“Hünteler is playing a Jakob Denner Flute, one of only four to survive, and which was discovered in 1991 in the attic of a house near Nuremberg, where it had lain undisturbed for almost three centuries. And indeed Hünteler elicits beautiful sounds from the instrument.” ~Fanfare
“Hünteler is playing a Jakob Denner Flute, one of only four to survive, and which was discovered in 1991 in the attic of a house near Nuremberg, where it had lain undisturbed for almost three centuries. And indeed Hünteler elicits beautiful sounds from the instrument.” (Fanfare)
"Hans Werner Henze has written three violin concertos so far, separated in his output by gaps of 23 and 26 years. As you'd expect, they are very different pieces stylistically, and hearing them in succession provides a revealing map of the trajectory Henze's evolution has followed in his orchestral music. However, it's the two most widely separated works here that have the most similarities, suggesting how, in some important respects over the last half-century, he has come full circle. (…) The result is arguably one of the strongest of Henze's works from the 1970s; certainly that is how it seems in this very impressively controlled performance from Torsten Janicke and the Magdeburg Philharmonic." ~The Guardian
This entertaining CD takes its name from a cantata, which forms one part of this recital devoted to the music of Georg Benda (1722-95), one of a distinguished family of Bohemian musicians who settled in Berlin in the 18th century and became part of the German enlightenment. Georg became Kapellmeister at Gotha in 1750 and gained widespread approval for his compositions and for his skill as a violinist, oboist and keyboard player. Mozart admired Benda’s music and carried two of his melodramas with him on his travels. Hyperion have put together a pretty record containing piano pieces (played here expertly on the fortepiano by Timothy Roberts), lieder and the above cantata for soprano or tenor by two of our best ‘chamber singers’ (which does not mean that they do not sing other genres, only that they excel in this kind of intimate sphere). It might be a good idea not to play the whole hour of music at one go but (say) to have half before dinner and half afterwards.
Chopin's two piano concertos have long been admired more as pianistic vehicles than as integrated works for piano and orchestra. But in his revelatory new recording, Krystian Zimerman suggests otherwise: The opening orchestral tuttis have so much more light, shade, orchestral color, and detail, you wonder if they've been rewritten. Every gesture, every instrumental solo is so specifically characterized that by the time the piano makes a dramatic entrance, the pieces have become operas without words.
Vi sono opere filosofiche che non rispecchiano i bisogni dell’epoca e neanche quelli della specie. Vengono come da un’altra parte e non si annunciano nemmeno. Ad un tratto qualcuno, non si sa come, entra in rapporto con esse anche se tutto fa pensare che non vi possa essere nessun rapporto. Quale relazione infatti si può immaginare tra questo Essai e un comune individuo d’oggi? Quale legame fra un comune filosofo d’oggi e quest’opera? Sembra tutto scontato: essa è inutile alla specie, all’individuo, alla filosofia. …
The Cello Concerto No.1 in C Major, Hob. VIIb/1, by Joseph Haydn was composed around 1761–1765 for longtime friend Joseph Weigl, then the principal cellist of Prince Nicolaus's Esterhazy Orchestra. The work was presumed lost until 1961, when musicologist Oldrich Pulkert discovered a copy of the score at the Prague National Museum. Though some doubts have been raised about the authenticity of the work, most experts believe that Haydn did compose this concerto.