New Releases

New Releases
New CDs & Longplay Music Albums
Bach meets VivaldiBach meets Vivaldi
Soundscape Maulbronn Monastery
Bach meets Vivaldi
The Lautten Compagney Berlin plays according to the traditions of the time
Johann Sebastian Bach (1685-1750):
Concerto in A Minor, BWV 1041 · Concerto in E Major, BWV 1042
Concerto in D Minor, BWV 1043
Antonio Vivaldi (1678-1741):
Concerto in G Minor, RV 157
Concerto in B Minor, RV 580 ("L'Estro Armonico", Op. 3, No. 10)
Concerto in D Minor, RV 565 ("L'Estro Armonico", Op. 3, No. 11)
Soloist: Julia Schröder (Violin)
Concertmistress: Birgit Schnurpfeil · Artistic Director: Wolfgang Katschner
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · Duration: c. 67 Minutes
CD
EUR 22,00SpotifyDeezerNapsterGoogle PlayYouTube MusicApple MusicNaxos Music LibraryAmazon MusicTidaliTunes MasteredFor...Qobuz HDPresto Classical HDeClassical HDPrime Phonic HDHDtracksProStudio MastersYouTube PlaylistDailyMotion PlaylistVevo PlaylistStaatliche Schlösser und Gärten Baden-Württemberg

The UNESCO World Heritage Site Maulbronn Monastery

This concert took place in the church of the Maulbronn monastery in Germany. Built in the 12th century, the Maulbronn monastery with its Romanesque-Gothic basilica is considered as the most complete preserved medieval monastery north of the Alps. The monastery has been a UNESCO World Heritage Site since 1993. It's one of 60 historic monuments in the Germany's Southwest. The "State Organisation for Palaces and Gardens of Baden-Württemberg" (in German: "Staatliche Schlösser und Gärten Baden-Württemberg") makes accessible, communicate, develops and preserves these state-owned historic monuments with the aim of preserving the authenticity of the cultural heritage, filling them with life and preserving them for future generations. Detailed information about these unique "Soundscapes" can be found at: www.schloesser-und-gaerten.de


Review

An audiophile snapshot of permanent value

Publishing Authentic Classical Concerts entails capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is the aim, the philosophy of K&K, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so they record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. This concert took place in the church of the Maulbronn monastery in Germany. Built in the 12th century, the Maulbronn monastery with its Romanesque-Gothic basilica is considered as the most complete preserved medieval monastery north of the Alps.

Arkiv Music - The source for Classical Music

Grand Piano Masters · Piano Concertos by Beethoven & UstvolskayaGrand Piano Masters · Piano Concertos by Beethoven & Ustvolskaya
Grand Piano Masters
Piano Concertos by Beethoven & Ustvolskaya
Ludwig van Beethoven (1770-1827):
Piano Concerto No. 2 in B-Flat Major, Op. 19
World Premiere Recording of the version for Piano & String Orchestra
by Vinzenz Lachner (1811-1893)
Galina Ustvolskaya (1919-2006):
Concerto for Piano, Strings & Timpani
With courtesy of Hans Sikorski Music Publishing Hamburg
Patricia Hase (Piano) · Ensemble Galina
Conductor: Peter Leipold
A concert recording from the Richard-Jakoby-Hall
of the Hanover University of Music, Drama & Media in Germany
HD Recording · DDD · c. 49 Minutes
CD
EUR 22,00SpotifyDeezerNapsterGoogle PlayApple MusicAmazon MusicTidalQobuziTunes MasteredFor...Presto Classical HDeClassical HDPrime Phonic HDReview

Featured on Spotify

This release is featured in the editorial playlist on Spotify​:
COMPOSER WEEKLY: GALINA USTVOLSKAYA

Spotify Editorial

Review

***** Wonderful performance and very good recording quality

Wonderful performance and very good recording quality. I love the beauty of the interpretation and the combination of the two works!

An Amazon Customer on July 31, 2016 - Customer Rating: 5 stars out of 5

Review

Featured on Spotify

This release is featured on the Spotify list of 50 notable classical new releases

Spotify Editorial

Review

The first recording played without blunders is out!

The first recording of the Concerto for Piano, Strings & Timpani played without blunders is out!

