Tracklista:1. R. Strauss: Die Nacht2. R. Strauss: Das Geheimnis3. R. Strauss: Morgen!4. Fauré: Après un rêve5. Fauré: Clair de lune6. Fauré: Les Berceaux7. Mendelssohn: Nachtlied8. Mendelssohn: Neue Liebe op.19/49. Mendelssohn: Schlafloser Augen Leuchte10. Mendelssohn: Hexenlied11. Chausson: Amour d'Antan12. Chausson: Dans la forêt du charme et de l'enchantement
Felix Mendelssohn-Bartholdy – niemiecki kompozytor urodzony 3 lutego 1809 r. w Hamburgu. Przedstawiciel epoki romantyzmu. Wychował się w zamożnej żydowskiej rodzinie. Mendelssohn był cudownym dzieckiem, odziedziczył talent po uzdolnionej muzycznie matce. Rozpoczął naukę gry na fortepianie w wieku sześciu lat. Uczył się kompozycji w Berlinie. Mendelssohn od najmłodszych lat próbował sam komponować utwory. Pierwszą symfonię napisał w wieku 15 lat, dwa lata później – uwerturę koncertową do „Snu nocy letniej” Szekspira. W 1829 r. 20-letni kompozytor poprowadził wykonanie „Pasji według św. Mateusza” Bacha. Mendelssohn, który inspirował się twórczością Bacha, sprawił, że stała się ona znana szerszemu gronu odbiorców. W 1830 skomponował uwerturę koncertową „Hebrydy”. Pisał także muzykę kameralną. Kompozytor był autorem sławnego marszu weselnego. Mendelssohn zmarł w wieku 38 lat, 4 listopada 1847 r. w Lipsku po chorobie, do której przyczyniła się śmierć jego siostry oraz pogarszające się stany depresyjne. Największe dzieła Felixa Mendelssohna to: Symfonie: Szkocka, Włoska, Reformacyjna, Lobgesang; Uwertury: „Sen nocy letniej”, „Hebrydy”, „Piękna Meluzyna”; Muzyka sceniczna: „Sen nocy letniej”, „Pierwsza noc Walpurgii”.
Tracklista: Johann Sebastian Bach 1. Partita in B-flat Major, BWV 825 2. Notebooks for Anna Magdalena Bach: 3. No. 5 Menuet 4. No. 7 Menuet 5. No. 22 Musette 6. No. 18 Marche 7. No. 19 Polonaise 8. Prelude and Fugue in C-sharp Minor, BWV 849 Felix Mendelssohn 9. Lieder ohne Worte Op. 30, No. 2 in B-flat Minor 10. Lieder ohne Worte Op. 67, No. 3 in B-flat Major 11. Lieder ohne Worte Op. 30, No. 5 D Major 12. 6 Gesänge, Op. 19a - Neue Liebe 13. 6 Lieder, Op. 71 - Nachtlied 14. Lieder ohne Worte Op. 102, No. 5 in A Major
Giovanni Bottesini cieszył się reputacją „Paganiniego kontrabasu”, prócz tego był uznanym dyrygentem w Europie. Często lubił wykonywać wariacje, dwie z nich "Lucia di Lammermoor" i "Beatrice di Tenda", są na najwyższym poziomie i wirtuozerskim "tour de force", gdzie zawiłe kontrabasowe figurację naśladują "koloraturę" wokalisty z tego dnia. Również w tym wokalnym stylu nagrany został utwór "Une bouche aimee" z kontrabasowym obligato. Tracklista: Grande allegro di concerto Alla Mendelssohn 1. Fantasia on Donizetti's Lucia di Lammermoor 2. Elegy No. 2 in E minor Romanza drammatica 3. Bolero 4. Une bouche aimee 5. Capriccio bravura 6. Elegy No. 1 in D major 7. Fantasia on Bellini's Beatrice di Tenda 8. Grande allegro di concerto Alla Mendelssohn
Among the many child prodigies that have made their mark in the history of music, Felix Mendelssohn is, along with Mozart, possibly the most impressive. By the age of fifteen he had already composed 13 string symphonies and a number of concertos, and his first ‘proper’ symphony was not far away. He wasn’t just highly productive, however – his contemporaries already recognized the high quality of the works he produced: ‘Felix Mendelssohn composes with the greatest conceivable ease and with inextinguishable abundance of spirit, the most difficult pieces…’ wrote a German reviewer in 1822. Both pieces recorded here were composed with Mendelssohn’s friend and violin teacher, Eduard Ritz, in mind. Felix himself premièred the Double Concerto in D minor with Ritz in May 1823 at one of the famous Sunday concerts at the Mendelssohn residence in Berlin, but except for a second outing later the same year, the work remained unperformed until 1957. Here the piano part – in turn quick-silvery and lyrical – is defended by the Russian-born pianist Polina Leschenko, making her first appearance on BIS. She is partnered by Richard Tognetti, artistic director and leader of the Australian Chamber Orchestra. Tognetti also leads seven of his colleagues from the ACO in the String Octet in E flat major, which Mendelssohn composed as a birthday present for Eduard Ritz. Written two years after the concerto, the octet only received its first public performance in 1836 but quickly became immensely popular. Although it belongs to the genre of chamber music, Mendelssohn himself underlined that it was to be played ‘in symphonic orchestral style by all the instruments’. He also explored the orchestral potential of the work at a performance of his Symphony No.1 in 1829, replacing the symphony’s minuet with an expanded arrangement of the Octet’s scherzo.
