George Frideric Handel (1685 – 1759): Italian Cantatas “Clori, Tirsi e Fileno” and “Apollo e Dafne”. Oboe Concerto in G Minor. Performed by various soloists and the Philharmonia Baroque Orchestra, directed from the harpsichord by Nicholas McGegan.
In 2012, too, there are prominent treasures to be found: Aapo Häkkinen plays Bach’s Concertos for solo harpsichord and strings – the crown jewels of the harpsichord and piano literature – on a 16’ harpsichord, that is to say, an instrument with an additional, very low sounding register. Although Bach probably used a similar harpsichord himself, this is the first recording of this cycle of works on an instrument of this kind built in a historical manner!
Composer: Wilhelm Friedemann Bach
Performer: Claudio Astronio, Marco Facchin
Conductor: Claudio Astronio
Orchestra/Ensemble: Harmonices Mundi String Ensemble
BOB VAN ASPEREN born in Amsterdam in 1947, Bob van Asperen studied harpsichord and organ with Gustav Leonhardt and Albert de Klerk at the Conservatory there, studies he finished in 1972 by obtaining the soloist diploma ‘cum laude’. His career, since then, has taken him to all European countries, the United States of America, Canada, Australia and Japan, with harpsichord, organ and clavichord recitals and collaboration with Anner Bylsma, Bart Kuijken, Klaus Mertens, Lucy van Dael, and Thomas Pietsch, among others. He also conducts baroque ensembles and orchestras, including the Orchestra of the Age of Enlightenment, the European Union Baroque Orchestra, l’Orchestra della Toscana and the Collegium Vocale Gent…
The acclaimed Polish period band Arte dei Suonatori perform eight of Vivaldi’s concertos a Quattro. Their version of Handel’s 12 Concerto grossi Op. 6 was awarded ‘Orchestral Choice of the Month’ in BBC Music Magazine, alongside further critical acclaim from the international music press. As well as being a major composer in the formation of the solo concerto, he also was the leading exponent of the older concerto a quattro – music in four parts, with several players to a part. His works in this genre are notable not only for their beauty, but also for their experimental character and for providing the most important examples of fugal writing in Vivaldi’s instrumental music.
Following in the footsteps of Miloš and his guitar revival, Deutsche Grammophon presents the charismatic young Israeli musician Avi Avital, champion of yet another beautiful and underestimated stringed instrument – the mandolin.
A generous and adventurous collection of piano concertos played by the Russian Giant of the Keyboard, Sviatoslav Richter. Next to standard concert repertoire some novelties, like the Franck, Britten, Berg and Hindemith works. Famous conductors like Evgeny Svetlanov, Kyril Kondrashin and the recently deceased Rudolf Barshai (his favourite conductor).
Exclusive Sony Classical pianist Murray Perahia releases this collection of the keyboard concertos of J.S Bach. Celebrated by his fans and media alike on first release, several of the concertos have been unavailable for some time and make a welcome return to the catalogue, The set contains some of Perahia’s all-time best-selling recordings. The initial releases of these recordings of the Concertos Nos. 1-7 have sold in excess of 30,000 units in the UK alone, Murray Perahia’s recording of Bach’s Solo Keyboard Partitas 1,5 & 6 (88697565602) won the 2010 BBC Music Magazine Award for Best Instrumental Recording.
Excellent addition to any prog rock music collection
For those who grew up in the 1960s, or even those that didn't but lived where there was a decent rock station that played plenty of music from that era (that is, not an oldies station), you probably have heard "I Had Too Much to Dream Last Night". That band was from a Los Angeles-based psychedelic band Electric Prunes. They managed to release three albums in 1967, Mass in F Minor being their third album (they would release two more album in 1968 and 1969 as well). They went and tried something completely different: they recorded a rock Mass. That means there are six songs, with titles like "Kyrie Eleison", "Credo", "Sanctus", etc. All songs stick strictly to the Latin text, and the results is a pretty interesting, combination of Gregorian chanting with the psychedelic rock you come to expect from that era.
Rubinstein's heartfelt affinity and mastery of Brahms' burly piano writing is never in doubt, although the pianist's remake 10 years later with Erich Leinsdorf and the Boston Symphony benefits from his greater introspection and expressive simplicity in the first movement's lyrical second theme and the entirety of the slow movement. All told, the volatile Rubinstein/Reiner Brahmsian chemistry holds its own after more than half a century. –Jed Distler, Classicstoday.com