Paul Gerhardt (12 March 1607 – 27 May 1676) was a German hymn writer. Gerhardt is considered Germany's greatest hymn writer. Many of his best-known hymns were originally published in various church hymnbooks, as for example in that for Brandenburg, which appeared in 1658. The first complete collection is the Geistliche Andachten, published in 1666-1667 by Ebeling, music director in Berlin. No hymn by Gerhardt of a later date than 1667 is known to exist.
This release represents something of a milestone: a performance of major, public Korean compositions by mostly Korean musicians, recorded for a large Western label and presumably marketed at least as much to Westerners as to Koreans. Composer Unsuk Chin was a student of György Ligeti, but her style resembles his only in her general orientation toward layered textures and rhythmic emphasis. She writes music in which the relationships between blocks of sound shift over the course of a composition, and although her harmonic world is atonal, her writing is not difficult to follow. The concerto form allows an ideal introduction to what she does, and the three works here are attractive examples (she has written several others). Start with the concluding Su, for sheng & orchestra, from 2009.
Alban Gerhardt’s profound musicality and charisma have made him one of the most sought-after cellists of his generation. His ebullient personality is present in all his performances; he is nevertheless passionately committed to the intentions of the composer, and his recordings are always the product of an intense personal journey into every aspect of the music. Gerhardt’s espousal of Reger’s cello sonatas and suites is thus greatly welcomed. Pianist Markus Becker has released twelve discs of Reger’s keyboard music and is an ideal interpreter.
The two works recorded here have an interestingly close musical relationship that is belied by their radically different sound-worlds. Prokofiev’s first work for cello and orchestra was abandoned by the composer after an unsuccesful premiere, and the full score remained unpublished for years. However, a rising star barely in his twenties, Mstislav Rostropovich, found a copy with piano accompaniment and impressed the composer with his performance in December 1947.
Celebrated for his pivotal role in resurrecting the Bach suites for solo cello and championing their performance throughout his career, Pablo Casals' repertoire was much more far-reaching. Perhaps the best way to observe the breadth of his interests is to investigate the works he chose to perform as encores. Flashy, virtuosic show pieces certainly had their place in this repertoire, but Casals looked more favorable upon works that highlighted the more lyrical, soulful aspects of his instrument. Not content with the pieces already available to him, Casals was also responsible for greatly increasing the repertoire by contributing his own transcriptions, often of works by little-known composers.
A major release at the start of Britten’s anniversary celebrations. Britten’s long friendship with cellist Mstislav Rostropovich was one of the most inspiring and fruitful musical collaborations in history. It led directly to the composition of some of the most important works for cello of the twentieth century.
Vielfältige und anregende Aufgaben in allen Formaten des Zentralabiturs zum selbstständigen Arbeiten und Trainieren Multimediale Angebote und Vertiefungen der Buchinhalte für den Unterricht, für Aufgabenlösungen und Projekte - auf der DVD Und: Hilfe für den Umgang mit Rechtschreibung und Grammatik, aufbt für die Oberstufe Das Lehrbuch erscheint in einer allgemeinen Ausgabe sowie in Regionalausgaben für Nordrhein-Westfalen und Baden-Württemberg.
Following their triumphant Casals Encores disc, Alban Gerhardt and Cecile Licad are reunited for Fauré’s music for cello and piano. The two cello sonatas are among the masterpieces of the cello repertoire, looking back to the nineteenth century but also with an edginess that may well reflect the time in which they were written—during and immediately after the First World War. Remarkably, Fauré was in his seventies by the time he wrote them. There’s some debate as to how fast the last movement of the first sonata should go—so Alban Gerhardt has recorded two alternative versions, to be programmed to the listener’s taste.