After a first album, Harmonic Ascendant, where the ambient and atmospheric structures were moulding to a deep romanticism, Robert Schroeder undertakes a first musical change of direction by offering a 2nd album filled of a very great wealth in eclectic tones. Here, no romantic guitars that flirt with a solitary cello or vocoders which roam in a cosmic mist, Floating Music (whose title has nothing to do with its musical structure) is an album where the rhythm at once funky and sensual thrones among suave cosmic flights. A first change of course from an artist whose versatility will be the cornerstone of his musical charms.
The chamber orchestra Kammerorchester Basel was founded in Basel, Switzerland, in 1984. In the tradition of Paul Sacher's Basler Kammerorchester, its focus is on both early music and contemporary music. Concertmaster and frequently the conductor is Julia Schröder, as of 2013…
"The present recording was made in 1984 and 198S, using a Dutch baroque violin and a baroque bow. The location was the village church of Oltingen in the canton of Basel in Switzerland, a space that seemed particularly favourable to the sound and atmosphere of Bach's music."
By chance now I have found this rip that completes and improves what I have published two weeks ago. The tracks are lossless. TELDEC has added a Naudot's Concert for recorder, two violins and basso continuo op.XVII/5: Frans Brüggen plays the recorder and Nikolaus Harnoncourt conducts the Concentus Musicus Wien.
Two ripe musicians, meet around Beethoven and good performance. Introductions followed by expressive passages, Dialogues, reprises, exchange of thoughts, soft ends, lots of Rubato, Accentuato and many very nice music are all about these two sonatas. Immerseel and Schroder are great.
With these words ("Great virtuoso of the violin, and our contemporary Orpheus"), Francesco Gasparini, writing in his 1708 figured bass tutor, succinctly described Arcangelo Corelli, one of the most revered and influential composers of the entire baroque era.
Uccellini (1603-1680) was a significant member of a long line of Italian violinist-composers in the first half of the 17th century. His sonatas for violin and continuo expanded the violin's technical capabilities (including virtuosic runs, leaps, and forays into high positions) as well as its expressive range. Like other seventeenth-century Italian sonatas, Uccellini's consist of short contrasting sections (frequently dances) which flow one into the another. Uccellini's innovations influenced the later generation of Austro-German violin composers such as Schmelzer, Biber, and Walther.