Wydawnictwo: Christophorus
Seria: Entree
Nr katalogowy: CHE 01912
Nośnik: 1 CD
Data wydania: październik 2013
EAN: 4010072019127
Seria: Entree
Nr katalogowy: CHE 01912
Nośnik: 1 CD
Data wydania: październik 2013
EAN: 4010072019127
Bach: Bach and the Italians
Christophorus - CHE 01912
Kompozytor
Johann Sebastian Bach (1685-1750)
Johann Sebastian Bach (1685-1750)
Wykonawcy
Monika Frimmer, soprano
Kai Wessel, countertenor
Neue Hofkapelle München / Christian Brembeck
Monika Frimmer, soprano
Kai Wessel, countertenor
Neue Hofkapelle München / Christian Brembeck
Nagrody i rekomendacje
Utwory na płycie:
Psalm 51 from Pergolesi's Stabat Mater BWV1083 'Tilge, Höchster meine Sünden'
Keyboard Concerto in D minor (after Marcello), BWV974
Languet anima mea after Francesco Bartolomeo Conti
Keyboard Concerto in D minor (after Marcello), BWV974
Languet anima mea after Francesco Bartolomeo Conti
Pergolesi, Conti and Marcello in adaptions by Johann Sebastian Bach
Interest in Italy and involvement with Italian art exerted a lasting influence on cultural activity in Germany from the beginning of the Renaissance at least. Whether one takes the example of Heinrich Schütz or Goethe, the “cradle of Western culture” was seen for centuries to rest in Italy’s fine arts and musicianship.
Johann Sebastian Bach was one of those who spent his life studying his contemporaries’ works, often those he had learnt as a boy. As a violinist at the Lüneburg court he had the opportunity to become acquainted with the fashionable French influence on German music, and as Court organist in Weimar he is sure to have had wider access to works by European contemporaries....
Interest in Italy and involvement with Italian art exerted a lasting influence on cultural activity in Germany from the beginning of the Renaissance at least. Whether one takes the example of Heinrich Schütz or Goethe, the “cradle of Western culture” was seen for centuries to rest in Italy’s fine arts and musicianship.
Johann Sebastian Bach was one of those who spent his life studying his contemporaries’ works, often those he had learnt as a boy. As a violinist at the Lüneburg court he had the opportunity to become acquainted with the fashionable French influence on German music, and as Court organist in Weimar he is sure to have had wider access to works by European contemporaries....
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