During the second half of the 18th century, new potential sources of income made it possible for musicians to disengage themselves from the grip of their traditional employers, and attain the level of respectable citizen. Anton Eberl is a perfect example of a composer affected by the changes occuring during the last decades of the 18th century and the beginning of the 19th, especially in Vienna. He clearly illustrates the range of services a musician had to develop in order to ensure an independent livelihood, the changes the musical world imposed on the image of musicians, and the effect of these influences on the production of music itself – as much on musical form and instrument choice as on the inexorable evolution of composition towards a romanticism of which Eberl can be seen as a true pioneer.
Austrian Anton Eberl was very highly regarded by his contemporaries in his grievously short life, being widely considered the equal of Mozart, Haydn and the young Beethoven, alongside whose Sinfonia Eroica Eberl's own E flat Symphony was premiered - and by at least one critic deemed superior! Several of Eberl's piano works were even published as by Mozart, something which Eberl and Constanze Mozart fought to rectify. As late as 1944 Eberl's Symphony in C was heralded in Italy as a new Mozart discovery...
Release Date: 1999 Duration: 01:05:08 Recording Location St. Martin's Church, East Woodhay, UK
Personnel: Florilegium Ashely Solomon - flute Rachel Podger - violin Daniel Yeadon - viola da gamba Neal Peres Da Costa - harpsichord Elizabeth Kenny - theorbo
Release Date: 2013 Duration: 01:20:07 Recorded: Paroisse Notre Dame du Liban, Paris, 6-8 mai 2013
Sabine Devieilhe, the young French lyric-coloratura soprano is a name to watch. Over the 2013-14 Paris season she will star in Delibes’ Lakmé at the Opéra Comique and make her debut at the Opéra as the dazzling Queen of the Night in Die Zauberflöte. She has been described as a singer “whose upper register, like her virtuosity, appears limitless, while her verbal sense and dramatic engagement are breathtaking”. Both her achievement and her potential were recognised at the 2013 Victoires de la Musique Classique, France’s equivalent of the Grammys, where she won the award in the category for ‘Révélation artiste lyrique’...
Tracklist: It has too often been overlooked that, between Bach’s death (1750) and the triumphant revival of his St Matthew Passion by Mendelssohn in 1829, other composers had already investigated the œuvre of this ‘old master’. Mozart was the most fervent among them; thanks to the discoveries of Baron van Swieten, he had the opportunity to explore The Well-Tempered Clavier and make the string arrangements from it featured on this disc.
An instrumental ‘oratorio’ Haydn wrote his Seven Last Words in 1786/87 for Good Friday devotions in Cádiz. The task of composing a purely instrumental ‘oratorio’ consisting of seven contemplative slow movements was by no means an easy one; but the outcome was a work of sublime nobility, which in Haydn’s own transcription for string quartet has enjoyed unfailing popularity ever since.
Сomposer: George Frideric Handel (1685–1759), Franz Xaver Richter (1709–1789), Johann Wenzel Anton Stamitz (1717-1757), Wolfgang Amadeus Mozart (1756–1791), Franz Joseph Haydn (1732–1809)
The first release on AAM Records, the new label of the Academy of Ancient Music – recently described as “the finest period-instrument orchestra in the world” by Classic FM. Birth of the symphony explores the development of the symphony in the eighteenth century, surveying groundbreaking musical advances across Europe. The recording includes brilliant and rarely-heard works by composers of the avant-garde “Mannheim school”, Richter and Stamitz, as well as Haydn’s mature “La passione” symphony. Supplementary materials available online include a documentary film featuring AAM musicians discussing and performing these symphonies.
Quality:Studio Master FLAC Stereo 88,2kHz/24bit Homage in music can express different things: gratitude towards a benefactor, a more personal greeting to a friend or acquaintance, recognition of a colleague’s talent, or a testament raised in memory of a teacher or other departed dear one. Paying homage to a late musician with a Tombeau was already an ancient tradition in the time of Marin Marais. Initially, tombeaux were instrumental transcriptions of middle-age and Renaissance vocal lamentations, and were developed around the middle of the 17th-century for the lute, then for the harpsichord by Louis Couperin and Jean-Henri d’Anglebert, and finally for the viola da gamba by Sainte-Colombe. The Tombeaux of Marin Marais are amongst the most original and expressive of those written for the viol, while the last examples of this tradition are the Tombeau pour Marais le Cadet, by Marin Marais (1725) and the Tombeau de Marais le Père, by Charles Dollé (1737). A programme full of worship, grandeur and sadness.
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