“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
Concertos de : Joaquin Rodrigo, Manuel Ponce, Fernando Carulli, Antonio Vivaldi, Johann Friedrich Fasch, Johann Ludwig Krebs, Mauro Giuliani, Mario Catelnuovo-Iedesco / Alfonso Moreno, Josef Szapka, Claudio Maccari, Paolo Pugliese, Lorenzo Micheli & Massimo Felici, guitare - Orch. Symphonique de Mexico, dir. Enrique Batiz - Orch. de Chambre Slovaque, dir. Bohdan Warchal - Ensemble Ottocento, dir. Andrea Rognoni - Orch. Symph. des Abruzzes, dir. Michael Summers
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.