Wednesday, June 24, 2015

New acquisition. Vivaldi, Antonio. La Cetra, 12 Concertos, opus 9.. First listen.

New acquisition.
Bought in June 2015.
First listen.
Label: L'oiseau-Lyre.
Box with 20 cd's.
CD 8 & 9.
Recording dates: August 1987.
Recording venue: Walthamstow Town Hall.
Recording engineers: John Pellowe & Colin Moorfoot.
Running time: CD 1: 56:01. CD 2: 54:23.
Classical relevance: Essential, no doubt at all.

Works performed:
See top heading.

Performed by:
The Academy of Ancient Music, Christopher Hogwood.

I have to say that Hogwood's set of Haydn's Symphonies I found rather too polite and therefore boring at times, but this is not the case with this Vivaldi box. Its vivid, artistically topnotch exploringly innovative, full of zest, and first time enthusiasm, and gorgeous playing by all involved. When I started this set I had my doubts, but they vanished as snow before the sun. It also helps that it is recorded well, and the musicians get the chance to put a lot of themselves into the interpretations. It makes them almost walk on virgin grounds, which of course this well researched enterprise in fact is. Simon Standage gives many examples of his art in some beautiful solo playing, aided by Catherine Mackintosh.
Recommended.


Recent acquisitions. Three CD'S in the second rerun.

I devoted this afternoon to three cd's I recently acquired. Having listened to them on my small system, I now played them on my reference set. And they delighted me even more. All three are high on my list for excellence and musical integrity. Perfectly recorded, excellent booklets, fine performers, and above all, interesting composers.
Recommend them warmly. I will give a link to the first reviews of these discs to make searching superfluous.


 First review of Vol. I


 First review of Vol. II


First review of Krommer's CD

Monday, June 22, 2015

New acquisition. 18th Century Venetian Organ Music. First listen.

New acquisition.
Bought in June 2015.
First listen.
Label: Divox Antiqua.
Recording dates: September 1997.
Recording venue: Chiesa di San Leonardo, Treviso, Italy.
Recording engineer: Pere Casulleras.
Running time: 71:47.
Classical relevance: Essential both for composers and performance.

Works and composers:

Giovanni B. Pescetti. (1704-1766)
Sonata in C minor.

Baldassarre Galuppi. (1706-1785)
Sonata for Flute.
Sonata in D minor.

Giuseppe A Paganelli. (1710-1783)
Three arias <sub elevatione>

Giovanni B. Cervellini. (18th century)
Pastorale.
Sonata in F.

Gaetano Valeri. (1760-1822)
Sonata III, IX, VI.

Andrea Lucchesi. (1741-1801)
Sonata in F and C .

Ignazio Spergher. (1734-1808)
Sonata No. V.

Niccolo Moretti. (1763-1821.
Sonata <ad uso offertorio>
Sonata <as uso Sinfonia>

Performed by Andrea Macon.

Instrument:
Gaetano Callido, organ No. 241, 1787.


The last of the 3 organ cd's I acquired through a friend, and a happy decision it was to get them. The pleasure listening to them helped me through some illness, and cured me sooner as expected. You get so immersed into the playing of Macon, and all these fantastic new composers, that time is no factor anymore. When it happens, and that rarely happens, it must be extraordinary good, and that it is. If you're an organ enthusiast, and also love the period, I would say, buy posthaste. For better performances will hardly come your way, certainly not if it comes to the for me unknown composers like < Pescetti, Paganelli, Cervellini, Valeri, Moretti> I must admit that normally my interest in the organ concerning the time frame is around 1800, further on it's of no interest to me anymore, and I avoid it, but in this case the playing is so convincing that I overstepped the barrier this time. Amusing to hear were the works of Niccolo Moretti who lived till 1821. His music reminded me strongly of circus music, sophisticated of course but still, I expected any moment the announcement of an incredible act on the trapeze, and the elephants trumpeting their arrival. Great fun though, but I must draw a line in that respect, that's not really a comfortable zone for me. Gaetano Valeri who lived till 1822, was better in that respect, his Sonatas are fun, and lightweight fare that goes well to bring you in a sunny mood. All the other unknown composers impressed me enough to dive further into their music. Baldassarre Galuppi made quite a mark too with both works on this CD. The recording is top notch, and as per usual the Gaetano Callido organ is a marvel in sound and colour. He was one of the best organ builders of his time, educated by the great Pietro Nacchini, who organs I admire too. A worthwhile series on Divox, and not to be missed.
Strongly recommended.