'Galina Ustvolskaya official' on Facebook

Review

The Hannover-based pianist Patricia Hase has just released the Grand Piano Masters: Concertos by Ludwig van Beethoven (1770-1827) & Galina Ustvolskaya with conductor Peter Leipold and Ensemble Galina in with the record label K&K Verlagsanstalt this summer. A coffee addict and an avid reader who listens to German rap band Cro when she works out, Patricia tells primephonic’s Rina Sitorus about the new recording and her biggest wish in music.
Could you tell us about your newest album?
It’s very special for me to have recorded this album, because the conductor Peter Leipold and I are very close friends for many years now. It is so special for me to have this album recorded with him and the orchestra, Ensemble Galina. These wonderful concertos of Beethoven and Galina Ustvolskaya are two works which I'm addicted to.
Beethoven really is one of my favorite composers. It feels very natural for me to play his music. His early concertos are so fresh and full of spirit. The orchestra is young, the conductor is young, and I am young, so it was great to bring the spirit out of Beethoven's early works from his younger years. And Galina Ustvolskaya is one of the most impressive composers I've ever encountered. She was so strict and her music is uncomprimising, which really impressed me. I have a feeling that she really wanted to say something and not just merely make nice music.
The combination comes naturally - both works were written when the composers were young. I find that music written in that time of a person’s life actually says so much about our world today. It's hard to say which one I like better, I like both works just as much.  
You mention that the music is a reflection of the world today. Could you elaborate on that?
I think the main themes are always the same: love, passion, death, religion. What Beethoven wrote are the same main themes which belong to us today. It's really important to show the audience that his music is absolutely modern and it is important for us to get connected to our feelings and our lives. 
With all that in mind, I suppose you had had some kind of overall theme or mood in the back of your mind prior to the recording. Are you pleased with the final outcome?
Yes I had a very clear idea of how it should sound and how the music should feel. I was very hard on myself during the preparation – everything had to be better and better. But then, this recording was special because it was a live recording, so we only had one chance to get it right. So I stopped thinking when I entered the stage. My wish in that moment was to give everything I have and to leave my heart at that place, at that moment. Beforehand, I had been thinking it through so much, but once it started, I just let go, had fun and felt what was in the air. Maybe that’s what music is all about.
I hope one can hear that from the album.
Tell me about the audience during the recording.
It is always so interesting to see the audience. Their reactions are always so different every time. Every concert is very different but there is always a special atmosphere.
I remember the audience during the last recording so well. It was so quiet in the hall. It was in my hometown, Hannover, and there were many people in the audience who I knew. They were crossing fingers and I could feel that!
It was also so nice that backstage, right before we started, we all came together, for a big hug and I had the feeling that we had a great connection together. I had a feeling that everybody would give the best of what he or she can. It was such an amazing feeling, knowing that everybody wants to give their best. 
How would you describe the collaboration between you, Peter Leipold and Ensemble Galina?
Well, Peter and I know each other for many years and I learned so much about music from him. I performed my first piano concerto with him conducting. Then there was a time when we were just thinking: ‘We know so many wonderful musicians, why don't we bring them together and see what happens?’ We are professional colleagues but we are also really good friends with a good connection. I think people can hear it on the album, that when we come together, there is such a nice atmosphere. To play this first recording with so many friends on stage playing together was so amazing. I feel so proud when I see the album.
Is it too early to ask about how the reaction to your latest album has been?
We got so much feedback – the media wrote very very nice things about us! Konstantin Bagrenin, Galina’s widower, wrote us a letter and he was really impressed and that his wife would have loved it. I think I could cry!
What can we expect in the near future?
The label KuK wants to make another recording with me and maybe with the orchestra. We are still brainstorming about the project, but we have cool ideas, though we have to keep it secret at the moment. But don't you worry, more is coming!
What about your own project(s)?
Well I have a lot of concerts planned, and there is a possibility of a solo recording. It could be Schubert, my other favourite composer.
Where will you be in 10 years?
I hope I can play piano and continue being on stage for my whole life. It'll be great if I get the chance to make music and keep going in this very special and wonderful direction. But you never know what’s going to happen. I'm completely relaxed, so we'll see – the rest will come.
Any names you'd like to work with?
I really really like the violinist Isabelle Faust. It would be great for me to play with her, and I also really like the pianist Maria João Pires. I think she's so absolutely amazing. And so many conductors! Maybe to play once with the Berlin Philharmonic – of course that is the dream of every musician, I think. I played a lot with horn player Felix Klieser. These were such amazing experiences and maybe there's another chance to play with him again.
What do you do when you're not busy with recordings or concerts and how do you balance your music with other obligations, such as friends and family?
I really like to play sports and I'm addicted to coffee and chocolate. Sitting in a cafe, having a nice coffee while talking to a friend: that is the real Patricia. And I also like reading: from criminal stuff to music, biographies, funny stuff; I read everything!Balancing my music with the rest is much easier than I had thought it would be. I have many friends from all over the world which is perfect, since in most cities I play, there is somebody I know. I'm very connected to them through technology. And my family lives all over the world, so I'm used to that. I think the point is, they've already known me this way since the beginning. Because I also make music together with friends, we can combine friendship and the work. Sometimes during rehearsals with the orchestra we really have to be careful that we are not only talking about other [non-musical] stuff. People bring cakes, and during break we can talk about 'important private' stuff!
What is your biggest wish as a musician?
To break the distance between the audience and the people on stage. Sometimes I feel that the people in the audience are just watching the people who are on stage, so I find it important to get everything connected.
How would you achieve that?
I often talk to the audience and explain something about the works. Other times I tell them what I feel when I play, or just ideas of what it could be and leave it open, so that we can discuss it afterwards. For me it is interesting to know what the audience thinks. It makes it more alive and brings it closer to the present day.

