of scene01:14 29. Black town01:51 30. Arrival of the Princess01:03 31. Arrival of the giant00:28 32. Fight of the butterfly with the giant02:08 33. Departure of the cobbler00:35 34. The miracoulous bag03:57 35. Wanderings of the cobbler01:11 36. At the enchanted castle00:53 37. Dance of death01:26 38. Wanderings of the cobbler02:18 39. At the gate of hell02:41 40. At the gate of heaven03:17 41. Dance of the death01:38 42. Death escorts the cobblers to heaven01:28 43. Opening (3. Akt)02:23 44. Legend of St. Dorothea08:47 45. Carrying out death03:40 46. Play at the Queen03:06 CD 2 1. Cinderella at home (Fairy tale of Cinderella)01:20 2. Ball at the castle06:09 3. Village green00:53 4. Play at the golden gate01:04 5. Dance of the ladies01:32 6. Dance of the country girls01:10 7. Valse00:53 8. Wedding02:39 9. Polka02:43 10. Belohlávek, Jirí, Horácek, Pavel, Kopp, Miroslav, Marková, Jirina, Prague Symphony Orchestra, Kühn Mixed Chorus, Martinu, Bohuslav - The Spectre's bride (Ballade für Sopran, Tenor, Bass, gemischten Chor und Orchester)27:17 11. Cejková, Milada, Kühn Mixed Chorus, Kühn, Pavel, Martinu, Bohuslav - The Romance of the Dandelions (Kantate für Sopran und gemischten Chor)13:11 12. Bogunia, Stanislav, Messiereur, Petr, Kühn Fenale Chorus, Kühn, Pavel, Martinu, Bohuslav - The Primerose (5 Duette)13:11 13. Nr. 1: A new hat (Poco allegro)00:52 14. Nr. 2: Behind our farmyard (Poco andante)01:08 15. Nr. 3: Complaint (Poco andante)02:14 16. Nr. 4: Painted (Poco allegro)01:27 17. Nr. 5: Midday (Allegro)00:54
Msza oraz inne kompozycje kościelne skomponowane przez czeskiego kompozytora działającego na dworze królów saskich w Dreźnie - Jana Dismasa Zelenkę. Wykonawcy to zespół Musica Florea pod dyrekcją Marka Štryncla.
Msza Jana Sebastiana Bacha będąca oryginalną wersją wielkiej mszy h-moll. Msza na płycie była podstawa do skomponowania bardziej znanej wersji. Utwór w wykonaniou zespołu wokalno-instrumentalnego Pygmalion.
French composer Robert de Visée (c. 1655-1732) was known as a theorbo and guitar player. Around 1680, de Visée became a chamber musician for Louis XIV. The theorbo pieces for this recording are taken from the Saizenay manuscript compiled in 1699 by the French amateur lutenist Jean Etienne Vaudry, Seigneur de Saizenay. Not much is known today about Jean-Baptiste Barrière (1707-1747), an exceptional early 18th century French cellist and composer. Published between 1733 and 1739, Barrière’s sonatas for the cello and continuo are innovative and represent a significant technical challenge for the player. As a specialist in a variety of early plucked instruments, Esteban La Rotta has extensive experience with the repertoire of late middle ages as well as with the early Baroque Italian and French repertoire for solo theorbo. Active in the Montreal early music scene, Baroque cellist and viola da gamba player Jivko Georgiev belongs to the new generation of musicians who specialize in the historically-informed performance of music from the 16th, 17th and 18th centuries. Viola da gamba player, Margaret Little has been invited to play with many early music groups in Montreal and abroad as a gambist and baroque violist and has toured in many countries. Canadian harpsichordist Katelyn Clark is a leading specialist in the performance of historical repertoire and experimental music for early keyboards.
CD1 1. Novelletten, Op. 21: I. Markiert und kräftig 2. Novelletten, Op. 21: II. Äußerst rash und mit Bravour 3. Novelletten, Op. 21: III. Leicht und mit Humor 4. Novelletten, Op. 21: IV. Ballmäßig - Sehr munter 5. Novelletten, Op. 21: V. Rauschend und festlich 6. Novelletten, Op. 21: VI. Sehr lebhaft mit vielem Humor 7. Novelletten, Op. 21: VII. Äußerst rasch 8. Novelletten, Op. 21: VIII. Sehr Lebhaft 9. Vier märsche, Op. 76: I. Mit größter Energie 10. Vier märsche, Op. 76: II. Sehr kräftig 11. Vier märsche, Op. 76: III. Lager-Szene, Sehr mäßig 12. Vier märsche, Op. 76: IV. Mit Kraft und Feuer CD2 1. Klaviersonate en Sol Mineur, Op. 22: I. So rasch wie möglich 2. Klaviersonate en Sol Mineur, Op. 22: II. Andantino, Getragen 3. Klaviersonate en Sol Mineur, Op. 22: III. Scherzo, Sehr rasch und markiert 4. Klaviersonate en Sol Mineur, Op. 22: IV. Rondo, Presto 5. Klaviersonate en Sol Mineur, Op. 22: Anhang: Urspüngliches Finale - Presto, Passionato 6. Nachtstücke, Op. 23: I. Mehr langsam, oft zurückhaltend 7. Nachtstücke, Op. 23: II. Markirt und lebhaft 8. Nachtstücke, Op. 23: III. Mit grosser Lebhaftigkeit 9. Nachtstücke, Op. 23: IV. Einfach 10. Drei Phantasiestücke, Op. 111: I. Sehr rasch, mit leidenschaftlichem Vortrag 11. Drei Phantasiestücke, Op. 111: II. Ziemlich langsam 12. Drei Phantasiestücke, Op. 111: III. Kräftig und sehr markirt 13. Gesänge der Frühe, Op. 133: I. Im ruhingen Tempo 14. Gesänge der Frühe, Op. 133: II. Belebt, nicht zu rasch 15. Gesänge der Frühe, Op. 133: III. Lebhaft 16. Gesänge der Frühe, Op. 133: IV. Bewegt 17. Gesänge der Frühe, Op. 133: V. Im Anfange ruhiges, im Verlauf bewegtes Tempo
Wybór pieśni Jana Sebastiana Bacha zawierający najpiękniejsze z jego dzieł. Tutaj, pieśni zwykle wykonywane przez głos męski – śpiewa alcistka Catherine King z towarzyszeniem Norweskiej. Cześć z tych kompozycji, jak się przypuszcza, Bach pisał z myślą o swojej żonie – Annie Magdalenie – również znakomitej alcistce.
Tracklista: Franz Schubert (1797-1828) Fantazja C-dur "Wanderer" op.15 1. Allegro con fuoco ma non troppo 2. Adagio 3. Presto 4. Allegro Kinga Firlej-Kubica - fortepian Wojciech Kubica - fortepian