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Classical - Released October 1, 2021 | Christophorus

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In the early summer of 1630, Venice was struck by the plague in a devastating way: it raged for 18 months and killed almost 50,000 people, more than a third of the population at the time! Doge Nicolò Cantarini vowed to build a large church for the deliverance from the plague, and even though he was unable to experience it himself, this vow was carried out. With the Santa Maria della Salute, one of the most magnificent churches in the city was built. Since the year of liberation in 1631, the festival in honor of "Saint Mary of Health" has been celebrated every year in November. The ensemble ecco la musica has set out to find out what the music of the first Festa della Salute in 1631 might have sounded like, combining what already existed with what was new at the time and commemorating the composers who died. With the end of the epidemic, there was also a musical change, from the wind-dominated polychoral music of Gabrieli, to the style of the seconda prattica of Monteverdi and his successors with solo singers and virtuoso string accompaniment. © Christophorus
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Ambient/New Age - Released October 1, 2021 | Christophorus

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Philipp Wolfrum (1854-1919) was one of the most influential personalities in German musical life around 1900. He worked as a choirmaster, organist, composer, professor and university music director in Heidelberg and friendships connected him with Engelbert Humperdinck, Max Reger and Richard Strauss; he also maintained close contact with the Bayreuth circle around Richard Wagner's widow Cosima. Liszt and Wagner were his great idols and this is also noticeable in his compositions. His opus magnum is Ein Weihnachtsmysterium, first performed in 1898, in which the birth of Jesus is pictorially staged. The conception for this more than one-and-a-half-hour work is influenced by medieval mystery plays and Wagner's Gesamtkunstwerk. The musical material consists of well-known German Christmas carols, which are processed in high chromatic harmony and late Romantic melody as well as with masterfully colorful orchestral treatment and are reminiscent of Wagner's operas or Liszt's symphonic poems, in places also of Brahms, Humperdinck or Reger. © Christophorus
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Classical - Released September 3, 2021 | Christophorus

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Classical - Released June 18, 2021 | Christophorus

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In cellist circles, the name Jean-Baptiste Barrière /1707-1747) is well known: as a cello virtuoso, he made his instrument famous in France and published three books of sonatas. But in France in the 18th century, the viola da gamba still dominated, and among aristocratic ladies at this time, the smallest of the viola da gamba family came into fashion: the "pardessus de viole". It is as large as the violin and can be played held on the lap without having to open the legs unseemly. It is a purely solo instrument and enchants with its fine sound up to the highest registers. Jean-Baptiste Barrière has also dedicated a volume of sonatas to the "pardessus de viole", which explores all the technical possibilities of the instrument. Simone Eckert presents Barrière's six Sonates pour le pardessus de viole (Paris, 1740) in their entirety for the first time. © Christophorus
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Classical - Released May 7, 2021 | Christophorus

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Chamber Music - Released May 7, 2021 | Christophorus

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Chamber Music - Released March 19, 2021 | Christophorus

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In Paris at the end of the Baroque era and with the rising bourgeoisie, a new era dawned for composers after the death of king Louis XIV. Joseph Bodin de Boismortier was in the right place at the right time and knew how to meet the burgeoning demand with a nimble pen. He wrote a vast amount of gallant, easily playable chamber music, which he also published himself in an unheard-of way! The Neumeyer Consort presents the two collections of works op. 32 and 37 and combines their trios, quartets and concerto with changing instrumentations to create a colorful painting in the Galant style. © Christophorus
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Classical - Released February 5, 2021 | Christophorus

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The alto David Erler works with many renowned conductors such as Laurence Cummings, Philippe Herreweghe, Jos van Immerseel, Ton Koopman, Hans-Christoph Rademann, to name but a few. Now, accompanied by the ensemble L'arpa festante under the direction of Rien Voskuilen, he presents his first solo release. The programme includes sacred music from the Central German Baroque period - psalms and hymns of praise by little-known composers such as Johann Christoph Schmidt, Johann Theile, Johann Karl Briegel and completely anonymous composers, which provide new evidence of the high musical level at the churches of this period in Central Germany. © Christophorus
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Classical - Released February 5, 2021 | Christophorus

