Tags
Language
Tags
May 2024
Su Mo Tu We Th Fr Sa
28 29 30 1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28 29 30 31 1

Michael Wersin - Liebliche Krafft-Blümlein. Twelve duets accompanied by continuo (2023)

Posted By: varrock
Michael Wersin - Liebliche Krafft-Blümlein. Twelve duets accompanied by continuo (2023)

Michael Wersin - Liebliche Krafft-Blümlein. Twelve duets accompanied by continuo (2023)
WEB FLAC (tracks+booklet) - 545 MB | Tracks: 16 | 59:20
Style: Classical | Label: CPO

Samuel Scheidt, who was born in Halle an der Saale in 1587 and died there in 1654, is one of the most well-known composers of the early Baroque (he is always mentioned as one of the "three great Sch" along with Schütz and Schein). With his numerous surviving works, however, he is not very present in contemporary concert life. As a cycle, his "Lieblichen Krafft-Blümlein" are a world premiere recording. Most of the individual pieces have also never been recorded before. The collection consists of a total of twelve continuo-accompanied duets on texts largely composed from biblical words.

Roland Wilson, Musica Fiata, Tobias Hunger, Marie Luise Werneburg, La Capella Ducale - Schütz: Dafne (Recons. R. Wilson) (2022)

Posted By: delpotro
Roland Wilson, Musica Fiata, Tobias Hunger, Marie Luise Werneburg, La Capella Ducale - Schütz: Dafne (Recons. R. Wilson) (2022)

Roland Wilson, Musica Fiata, Tobias Hunger, Marie Luise Werneburg & La Capella Ducale - Schütz: Dafne (Reconstr. R. Wilson) (2022)
WEB FLAC (tracks) - 479 Mb | MP3 CBR 320 kbps - 340 Mb | Digital booklet | 01:15:47
Classical, Opera | Label: CPO

Dafne by Heinrich Schütz: a phoenix rises from the ashes. The first and presumably only performance of the opera Dafne took place in Torgau on April 13, 1627, as part of the festivities celebrating the marriage of the Saxon Duchess Sophie Eleonore and the Hessian Landgrave Georg II. Although the libretto by Martin Opitz appeared in print, virtually nothing of the music has survived. At first glance, the reconstruction of an opera whose music has not survived appears to be a daring undertaking. In fact, however, there are many clues to the structure of the work, so that it was possible to produce something that, although not identical to the original, is very close to it.