Patricia Hase, in conversation with primephonic's Rina Sitorus

Gregorian Chants · Veri Solis RadiusGregorian Chants · Veri Solis Radius
Ensemble Vox Nostra
Veri Solis Radius
Musical networks in medieval Europe
Gregorian chants from the 12th & 13th century,
performed by the Vocal Ensemble Vox Nostra:
Amy Green · Susanne Wilsdorf · Ellen Hünigen
Werner Blau · Burkard Wehner (Musical Director)
A concert recording from the church
of Cistercian Abbey in Eusserthal (Germany)
HD Recording · DDD · c. 60 Minutes
CD
EUR 22,00SpotifyDeezerNapsterGoogle PlayApple MusicNaxos Music LibraryAmazon MusicTidaliTunes MasteredFor...Qobuz HDeClassical HDPresto Classical HDReview

It is not possible to overstate the importance of this recording

The first word that comes to mind on listening to this CD is haunting. As a procession entering into the abbey church (St. Bernhard, Eusserthal, Rhineland-Palatinate) we initially hear a distant group of singers approaching, as they get louder and fill the space with their resplendent voices we settle into a transcendental journey across ancient medieval Europe. Each of the five singers on this recording is a scholar specialist (musicology, paleography, theology) in this repertoire. They include, Amy Green (USA), Susanne Wilsdorf, Ellen Hünigen, Werner Blau, Burkard Werner (Germany). They gave a concert in the abbey church on September 8, 2013. This CD is a snapshot recorded on site in direct 2-track stereo digital. The sound quality is quite simply amazing. A restored church from what was left of the original ruined abbey Kloster Eusserthal, is widely known in Europe as a great concert acoustic. An ongoing series of performances is presented annually in the former Cistercian monument, near Annweiler am Trifels.
Vox Nostra to quote their notes, "…favors a slow, flowing style of performance in an appropriately restrained tempo. The vocal sound which results is rich in overtones, and fills the entire space; it allows the archaic and pure intervals of this music to be fully appreciated, and ensures that the complex weaving of the voices is clearly audible." This writer would have to qualify their approach and the amazing results as revolutionary and without president or rival. I feel like I have heard medieval chant for the very first time it is so startling and overpowering.
The repertoire is varied and all taken from original manuscripts in Spain, Italy, Scotland, Germany, England and France. The recording ends as it began. The singers exit the abbey church and their voices trail off into the distance into silence. It is not possible to overstate the importance of this new recording on a label that is almost totally unknown here in North America. Insist on listening for yourself Vox Nostra's artistic triumph Veri Solis Radius.

© 2015 Timothy Eaton Memorial Church

Sarah Wegener & Ensemble il capriccio · Arias & CantatasSarah Wegener & Ensemble il capriccio · Arias & Cantatas
Sarah Wegener & Ensemble il capriccio:
Arias & Cantatas
Sarah Wegener (Soprano) and the ensemble il capriccio
performs according to the traditions of the time:
George Frideric Handel ~ Gloria (Cantata) · Overture (Rinaldo) · Furie terribili · Lascia ch'io pianga · Se pietà di me non senti · Da tempeste · Farewell ye limpid springs · Eternal source of light divine
Henry Purcell ~ When I am laid · O let me weep · Fantasy upon a Ground
Giovanni Battista Ferrandini ~ Se d'un Dio · Scottish Traditional ~ Auld Lang Syne et.al.
Concert Master: Friedemann Wezel
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
HD Recording · DDD · c. 76 Minutes
CD
EUR 22,00SpotifyDeezerNapsterGoogle PlayYouTube MusicApple MusicNaxos Music LibraryAmazon MusicTidaliTunes MasteredFor...Qobuz HDHD TracksPresto Classical HDPrime Phonic HDReview

