Qobuz Store wallpaper
Kategorie:
Warenkorb 0

Ihr Warenkorb ist leer

Concerto Köln - Charles Avison : Concerti Grossi after Scarlatti

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Charles Avison : Concerti Grossi after Scarlatti

Concerto Köln

Digitales Booklet

Verfügbar in
logo Hi-Res
24-Bit 88.2 kHz - Stereo

Musik-Streaming

Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität

Testen Sie Qobuz kostenlos und hören Sie sich das Album an

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Abonnement abschließen

Hören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps

Download

Wählen Sie die Audio-Qualität

Um das Album zu diesem Preis zu kaufen, abonnieren Sie Sublime+

Text in englischer Sprache verfügbar

The music on this album takes a little bit of explanation that the words "Concerti Grossi After Scarlatti" does not fully supply. These are not really arrangements or orchestrations of keyboard sonatas by Domenico Scarlatti, even though they are sometimes described that way. Instead, as the booklet notes by Kai-Hinrich Müller put it here, this "is music by Avison and Scarlatti simultaneously" (or at least, one might say, sequentially). The basic source material is the set of Essercizii (Exercises) published by Scarlatti in England in 1739. These were among the few sonatas of Scarlatti that were internationally known during the composer's lifetime; Charles Burney remarked that "everyone played, or at least tried to play, Scarlatti's Essercizii." Enter English composer Charles Avison, who attempted to fill an obvious market niche by arranging them for a small orchestra. The keyboard pieces contain basically Italianate material, with loud-soft contrasts and registral blocks; there is no question of trying to orchestrate some of the wilder harmonic experiments or Spanish effects of some of Scarlatti's sonatas. But they are not "concertos" for keyboard, and there are not enough slow ones to make up three-movement concertos. Avison reworked the melodic material into orchestral-suitable shapes, pulled in material from other sonatas (some of them unknown), and may have written some slow movements to match outer-movement pairs. In short, what you hear is sort of an adaptation of Scarlatti, and in places almost a fantasy. You could just listen to concertos by Vivaldi or Sammartini instead, but the whole thing is sufficiently unusual to be interesting in itself, and the veteran Concerto Köln delivers lively, idiomatic performances. Recommended for Baroque enthusiasts.
© TiVo

Weitere Informationen

Charles Avison : Concerti Grossi after Scarlatti

Concerto Köln

launch qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS bereits heruntergeladen Öffnen

download qobuz app Ich habe die Qobuz Desktop-Anwendung für Windows / MacOS noch nicht heruntergeladen Downloaden Sie die Qobuz App

Kopieren Sie den folgenden Link, um das Album zu teilen

Sie hören derzeit Ausschnitte der Musik.

Hören Sie mehr als 60 Millionen Titel mit unseren Streaming-Abonnements

Hören Sie dieses Album und mehr als 60 Millionen weitere Titel im Rahmen Ihres Streaming-Abonnements mit unseren Apps.

12 Concertos, Op. 6, Concerto No. 3 in D Minor (Charles Avison)

1
I. Largo andante, K 89b, VN
00:01:27

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

2
II. Allegro sprirituoso, K 37, RG 25
00:03:26

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

3
III. Vivace, K 38, RG 26
00:02:14

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

4
IV. più allegro, K 1, RG 10
00:02:12

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

12 Concertos, Op. 6, Concerto No. 6 in D Major (Charles Avison)

5
I. Largo
00:02:51

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

6
II. Con furia, K 29, RG 13
00:04:33

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

7
III. Adagio, K 89c, VN
00:02:11

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

8
IV. Vivacemente, K 21, RG 32
00:03:16

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

12 Concertos, Op. 6, Concerto No. 4 in A Minor (Charles Avison)

9
I. Andante, K 12, RG 19
00:05:35

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

10
II. Allegro, K 3, RG 11
00:01:48

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

11
III. Largo
00:04:28

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

12
IV. Vivace, K 36, RG 24
00:02:54

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

12 Concertos, Op. 6, Concerto No. 5 in D Minor (Charles Avison)

13
I. Largo
00:02:19

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

14
II. Allegro, K 11, RG 28
00:01:36

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

15
III. Andante moderato, K 41, RG 42
00:02:25

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

16
IV. Allegro, K 5, RG 14
00:02:15

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

12 Concertos, Op. 6, Concerto No. 9 in C Major (Charles Avison)

17
I. Largo
00:01:51

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

18
II. Con spirito, K 31, RG 3
00:03:49

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

19
III. Siciliana
00:03:18

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

20
IV. Allegro, K 7, RG 18
00:04:15

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

12 Concertos, Op. 6, Concerto No. 11 in G Major (Charles Avison)

21
I. Con affetto
00:04:05

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

22
II. Allegro, K 28, RG 35
00:03:27

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

23
III. Andante moderato, K 25, RG 37
00:06:32

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

24
IV. Vivacemente, K 6, RG 15
00:02:30

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

Cembalo Sonata, Kk. 29 (L. 461) (Domenico Scarlatti)

