The emotional content, lyricism and direct appeal of Gavin Bryars’s music are unique, reflecting a contemporary composer’s absorption and transformation of several centuries of musical craftsmanship in order to reflect his, and our, own epoch. Originally written for harpsichord, After Handel’s Vesper is a strong illustration of Bryars’s post-minimal interests in early music repertoire. Ramble on Cortona, derived from 13th-century music, makes expressive use of the piano’s resonant qualities, while in the highly-coloured, almost impressionistic The Solway Canal, landscapes pass by as if in a dream.
This collection of music for Vespers by J S Bach’s youngest son includes Domine ad adjuvandum, Confitbor tibi Domine, Beatus vir, Laudate pueri Dominum and his setting of the Magnificat. Domine ad adjuvandum is a world premiere recording.
Heinrich Schütz was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi…
During the first third of the eighteenth century Antonio Lotti (1667-1740) doubtless numbered among the most important Italian composers, but today general knowledge of his music hardly corresponds to its true significance. Lotti was born to a musician in Venice on 5 January 1667 and began receiving instruction from Lodovico Fuga (1643-1722) and Giovanni Legrenzi (1626-90) in 1682. Both Fuga and Legrenzi were employed at the Basilica of St. Mark (San Marco), Venice's principal church, and Lotti's career also continued to be closely connected with this church: on 30 May 1689 he was initially employed there as an alto chorister, but soon he was also assisting on the organ, and already on 30 May 1692 he was appointed second organist. On 17 August 1704 he assumed the post of first organist and continued to serve in this capacity for more than thirty years.
Pachelbel was not only a famous organist, but also a prolific composer. This recording offers the chance to hear his six suites entitled "Musical Delight". These pieces are true gems of 17th-century instrumental music, just like his famous "Canon and Gigue", in which Pachelbel skilfully combines his knowledge of counterpoint and his creativity in the field of variation
[…] Sebastian Bodinus [c. 1700-c. 1760] is anything but a household name, but nevertheless this 'minor master' appears to have written first-rate music, as this recording proves. […] The divertissements presented here have nothing to do with the divertimenti of the classical period. They are quartets: pieces consisting of three equal upper parts and basso continuo, and combining elements of the sonata da chiesa, the concerto and the suite. The quartet was very rare in the time Bodinus composed his: the 1720s and 1730s. According to Johann Joachim Quantz "the use of it never became very common; as a consequence, it also cannot have been so familiar to everybody". The best-known composer of quartets was Georg Philipp Telemann, whose Quadri, published in 1730, were perhaps models for Bodinus' quartets, which belong to a six-part collection of trios and quartets, which he started to write in 1726. (Johan van Veen, musica-dei-donum.net, 2009)