Tracklista:1. I. Allegro Vivace - Friedrich Schneider2. II. Andante Cantabile - Friedrich Schneider3. III. Menuetto, Allegro Con Fuoco - Friedrich Schneider4. IV. Finale. Allegro Vivace - Friedrich Schneider5. I. Allegro Molto - Felix Mendelssohn Bartholdy6. II. Andante - Felix Mendelssohn Bartholdy7. III. Allegro - Felix Mendelssohn Bartholdy8. I. Allegro Di Molto - Felix Mendelssohn Bartholdy9. II. Andante - Felix Mendelssohn Bartholdy10. III. Minuetto Allegro Molto - Felix Mendelssohn Bartholdy11. Allegro Con Fuoco - Felix Mendelssohn Bartholdy
Among the many child prodigies that have made their mark in the history of music, Felix Mendelssohn is, along with Mozart, possibly the most impressive. By the age of fifteen he had already composed 13 string symphonies and a number of concertos, and his first ‘proper’ symphony was not far away. He wasn’t just highly productive, however – his contemporaries already recognized the high quality of the works he produced: ‘Felix Mendelssohn composes with the greatest conceivable ease and with inextinguishable abundance of spirit, the most difficult pieces…’ wrote a German reviewer in 1822. Both pieces recorded here were composed with Mendelssohn’s friend and violin teacher, Eduard Ritz, in mind. Felix himself premièred the Double Concerto in D minor with Ritz in May 1823 at one of the famous Sunday concerts at the Mendelssohn residence in Berlin, but except for a second outing later the same year, the work remained unperformed until 1957. Here the piano part – in turn quick-silvery and lyrical – is defended by the Russian-born pianist Polina Leschenko, making her first appearance on BIS. She is partnered by Richard Tognetti, artistic director and leader of the Australian Chamber Orchestra. Tognetti also leads seven of his colleagues from the ACO in the String Octet in E flat major, which Mendelssohn composed as a birthday present for Eduard Ritz. Written two years after the concerto, the octet only received its first public performance in 1836 but quickly became immensely popular. Although it belongs to the genre of chamber music, Mendelssohn himself underlined that it was to be played ‘in symphonic orchestral style by all the instruments’. He also explored the orchestral potential of the work at a performance of his Symphony No.1 in 1829, replacing the symphony’s minuet with an expanded arrangement of the Octet’s scherzo.
Tracklista: Johann Sebastian Bach 1. Chaconne, from Partita No. 2, BWV 1004 (arr. Messerer) 2. Nun komm, der Heiden Heiland, BWV 659 3. Trio Jesus Christus Unser Heiland, BWV 688 Dietrich Buxtehude 4. Toccata & Fugue in F Major, BuxWV 157 Felix Mendelssohn 5. Sonata in D Minor, Op. 65 No. 6 Julius Reubke 6. Sonata on the 94th Psalm
Gathered here, the three discs with Felix Mendelssohn’s symphonies recorded in 2007 and 2008 by Andrew Litton and his Bergen Philharmonic Orchestra were warmly received by the reviewers when they were first released. While each instalment, according to the BBC Music Magazine, demonstrated ‘the same wide dynamic range, eloquent phrasing and attention to detail, always with an ear for its contribution to the bigger picture’, performances of individual symphonies were hailed as ‘an exhilarating, thoroughly enjoyable Italian, superbly played and recorded’ (No. 4, Gramophone), ‘finally a Scottish that I have been able to listen to repeatedly with sheer delight’ (No. 3, klassik-heute.de), ‘suitably glowing, with an ideal balance between orchestral sound and chorus’ (No. 2 Lobgesang, Financial Times), and as bringing out ‘all of the rugged Beethovenian character in the Reformation symphony’ (No. 5, MusicWeb International). But this box set also gives the background to the symphonies for full orchestra, through the inclusion of the composer’s 12 string symphonies (and an incomplete 13th), written by a boy not yet fifteen. While forming a striking proof of Mendelssohn’s enormous, and enormously precocious talent, these works also allow us to discover the influences absorbed by the young man, who only one year later would compose his Symphony No. 1. The recordings, with the Amsterdam Sinfonietta conducted by Lev Markiz, were described in Fanfare as ‘absolutely lovely’ with ‘an exuberance that seems as fresh as that of the youthful composer himself’. And as if all this wasn’t enough, a further
Zweifellos gehört Daniel Barenboim zu den wichtigsten musikalischen Persönlichkeiten unserer Zeit. Anlässlich seines 75sten Geburtstag im November widmet sich das Traditionslabel Deutsche Grammophon mit dieser Veröffentlichung seinem bemerkenswerten Wirken als Solo-Pianist. Neben frühen Aufnahmen auf Philips aus dem Jahr 1955 enthält diese Gesamtausgabe erstmals auf CD veröffentlichte Aufnahmen aus Barenboims Zeit beim amerikanischen Kultlabel Westminster. Daran anschließend beleuchtet die Edition seine musikalische Entwicklung während seiner seit 1972 andauernden, intensiven Zusammenarbeit mit Deutsche Grammophon, die bis zum heutigen Tag ausgesprochen erfolgreich fortgeführt wird.Die insgesamt 39 CDs enthaltende Box beschreibt mit teilweise seltenen Aufnahmen Barenboims Entwicklung von einem talentierten 13jährigen, der sich an J.C. Bach, Brahms, Kabalevsky, Mendelssohn, Mozart, Pergolesi und Shostakovich versucht, hin zu einem absoluten Weltstar der Klassik, dessen Repertoire und Fertigkeiten grenzenlos zu sein scheinen. Zusätzlich wird dieser einzigartige Werdegang dem geneigten Hörer von Jürgen Otten im einem 72 Seiten starken Booklet zusätzlich in einer Retrospektive illustriert."Es gibt für mich nur eine Qualität, die mich weiterbringt, und das ist die Neugier" (D. Barenboim)