chan0809 

Wydawnictwo: Chandos
Seria: Chaconne
Nr katalogowy: CHAN 0809
Nośnik: 1 CD
Data wydania: czerwiec 2015
EAN: 95115080924
Dostępność: na zamówienie

56,00 zł
Zamów CHAN 0809
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Nasze kategorie wyszukiwania

Epoka muzyczna: barok, klasycyzm
Obszar (język): niemiecki
Rodzaj: fantazja, preludia

Zobacz także:

  • CHAN 0810
  • CHAN 0813
  • VKJK 1306
  • GLO 5079
  • PAS 1004
  • CAR 83023

Krebs / Kauffmann / Tag: Harmonische Freude - Works for oboe, trumpet & organ

Chandos - CHAN 0809
Wykonawcy
Austral Harmony
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Johann Ludwig Krebs (1713-1780):
Fantasia in C
Praeambulum supra ‘Jesu, meine Freude’
Chorale Prelude ‘Jesu, meine Freude’
Chorale Prelude ‘Nun freut euch, lieben Christen gmein’
Fantasia in G minor

Johann Sebastian Bach (1685-1750):
Chorale Prelude ‘Jesu, meine Freude’, BWV 713a
Organ Trio III, BWV 527

Gottfried August Homilius (1714-1785):
Chorale Prelude ‘Nun freut euch, lieben Christen gemein’
Oboe Sonata

Christian Gotthilf Tag (1735-1811):
Chorale Prelude ‘Nun danket alle Gott’

Georg Friedrich Kauffmann (1679-1735):
Chorale Prelude ‘Ach Gott, vom Himmel sieh darein’
Chorale Prelude ‘Gelobet seist du, Jesu Christ’
Chorale Prelude ‘Wie schön leuchtet der Morgenstern’
Harmonische Freude features chamber music by Johann Sebastian Bach and his extended circle, played on authentic period instruments by Austral Harmony.

Taking its name from an early collection of Australian poetry, the Australian ensemble, specialists in eighteenth-century music, presents innovatively designed programmes and promote less familiar repertoire. This is its first recording on Chandos.

Using the sustained tone of a small pipe organ alongside baroque oboe and trumpet, the musicians create an impression of intimacy and pleasing variety of sonority. Inspiration comes from the organ preludes in Kauffmann’s collection Harmonische Seelenlust musikalischer Gönner und Freunde, which specifies the use of an oboe placed so as to give the impression that it is an organ stop. This type of musical form enjoyed a transient existence in central Germany during the mid-eighteenth century. Kauffmann’s pupil Tag then illustrated the emerging Empfindsamkeit (‘expressive’ style) that ushered in the musical ideals of the classical era.

Krebs and Homilius were amongst the pupils of Bach, and aspired to perpetuate the tradition of their great teacher who had employed Lutheran chorales exhaustively throughout his choral and organ works; both produced chorale adaptations which included oboe and trumpet.