Sunday, June 21, 2015

New acquisition. The Heritage of Frescobaldi, Vol II.

New acquisition.
Bought in June 2015.
First listen.
Label: Divox antiqua.
Recording dates: September 1998.
Recording venue: Church of Sant Andrea, Treviso, Italy.
Recording engineer: Pere Casulleras.
Running time: 74:04.
Classical relevance: Essential.

Works and composers:
Johann Jakob Froberger. (1616-1667)
Toccata III, Canzon V, Capriccio III, Toccata VI, Fantasia.

Alessandro Poglietti. (?-1683)
Passacaglia.

SebastianA. Scherer. (1631-1712)
Intonatio 1-VI.

Johann Kaspar Kerll. (1627-1693)
Passacaglia.

Francois Roberday. (1624-1680)
Fugue, Caprice sur le Meme Sujet.

Georg Muffat. (1645-1704)
Toccata VI.

Henry Purcell. (1659-1695)
Voluntary in G.

John Blow. (1649-1708)
Voluntary in C.

Anonymous of Spain.
Obra de falsas cromáticas, Obra de Lleno de l tono, (from "Flores de Musica"by Martin y Colli)

Performed by Andrea Macon.

Instrument: Anonymous instrument of the Venetian School (del 700)


As with Volume one this disc, Vol. II leaves nothing to be desired. The music is first rate as is the playing by Andrea Macon. The recordings are as good as the dedicated label Aeolus makes them, so near perfect. The choice of instruments is in Italy not difficult, for the country is stuffed with good organs in their original or almost original state, most of them well restored, and kept in good condition. The sound of this instrument is clear as a bell, it's well balanced and tuned, and Macon is a very thoughtful but straightforward organist, and never blows things out of proportion. Once you start listening you cannot stop going on, that addictive it is, at least for me. I must admit that two of the composers on this disc I never heard before, ( Poglietti and Scherer) but hearing it, it made me wish for more. I was very much impressed by the works of Froberger and Kerll on this CD, not so much the music per se which I heard and admired before, but in the unique way Macon plays this music. And that really goes as much for Volume I, as II. He is consistent in what he does, and he has his own unique style, immensely elegant and refined, with a spiritual depth that touches other grounds as I ever traveled before. Remarkable in every way. He is on my top list of performers from now on.
The booklets, it must be said are excellent in regard to info about music, instruments, and historical background. It's forgiven that there are many print errors in English and German.






Saturday, June 20, 2015

New acquisition. Krommer, Franz. (1759-1831) Music for Wind Octet. First listen.

New acquisition.
Bought in June 2015.
First listen.
Label: Pan Classics
Recording dates: June 2001.
Recording venue: Reformierte Kirche Meiringen.
Recording engineer: Koichiro Hattori.
Running time: 55:25.
Classical relevance: Great fun and for that alone essential.

Works performed:
Partita in F major, opus 57.
Harmony (Partita) in C major, opus 76.
Partita in E flat major, opus 69..

Performed by: 
Amphion Wind Octet.

The compositions by Krommer for wind instruments are almost always good works, especially if you get them in such good performances. They may sound easy enough, but are actually very hard to play. The Amphion Wind Octet derive great pleasure from these works, and this is clearly a part of this wonderful interpretation that led to its successful outcome. The expertise with which they handle their instruments is inspiring, and show the many felicities of these works. I loved the Attacca mode, the pulling and pushing in the first movement of the E flat major work, such a treat, and the very suave sound, and the fabulous scoring, really outstanding. The recording is perfect. 
Recommended.




New acquisition. The Heritage of Frescobaldi, Vol. I.

New acquisition.
Bought in June 2015.
First listen.
Label: Divox Antiqua.
Recording dates: May 1995. Treviso.
Recording venue: Chiesa di Santa Maria dei Battuti.
Recording engineer: Diego Fasolis.
Running time: 68:45.
Classical relevance: Essential for those that have a penchant towards this specific period.

Works performed:

Michelangelo Rossi. (1602-1656)
"Toccate e Correnti d'Organo e Cimbalo"
Toccata settima.

Giovanni Salvatore. (?-1688)
"Ricercari a quattro voci, Canzoni Francesi,
Toccata ed Versi per rispondere nelle Messe".
Three movements.

Bernardo Storace. (1637-1707)
"Selva di varie composizioni d'intavolatura per cimbalo ed organo".
Recercar.
Balletto.
Passacaglia sopra A la mi, re.
Ballo della Battaglia.

