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Klassiek - Verschenen op 2 april 2020 | Aeolus

Hi-Res Booklet
BONUS VIDEOAeolus' first collaboration with the cathedral organist Daniel Beckmann from Mainz leads us to a Bernhard Dreymann organ, which has just been restored to its former glory, located in the St. Ignazkirche in Mainz. The instrument, built in 1837 at the beginning of the Romantic period, was praised by Christian Heinrich Rinck as exemplary for the then modern organ building and fits exactly into the time when Robert Schumann wrote his works for pedal piano or organ. At the time when Robert Schumann was composing his studies and fugues for pedal piano in Dresden in 1845, the organbuilding was in shadow in most European countries. Clara wrote in her diary about the purchase of a pedal board for the Schumanns: "On April 24th [...] we received a pedal board under our piano [...]. Robert found greater interest in the instrument and composed some sketches and studies for the pedal piano, which will certainly be very well received as something new." In one of the earliest reviews of the B-A-C-H fugues, Magdeburg cathedral organist August Gottfried Ritter wrote: "Those familiar with Robert Schumann will not be surprised by such a change. Such a profound and sensitive composer, so thoroughly hostile to all effects daubed on the outside, must be attracted to the instrument so closely related to his inner being, finding in it the most appropriate expression of his thoughts". As he wrote in a letter, Schumann was convinced that the fugues were "a task of which I believe they will perhaps outlive my other ones the longest".Due to its abundant foundation stops and the resulting diverse possibilities of dynamic gradations, the Dreymann organ is almost predestined for a recording of these three cycles. (Aeolus)
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Klassiek - Verschenen op 1 maart 2020 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 27 februari 2020 | Aeolus

Hi-Res Booklet
HI-RES€ 26,99
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Klassiek - Verschenen op 1 december 2019 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 6 november 2019 | Aeolus

Hi-Res Booklet
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Kamermuziek - Verschenen op 1 november 2019 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 15 februari 2019 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 7 december 2018 | Aeolus

Hi-Res Booklet
HI-RES€ 17,99
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Klassiek - Verschenen op 7 december 2018 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 1 oktober 2018 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason
No need to dwell on the The Art of Fugue’s one thousand and one secrets, whether real or presumed: let’s just play it, pure and simple. For too long, many considered it had been created more so for the eyes and mind than for the ears, and what a mistake that was! Bob van Asperen proves it once again with his incredibly deep 1741 Christian Zell harpsichord. Van Asperen only plays fourteen of the definite, finalised manuscript’s “contrapuntus”, adding a canon found annotated on the same manuscript, which was itself finalised. The other contrapuntus and canons in The Art of Fugue are drafts at various degrees of revision, and it is known that a monumental triple fugue remained unfinished. As a complement, the harpsichordist had the surprising yet outstanding idea to combine Berhard Klapprott and a second harpsichord to play two mirror fugues from other manuscripts, which require a large number of playing fingers. The sound disparities between both harpsichords help the listener follow Bach’s titanic contrapuntal inventions. It’s clear this music wasn’t intended for the eyes alone… © SM/Qobuz
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Klassiek - Verschenen op 31 augustus 2018 | Aeolus

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Klassiek - Verschenen op 29 juni 2018 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 11 mei 2018 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 8 december 2017 | Aeolus

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 8 december 2017 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 3 december 2017 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 1 december 2017 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 1 december 2017 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 1 december 2017 | Aeolus

Hi-Res Booklet
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Klassiek - Verschenen op 3 november 2017 | Aeolus

Hi-Res Booklet
We don't know a lot about the composer Françoise Dufaut; it seems he was born around 1604, and the last mention of his name appears in 1672 - and then that is in a letter asking whether he is still alive... In the intervening years, he shows up in France, in England (curiously, around 1650, in the era of Cromwell's sinister religious dictatorship, the First Commonwealth and later the Protectorate, which put strict limits on all music), in Austria, and then probably again in England, where he likely died. On the other hand, he also left us a very ample repertoire of manuscripts and printed works for the lute, coming to 165 pieces, which delighted lutists throughout the 17th Century. Closer to our times, the lutist André Heinrich has picked out a lovely selection of Dufaut's works, five large and generous Suites, which he plays on a copy of a Viennese eleven-stringed lute made by Andreas Berr and dated 1690, the copy produced in 2001 by Ivo Magherini in Bremen. With its long, narrow body, Berr's lute follows the style of lutes from Bologna in the 16th Century, which were also the instruments most commonly sold in France in the 17th Century. © SM/Qobuz