Hier liegt der Versuch vor, eine verknappte und vereinfachte Grundlegung des Zeichnens der menschlichen Figur zu geben. Durch eine textlich wie visuell leicht zugängliche Darstellung wird der Gegenstand des Buches in seiner didaktisch-methodischen Zielrichtung einem sehr breiten Interessenkreis erschlossen. Die vorliegenden Ergebnisse sind gleichsam ein Konzentrat und »Vademekum« aus jahrzehntelangen Lehrbcmühungen zur menschlichen Gestalt. …
For those new to Mendelssohn's music, this might look like a recording of some major works of the composer; be aware that they're virtually unknown music of Mendelssohn's early teens, first published in complete form only in 1999. For those already a fan of Mendelssohn, however, they're very intriguing works that show the developing talents of the young composer in a different light than do the set of twelve-string symphonies that are his most frequently performed works of the period.
The excellently named Gottfried Finger was a gambist and composer active chiefly in London and then Mannheim from around 1680-1730. He was plainly a very accomplished player and a more-than-competent composer; the sonatas here which make up his Op.1 are skilfully done, melodious and have plenty of harmonic interest.
When Bach was in the service of Prince Leopold in Coethen, he had his own orchestra and was contracted to compose a great deal of instrumental music. This gave him an opportunity to try new techniques and to develop his own instrumental style. The six Brandenburg Concertos belongs to these masterpieces for a small ensemble. This joyously infectious performance of these famous landmarks in the history of music by the Freiburg Baroque Orchestra demonstrates both the musical satisfaction and the high professional standard that can be reached with period instruments.
There is hidden treasure here. Gottfried Heinrich Stölzel (1690-1749) has long lain in the shadow of Bach and Telemann, but if there is any justice this recording of his setting of one of the popular passion texts of the early 18th century will go far toward effecting long overdue recognition. Composed in 1725, it follows in the wake of a number of other versions of the poetry of Barthold Heinrich Brockes, most notably that of Handel, whose comparitively second-rate work pales into near insignificance when set beside the power and vivid immediacy of Stölzel's great drama.