Gregorio Strozzi. (1615-1687)
"Capricci da sonare Cembali ed Organi"
Three movements.

Bernardo Pasquini. (1637-1710)
Variazioni capricciose.
Tre Arie.
Toccata.

Performed by:
Andrea Marcon.

Instrument used:
Built by Pietro Nardini 1750.
Wind pressure: 52.6 mm.
Pitch: 434 Hz (22 degrees)
Temperament: 1/6 comma.

A remarkable recording in every way.  First of course the music. There is not a weak link in any of them, all works are of a very high quality, played by a master on old instruments, and played on a organ by Pietro Nardini. The instrument is in great shape. The latest restauration, at least as mentioned on this disc was in 1994, done by the famous organ builder Francesco Zanin. It is a great pleasure to listen to this cd. To my ears this is near perfect, mentioning a few absolute favorites would be Storace's Recerca, Balletto, Passacaglia, and the astonishingly beautiful Toccata quarta per l'elevatione, and Euphonia, Aria con partite, by Gregorio Strozzi, but then all is sublime.
The sound is almost state of the art. I am very happy with this CD.






Friday, June 19, 2015

Sorry for not posting any music this week

Unfortunately I got a Sunstroke this week, and was pretty sick because of it. I will however resume reviewing next week.
Brilliant retweeted my review of Kuhnau's complete organ music, released on this label. so that's a huge plus,  my reviewing is noticed, however good or bad,, and it's a great boost for this composer. Try it!

Cheers. Have a good weekend.

Harry

Friday, June 12, 2015

Recent acquisition. Kuhnau, Johann. (1660-1722) Complete Organ Works. CD 3. First listen.

Recent acquisition.
Bought in May 2015.
CD 3, First listen.
Recording dates: May 2014 & August 2014.
Recording venue: Marienkirche, Rotha, Germany.
Recording engineer: Simone Bellucci.
Running time: 75:03.
Classical relevance: Essential recordings.

Works performed:
Frische Clavier Fruchte.
Sonata No. 1-7.

Works performed by:
Stefano Molardi.

Instrument:
Gottfried Silbermann, 1722, Rotha, Germany.

I thought after two cd's that this could not get any better, but the third cd surprised me in that respect. A musical salivating experience, and a spiritual uplifting if there ever was one. We should all treat Kuhnau as a composer that has all the qualities of J.S. Bach. He is as important too.
Every sonata on this disc is a gem. I know them from recordings on a harpsichord, but the version on organ is much more effective as I thought. Molardi squeezes out every ounce of richness, and makes this a veritable feast to listen too. The organ is made for this music, and the recording is top notch.




Thursday, June 11, 2015

New acquisition. Boccherini, Luigi. (1743-1805) CD 1: String Quartets. First listen.

New acquisition.
Bought in May 2015.
First listen.
Label: Phoenix Edition.
Licensed from: Capriccio.
Recording dates:  December 1991.
Recording venue: SFB Saal III, Berlin, Germany.
Recording engineer: Erdmann Muller.
Running time: 62:10.
Classical relevance: The music is essential.

Works performed:
SQ No. 90 in F major, opus 64, No. 1
No. 19 in D major, opus 15, No. 1.
No. 36 in G minor, opus 24, No. 6.
No. 55 in A major, opus 39.

Performed by:
Petersen Quartet.

Francois Joseph Marie Fayolle wrote around 1810 this about Boccherini.
Divine Boccherini!
Oh thou whose music, original and pure,
so well accords with the sounds of nature,
thine art is a present to earth from heaven,
and offers a foretaste,
of eternal bliss.

That's not far from the truth, for all things considering, he is vastly underrated, even neglected, whilst he is as good as any famous composer of his time. He is original, inventive, despite his huge output, and there is not a single work of his hands that could not please you. As inventive as Haydn, and far better as many a composer around him. If you take your time to listen carefully to his compositions, you cannot fail to hear his genius, and his neverending flow of creative melodies, all cleverly scored. Take these SQ! I have to admit that they are as pleasing as anything I have heard so far. And to be honest I was amazed how much quality are in these pieces and how well they fit in its time. The influence of Boccherini stretched in a wide angle. To name a few, Michael Haydn, Mozart, Beethoven, Schumann and even Brahms. There are scarcely any weak scores among them, declared Boccherini's first biographer, Louis Picquot in 1851. The fascinating and abundant spectrum of ideas and forms is amazing, to coin a phrase.
The Petersen Quartet was an unknown ensemble to me, but they give an excellent rendering of these fantastic SQ. Tempi are spot on, phrasing is top notch, articulation is open and direct, animated to perfection. The recording is excellent.
Recommended.
The cover art is to my liking, very much so, although I fail to see the connection between the art and the music, be it the sensuousness, yes, that must be it.  




