Goisern sagte einmal, er wolle ursprüngliche Volksmusik machen - und er versteht darunter nicht, daß wird man schnell beim lauschen dieser CD begreifen, Volksmusik ala Musikantenstadel oder irgendwelcher ähnlichen Sendungen, in denen Menschen auftreten, die so wahrscheinlich nie in ihrer Heimat gesungen hätten. Jedenfalls ist dies - vielleicht entfernt mit BAP zu vergleichen - Musik die wirklich in den Körper geht, bei der man nicht einfach ruhig sitzen kann und nur lauscht sondern sich bewegen muß.
The Cologne New Philharmonic Orchestra with conductor Volker Hartung and pianist Hubert Salwarowski are presented in a most exciting performance of Rachmaninoff's Second Piano Concerto and Brahms Symphony No.2.
With the breakup of his trio responsible for the superb Baboon Moon (Sula, 2011), it's been a fair question to wonder: what's next for Nils Petter Molvær? One possible answer is certainly 1/1, the Norwegian trumpeter's debut with German multi- instrumentalist and influential techno producer Moritz von Oswald and his nephew, Laurens. The trio's debut performance at Kristiansand, Norway's 2013 Punkt Festival, while strong, was largely misleading; the show certainly occupied some of 1/1's more ethereal territory, but Molvær and his partners also traveled to far more beat-driven, danceable terrain.
This world premiere recording of this Christmas oratorio by Reinhard Keiser (1674-1739) makes available one of the few surviving sacred works by a musician who was highly regarded by his contemporaries, primarily as a composer of operas. Well-known Christmas chorales, opulently scored, with rich polyphony, depict with great delicacy, the scene around the crib at Bethlehem.
Weber’s chamber music – just these three pieces if you don’t count the duos – clearly shows him on the cusp between Classical and Romantic. The Quartet for piano and strings, written in his early twenties between 1807 and 1809, begins with a Haydnesque gracefulness and politeness which is gradually invaded by more unruly harmonies and textures; the dramatic slow movement looks ahead to Schumann, while the closing fugue of the finale dresses 18th-century procedures in 19th-century colours. Then there’s the element of virtuosity which is a hallmark of the early Romantic era, in the showy piano part of the Quartet, which Weber wrote for himself, the concerto-like clarinet part in the Quintet with strings, designed for the pioneering Heinrich Baermann, and all three parts of the tuneful Trio for flute, cello and piano. The talented members of the pan-European Gaudier Ensemble are perfectly equipped to convey these different aspects of Weber’s musical personality, with the fleet-fingered pianist Susan Tomes leading the way in the Quartet and Trio, and Richard Hosford in the Clarinet Quintet recalling contemporary descriptions of Baermann’s own effortless brilliance.