25
Presto in D Major
00:05:58

Concerto Köln - Charles Avison, Composer

2015 Edel Germany GmbH 2015 Edel Germany GmbH

Albumbeschreibung

The music on this album takes a little bit of explanation that the words "Concerti Grossi After Scarlatti" does not fully supply. These are not really arrangements or orchestrations of keyboard sonatas by Domenico Scarlatti, even though they are sometimes described that way. Instead, as the booklet notes by Kai-Hinrich Müller put it here, this "is music by Avison and Scarlatti simultaneously" (or at least, one might say, sequentially). The basic source material is the set of Essercizii (Exercises) published by Scarlatti in England in 1739. These were among the few sonatas of Scarlatti that were internationally known during the composer's lifetime; Charles Burney remarked that "everyone played, or at least tried to play, Scarlatti's Essercizii." Enter English composer Charles Avison, who attempted to fill an obvious market niche by arranging them for a small orchestra. The keyboard pieces contain basically Italianate material, with loud-soft contrasts and registral blocks; there is no question of trying to orchestrate some of the wilder harmonic experiments or Spanish effects of some of Scarlatti's sonatas. But they are not "concertos" for keyboard, and there are not enough slow ones to make up three-movement concertos. Avison reworked the melodic material into orchestral-suitable shapes, pulled in material from other sonatas (some of them unknown), and may have written some slow movements to match outer-movement pairs. In short, what you hear is sort of an adaptation of Scarlatti, and in places almost a fantasy. You could just listen to concertos by Vivaldi or Sammartini instead, but the whole thing is sufficiently unusual to be interesting in itself, and the veteran Concerto Köln delivers lively, idiomatic performances. Recommended for Baroque enthusiasts.
© TiVo

Informationen zu dem Album

Auszeichnungen:

Verbessern Sie diese Seite

Qobuz logo Warum Musik bei Qobuz kaufen?

Aktuelle Sonderangebote...
Blue Train John Coltrane
Chopin : Piano Concertos Benjamin Grosvenor
Live In Europe Melody Gardot
Mehr auf Qobuz
Von Concerto Köln
Das könnte Ihnen auch gefallen...
Panorama-Artikel...
10 Fragen an Günter Hänssler

Der Geschichte von hänssler CLASSIC liegt zunächst eine Verlagsgeschichte zugrunde. Friedrich Hänssler senior hatte das Lied “Auf Adlers Flügeln getragen” geschrieben und suchte vergeblich nach einem Musikverlag, was ihn dazu veranlasste, selbst einen zu gründen. Günter Hänssler, Erbe dieses Familienunternehmens, erzählt uns, was die Labels hänssler CLASSIC und PROFIL besonders prägten und welche Künstler-Kollaborationen zum besonderen Klang beigetragen haben.

Giovanni Antonini & Il Giardino Armonico - eine neue Form der Freiheit

Giovanni Antonini, Gründungsmitglied und Leiter des 1985 entstandenen Ensembles Il Giardino Armonico, zu dem unter anderen Luca Pianco gehört, hat mit der Gesamtaufnahme aller 107 Sinfonien von Joseph Haydn ein monumentales Projekt in Angriff genommen. Vor kurzem ist der 8. Band erschienen. Das Projekt soll 2032, zum 300. Geburtstages des Vaters der Sinfonie, abgeschlossen sein. Ein Rückblick auf den Werdegang des beherzten Mailänder Dirigenten.

Jordi Savall – Musik, Leben, Tonaufnahmen

Es regnete in Strömen in jener Oktobernacht im französischen Bugey, was zu dieser Jahreszeit dort häufig vorkommt. Es war Mitternacht. Wir waren ungefähr fünfzig Musikliebhaber, die beim Festival d’Ambronay schweigend in der Feuchtigkeit und in der Kälte warteten. Dann erschien auf einmal Jordi Savall, lautlos, in einen weißen, nassen Trenchcoat gehüllt, wie Humphrey Bogart in Casablanca, einen Kasten in Form eines menschliche Körpers an sich gedrückt. Mit langsamen Bewegungen holte er, nein, kein Maschinengewehr, sondern eine Viola da Gamba hervor, die er mit größter Umsicht behandelte, und begann, sie zu stimmen. Dann geschah im Publikum das Wunder.

Aktuelles...