New acquisition. Overtures. First listen.

New acquisition.
Bought in May 2015.
First listen.
Label: Phoenix Edition.
Licensed from Capriccio.
Recording dates: May 1988 & November 1987 & January 1991.
Recording venue: Lindlar Kulturzentrum and Bad Oeynhausen, Kurtheater.
Recording engineer: Not mentioned.
Running time: 66:01.
Classical relevance: Interesting in view of the time it was recorded.

Works and composers:
Johann David Heinichen. (1683-1729)
Overture in G major.

Heinichen wrote some dazzling and assertively life enhancing works. This is one of them. His melodies have at times a acerbic willful edge to the movements, but that adds only to the invigorating drive of the notes. Heinichen has good taste, so what you hear will please your ears anytime.

Christoph Graupner. (1683-1760)
Overture in C major, for 3 Chalumeaux, Strings and continuo.

Always a pleasure to hear these instruments, and three of them no less. This sensual instrument makes quite an impression, with honeyed seductive tones throughout this beautiful work. In his music he leans more towards the French elegance as the Italian virtuosity, so the waters stay calm at Graupner's door. A curious thing is that Graupner asked that all his works should be burned after his death. It was never ascertained why he wanted this, but one can speculate of course. Luckily for us, it was not done! The horror of it, that we would have never heard his compositions. Fie!

Johann Friedrich Fasch. (1688-1758)
Overture in B flat major.

Fash was well appreciated by the likes of Heinichen, and that counts as a huge compliment in my ears. Fasch is as we know a very original voice, and very  creatively pliant composer, able to pen down beautiful melodies. His skills are remarkable and well thought of by me, for I have many recordings in my collection of his music. Always joyous in his expressions, with a wide range of emotions, he will do in any given mood that might possess you.

Johann Gottlieb Graun. (1703-1771)
Overture in D minor.

Last but not least, Graun always produced stately and decorous sounding works, with plenty of zest and creative mastery. As such he fits perfectly into this list of composers. Its music that flows on easily, and has always a few musical surprises in petto. 


Performed by:
Cappella Coloniensis, Hans Martin Linde.
Hans Rudolf Stalder, Heinz Hofer, Elmar Schmid, Chalumeaux.


As to the performance: This is a performance that still has some feet in the old school, but also ventures out in new territory, sort of a cross over in performance practice and style. Pleasant enough to warrant the modest investment. The recording is rich in details, and all is done based on Historical performance practice. Tempi are good, accent are nicely placed, and the soloists on the Chalumeaux are impressive. Sound is good!




Friday, June 5, 2015

Recent acquisition. Bach, J.S. Cantatas, Volume 53. First listen.

Recent acquisition.
Bought in October 2014.
First listen.
Label: BIS.
Box with 15 cd's.
Each CD has its original booklet of the single releases.
Recording dates: February 2012.
Recording venue: Kobe Shoin Women's University Chapel, Japan.
Recording engineer: Andreas Ruge.
Running time: 67:37.
Classical relevance: Essential.

Works performed:
In allen meinen Taten, BWV 97.
Ich Ruf zu dir, Herr Jesu Christ, BWV 177.
Es ist das Heil uns kommen Her, BWV 9.

Performed by:

Bach Collegium Japan, Masaaki Suzuki.
Hana Blazikova, Soprano.
Robin Blaze, Countertenor.
Gerd Turk, Tenor.
Peter Kooij, Bass.

Another excellent performance by this ensemble. I have no complaints save the plea for a better countertenor, but that's because I dislike the nasal voice of Robin Blaze. Still for these performances there is no alternative, so I put up with him. All three cantatas are beautiful and well sung.
Recording by Andreas Ruge, is excellent too. The whole Bach set is a no brainer really!
Recommended.





Recent acquisition. Bach, J.S. Reconstructed Solo Concertos. CD 2. First listen.

Recent acquisition.
Bought in May 2015.
First listen.
Label: Phoenix Edition.
Licensed by Capriccio.
Box with 3 cd's.
Recording year: 1985.
Recording venue: Paul Gerhard Kirche, Leipzig, Germany.
Recording engineers: Claus Strubben, Eberhard Richter, Urs Metzger. 
Musicological advisor: Dr. Hans Joachim Schulze. (Bach Archiv, Leipzig)
Running time: 50:53.
Classical relevance: Essential, music and performance.