A rich and warm voice in a splendidly recorded and produced release

Sarah Wegener enthralls listeners with the richness and warmth of her voice and approaches every role in a chamber musical way. She regularly works with Kent Nagano, Philippe Herreweghe, Thomas Hengelbrock, Heinz Holliger, Michael Hofstetter and Frieder Bernius. She studied with Professor Jaeger-Bohm in Stuttgart and took part in master classes with Dame Gwyneth Jones and Renee Morloc.
Here, Sarah performs with the Ensemble Il Capriccio arias and cantatas from the baroque era, thematically enhanced with modern compositions. The release documents a concert at the church of the German UNESCO World Heritage Site Maulbronn Monastery in Germany 2015, splendidly recorded and produced by Andreas Otto Grimminger and Josef-Stefan Kindler for their series "Maulbronn Monastery Edition".

Presto Classical, November 2016

Soundscape Rastatt Favorite Palace: GallantrySoundscape Rastatt Favorite Palace: Gallantry
Soundscape Rastatt Favorite Palace
Galanterie · Gallantry

The Quantz Collegium plays
Concertos for Flute, Viola, Strings & Basso continuo:

Christoph Graupner (1683-1760): Concerto for Viola in D Major, GWV 314

Friedrich Wilhelm Heinrich Benda (1745-1814): Concerto for Flute in G Major, Op. 4.1

Georg Philipp Telemann (1681-1767): Concerto for Viola in G Major, TWV 51:G9

Christoph Graupner (1683-1760): Concerto for Flute & Viola in D Minor, GWV 725

Artistic Director: Jochen Baier

A live recording from Rastatt Favorite Palace in Germany

HD Recording · DDD · Duration: c. 59 Minutes

CD
EUR 22,00SpotifyDeezerNapsterGoogle PlayYouTube MusicApple MusicNaxos Music LibraryTIDALAmazon MusiciTunes MasteredFor...Qobuz HDPresto Classical HDHD TracksPro Studio Masters HDStaatliche Schlösser und Gärten Baden-Württemberg

The Rastatt Favorite Palace in Germany

This concert took place in the "Sala Terrena" (Garden Hall) of Rastatt Favorite Palace (Schloss Favorite Rastatt) in Germany. The Palace is the oldest German "porcelain palace" and the only one to survive almost unchanged to this day. The palace and the garden are one of 60 historic monuments in the Germany's Southwest. The "State Organisation for Palaces and Gardens of Baden-Württemberg" (in German: "Staatliche Schlösser und Gärten Baden-Württemberg") makes accessible, communicate, develops and preserves these state-owned historic monuments with the aim of preserving the authenticity of the cultural heritage, filling them with life and preserving them for future generations. Detailed information about these unique "Soundscapes" can be found at: www.schloesser-und-gaerten.de


Review

***** A memorable mash-up

A musical revolution occurred in about 1720, with the "style galant" replacing the more learned and complicated music in vogue before then. K&K Verlagsanstalt, which specializes in audiophile recordings made in historic churches and palaces, has put together a winning project here, with the venerable Quantz Collegium (established in 1936) performing highly appealing music from the Garden Hall of the Rastatt Favorite Palace in Baden-Württemberg. Recorded at two live concerts, we have here four concertos for viola or flute, or both, by Graupner, Telemann and FWH Benda, all written in the accessible, tuneful new style. Mention should be made of Josef-Stefan Kindler's superb photos in the CD notes, which I at first took for paintings in the Rococo style of Tiepolo. They capture both the spirit of the original music and venue and that of the Quantz Collegium and K&K's Historically Informed reconstructions.
"Every current of fashion or of worldview", says Walter Benjamin in The Arcades Project, "derives its force from what is forgotten." Three centuries on, the stripping down of J. S. Bach's erudite polyphonic puzzles can seem, according to one's sensibilities or mood, either a vital breath of fresh air or a savage dumbing down for the kind of mindless 18th century twits personified by Hugh Laurie's Prince George in Blackadder's Third Series. Luckily we can still take pleasure in the simple joys of melody and a direct and honest, if sometimes guileless, clarity. This music is well-crafted, but the strongest movements, those in Telemann's Viola Concerto especially, can seem very much self-aware. It won't be long before the streamlining process leads to a new round of mannerist complexities.
Though one won't find the final degree of authentic style from the Quantz Collegium, including the three soloists, flutist Jochen Baier and violists Agata Zieba and Killian Ziegler, there is much to admire in these performances. The admirably spare technology and truly galant way of playing combined with the elaborate costumes and the rococo porcelain excesses of the venue make for a memorable mash-up.

Dean Frey on several-instruments.blogspot.com and on Arkiv Music

User login

courtesy of webmatter.de

Back
Zurück