Generations of highly esteemed musicians have worked at Leipzig's Thomaskirche with its world-famous boys' choir. Most of them are hardly known today like Tobias Michael, Sebastian Knüpfer, Johann Schelle or Johann Kuhnau. These four composers were the immediate predecessors of the most famous Thomaskantor, Johann Sebastian Bach, and all of them also created wonderful music. One sacred concert each on "Machet die Tore weit" by Johann Schelle and Tobias Michael will open the programme. The most splendid and extensive composition is Sebastian Knüpfer's Dies est laetitiae for 22 voices, divided into a five-part trumpet choir with timpani, strings, bassoon, three flutes, six soloists and a four-part choir. The only composer on this album who was not Thomaskantor is Johann Caspar Horn. His composition Es begab sich aber zu der Zeit, a setting of the well-known Christmas text from the Gospel of Luke, has been documented to have been performed in St. Thomas Church. © Christophorus
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Classical - Released January 15, 2021 | Christophorus

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Gloomy and threatening, almost completely covered by low-hanging clouds and wafts of mist, the night sky weighs down on the poetic world of Romantic poetry, directing our gaze into the abysses of the human soul - to endless torments of love, our own transience and consuming longing for death. Together with his congenial partner Katharina Olivia Brand on the fortepiano, countertenor Franz Vitzthum delves deep into Romantic realms and presents songs by Schubert and Mendelssohn, Carl Friedrich Zelter, Anselm Hüttenbrenner and Johann Hoven, as well as quite unknown composers such as Josephine Caroline Lang, Charlotte Bender, Ernst Friedrich Kauffmann and Johann Friedrich von Dalberg. It may seem strange to some that a countertenor would venture into Romantic song! But the moment of surprise lasts only a few seconds, as Franz Vitzthum's clear and expressive voice convinces immediately and takes the listener on a well thought-out journey into the darkness of the romantic night. © Christophorus
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Ambient/New Age - Released November 20, 2020 | Christophorus

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Choral Music (Choirs) - Released November 20, 2020 | Christophorus

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Ambient/New Age - Released October 16, 2020 | Christophorus

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Before the history of the string quartet entered its "classical" phase with Luigi Boccherini in Paris and Joseph Haydn in Vienna, it went through a long process of development marked by exciting experiments and compositional freedom. Italian composers in particular have distinguished themselves in this process and so the programme of Musica Fiorita presents special works by Italian composers from a period of about 100 years. Beginning with two works by Giovanni Maria Bononcini (the father of the famous Giovanni Battista), the development from a continuo accompanied to a continuo free quartet is shown. Alessandro Scarlatti is represented with four quartets from his late work, in which the opera composer turns to polyphonic part writing in an unusually complex and harmonically expressive way. Two compositions by the Italian Maddalena Laura Lombardini Sirmen, which represent the early classical phase of the string quartet, conclude the programme. © Christophorus
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Ambient/New Age - Released October 16, 2020 | Christophorus

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Handel did it, as did Mozart, Berlioz, even Busoni, as well as most composers in music history and even Johann Sebastian Bach: they all parodied the works of their ancestors and contemporaries. Moreover, Bach was a great master in using his own works for new purposes. For this program, the Capricornus Consort Basel has adapted organ works by Johann Sebastian Bach for string ensemble, which has a special appeal: On the one hand, the organ sound is transformed into an (extremely homogeneous) string sound. In addition, the Capricornus Consort creates completely new listening impressions of the well-known organ works through its differentiated, historically informed way of playing. Not only a pleasure for organ lovers! © Christophorus
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Classical - Released September 18, 2020 | Christophorus

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Handel did it, as did Mozart, Berlioz, even Busoni, as well as most composers in music history and even Johann Sebastian Bach: they all parodied the works of their ancestors and contemporaries. Moreover, Bach was a great master in using his own works for new purposes. For this release, the Capricornus Consort Basel has adapted organ works by Johann Sebastian Bach for string ensemble, which has a special appeal. On the one hand, the organ sound is transformed into an (extremely homogeneous) string sound. In addition, the Capricornus Consort creates completely new listening impressions of the well-known organ works through its differentiated, historically informed way of playing. This release is not only a pleasure for organ lovers, but for all! © Christophorus
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Ambient/New Age - Released August 28, 2020 | Christophorus

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Chamber Music - Released August 28, 2020 | Christophorus

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Classical - Released August 28, 2020 | Christophorus

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Choral Music (Choirs) - Released August 28, 2020 | Christophorus

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Ambient/New Age - Released August 28, 2020 | Christophorus

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