Works performed: 
Concerto for Oboe, Violin, Strings & BC in C minor, after BWV 1060.
Concerto for Oboe d'Amore, Strings & BC in A major, after BWV 1055.
Concerto for Viola. Strings & BC, in D minor, after BWV 1052.

Performed by:
Karl Suske, Violin.
Burkhard Glaetzner, Oboe & Oboe d'Amore.
Neues Bachisches Collegium Leipzig, Max Pommer.

What I said in my review for the first CD of this box, (Review of disc 1). I repeat for the second one, delightful performances, perfectly played and recorded. Historical performance practice on modern instruments, nothing wrong with that. Dynamics are spot on, accents without excessive vibrato, minimal legato on the strings, just a tad, to give some warmth to the mathematical compositions by Bach. These reconstructed Concertos are a balm to anyones ears, well at least mine that is!
People like me who prefer Historical instruments, can stomach this with ease. Its certainly not old school, but a bridge between two worlds. For 4 euros this is practically a give away.





New acquisition. Hasse, Johann Adolf. (1699-1783) Cleofide, Opera in three Acts, after Pietro Metastasio. Scenes and Acts. First listen.

New acquisition.
Bought in May 2015.
First listen.
Label: Phoenix Edition.
Licensed by Capriccio.
Recording dates: May 1986.
Recording venue: Lindlar Schutzenzentrum, Germany.
Recording engineer: Dietrich Wohlfromm.
Running time: 77:34.
Classical relevance: For Baroque opera buffs a must.

Work performed:
See Heading.

Performed by:
Rheinische Kantorei
Cappella Coloniensis, William Christie.
Emma Kirkby, Agnes Mellon, Sopranos.
Randall Wong, Derek Lee Ragin, Dominique Visse, David Cordier, Countertenors. 

It was not a surprise for me to meet excellence in this recording, considering all the soloists which are real butter on my musical bread. And to be honest neither of them disappoints but excels in all what I was expecting, Soloists, choir, orchestra and conductor alike. Even the recording is top notch, something which I do not always expect from Capriccio. So for anyone interested in Hasse's Cleofide this is a no brainer.
Unfortunately baroque operas bore me, never had a liking in hearing them, despite the performance being as good as this one. But I bought it first because it was only 2 euros, and secondly because it featured two of my favourite sopranos.
You cannot go wrong with this CD I guarantee that.






Recent acquisition. Kuhnau, Johann. (1660-1722) Complete Organ Music. Part II. First listen.

Recent acquisition.
Bought in May 2015.
First listen.
CD 2, of 3.
Label: Brilliant.
See for technical details review disc 1. Review disc 1.


Works performed:
Biblical Sonatas No. 5 & 6.
Prelude in B flat major, & G minor, D major, G major, C major, C minor, D minor, E minor.
Fugue in G minor.
Sonata in B flat major.
Fuga in C major.
Toccata in A major.

Performed by:
Review disc 1.


The second disc is as good as the first CD, and all I can add is that the works deepen in spiritual content, especially the preludes are magnificent. Kuhnau is a major figure if it comes to the organ, and should be reckoned with. He gets a place of honour in my collection anyway.
Stefano Molardi, is a fine organist who gets out what Kuhnau wrote into the music. See first review for more info.
Strongly recommended.



Wednesday, June 3, 2015

New acquisition. Classical Symphonies. First listen.

New acquisition.
Bought in May 2015.
First listen.
Label: Phoenix Edition.
Licensed by Capriccio.
Recording dates: February 1982 & September 1986.
Recording venue: Lindlar, Kulturzentrum, Germany.
Recording engineer: Not mentioned.
Running time: 70:39.
Classical relevance: Interesting.

Works and composers:

Francois-Joseph Gossec. (1734-1829)
Symphony in B flat major, opus 6,6.

It's a bit formal this work, first movement is rhythmically driven, but almost no attempt to developing a melody line, it's all a bit timid, and sometimes rather naive, considering the stature of the composer. As such it has similarities towards CPE Bach. Second movement is warm and embracing, with some strong melodic material. The third movement of just 51 seconds is a strange and solemn oddity with very dark colours. Fourth movement is a rather crudely composed Fuga, straightforward it is, and again CPE Back looks around the corner. The Fifth movement are two minuettos, in which formality prevails, again no melodic solutions, but a meandering stream, with an undecided end. Still a nice work.

Johann Baptist Vanhal. (1739-1813) 
Symphony in G minor.

Its a work full with bold gestures and dramatic effects, a lot of fanciful ideas and some artful spirit. That's a good summing up what awaits you. It is a very well composed work, one of Vanhal's better ones I dare say. The melodies tumble over each other with speedy alacrity, and keep your attention focused on exactly that element.

Antoine Mahaut. (1720-c.1785)
Symphony No. 4 in C minor, for Strings.

This is a Concerto in the true Baroque style. Nothing wrong with that but a bit odd considering the time in which he was living. Its almost in a "Sonata da Camera modus" with a harsh attempt of a Fugato in the first movement. The are some fast and brilliant passages in the last movement. Nice, but hardly a classical Symphony.

Joseph Martin Krauss. (1756-1792)
Symphony in C minor.

This composer is often named in one breath with Joseph Haydn and Mozart. You could say it's a striking work in many respects, with its very melancholy introduction in the first few measures of the first movement, where it meanders on and off, as if composed in deep thought, not very special but nicely done anyways. The following Andante is nice but rather formal and a bit boring to be honest. The third movement is the most exciting element in this Symphony, with very interesting melodic finds, well put together and deftly scored.

All in all this is a disc that will give pleasure. Not that there are not better performances around, but this one can hold its ground, even after all those years that passed in regard of performing practices.
This band plays in a historically informed style, which means that they do not have big bands dynamics, or a 120 strong orchestra to play this, but that things are in proportion in regard to the century in which it was composed, and as such it sounds very good. Linde is sure in his way of conducting, and gets all details and dynamics in the right place. And that makes it pleasurable listening. On another note, Capriccio the original producer of this disc, did not always have knowledgeable engineers in their service, nor did Phoenix remaster anything of what they reissued, and that is a fact of carelessness and economics I guess. Still for 2 euros I will not complain.
The sound is decent to good, but the Krauss Symphony sounds a tad hollow, not much mind you, but still, that's what I call an engineer's mishap, who did not have his ears attuned to the acoustics.
But I can recommend it for artistic reasons anyway.





New acquisition. Homilius, Gottfried August. (1714-1785) The complete Organ Works. First listen. CD 1 & 2.

New acquisition.
Bought in May 2015.
First listen.
Label: Brilliant.
Box with 2 cd's.
Recording dates: June 2011.
Recording venue: Sant'Antonio Abate Church, Padua, Italy.
Recording engineer: Michael Seberich.
Running time: CD 1: 51:30 & CD 2: 69:20.
Classical relevance. Essential.

Work performed:
See heading.

Performed by:
Felix Marangoni, Organ.

Instrument:

Francesco Zanin, 2007, after North German 18th century organ traditions.
Tuning: Werckmeister III.

Let there be no doubt about this instrument, it sounds fantastic, I was hardly able to hear that it was a instrument built in 2007. A virtual joy I tell you.
This release is very welcome, for believe it or not, there are hardly any recordings of Homilius works. I just found one incomplete cd played by Georges Guillart from 1980 on the label Arion, which sounded nice.
Two esteemed German musicians, Johann Friedrich Reichardt and Ernst Ludwig Gerber said of Homilius that he is without doubt our greatest church music composer. And this is I can confirm is the honest truth. You can put him on the same level as J.S. Bach, and this is also without doubt true!
Homilius's Choral preludes denote Bach's contrapuntal tradition and are well bound to his aesthetic, with the addition of a few elements of the so called upcoming "Empfindsamer Stil" And it is precisely this element that makes this music irresistible. There is not a single piece on both cd's that is lacking in interest, I know, for I did both cd's in one go, it mesmerized me, had me under a spell. I consider them all masterworks, especially in the hands of Felix Marangoni, winner of the Buxtehude Organ competition 2007, which for me is an indication of his worth, and that is considerable. He reminded me strongly of Harald Vogel, the same intense attention to detail, coupled with really taking the Empfindsamer style to perfection, and without getting sentimental, mind! The narrative is clean and pure, yet warm. The musical argument is well established, therefore the dialoguing is one of great pleasure, and an ongoing pleasure.
Strongly recommended!


The Leiden Choirbooks Volume III. (De Leidse Koorboeken) Second rerun.

A second rerun of Volume III. The Leiden Choirbooks. Disc 1 & 2. As lovely as with the first hearing. You might read the first review I...