Ingenium
Vanitas - VA 03
Kompozytor
J. Pachelbel; G. Pandolfi Mealli; G. Frescobaldi; G.B. Fontana; G. Bohm; H. Dobel; J.J. Froberger; F. Tunder; N. Bruhns; J. Schmelzer; G. Kapsberger; I. Albertini
J. Pachelbel; G. Pandolfi Mealli; G. Frescobaldi; G.B. Fontana; G. Bohm; H. Dobel; J.J. Froberger; F. Tunder; N. Bruhns; J. Schmelzer; G. Kapsberger; I. Albertini
Wykonawcy
Divina Misteria:
Pavel Amilcar, violin
Montse Colomé, cello
Thor Jorgen, viola da gamba and violone
Pablo Zapico, archilaud and baroque guitar
Andrés Alberto Gómez, harpsichord and organ
Divina Misteria:
Pavel Amilcar, violin
Montse Colomé, cello
Thor Jorgen, viola da gamba and violone
Pablo Zapico, archilaud and baroque guitar
Andrés Alberto Gómez, harpsichord and organ
Nagrody i rekomendacje
Utwory na płycie:
J. Pachelbel:
Toccata in D Minor
Pandolfi Mealli:
Sonata Quarta La Biancuccia
G.Frescobaldi:
Toccata per Spinettina e Violino
G.B. Fontana:
Sonata VI
G.Bohm:
Praeludium in C Major;H.Dobel:
Sonata IV
J. Froberger:
Toccata in D Minor
Biber:
Sonata I La Anunciacion;Tunder:
Praeludium Nr. 2;N.Bruhns:
Nun Komm, Der Heiden Heiland
Schmelzer:
Sonata Quinta Unarum Fidium
Kapsberger:
Toccata 6ta;Albertini:
Sonata I
Toccata in D Minor
Pandolfi Mealli:
Sonata Quarta La Biancuccia
G.Frescobaldi:
Toccata per Spinettina e Violino
G.B. Fontana:
Sonata VI
G.Bohm:
Praeludium in C Major;H.Dobel:
Sonata IV
J. Froberger:
Toccata in D Minor
Biber:
Sonata I La Anunciacion;Tunder:
Praeludium Nr. 2;N.Bruhns:
Nun Komm, Der Heiden Heiland
Schmelzer:
Sonata Quinta Unarum Fidium
Kapsberger:
Toccata 6ta;Albertini:
Sonata I
Musical style is the codification of a particular language and its own models of signification. The way of drawing together a series of characteristic precepts in order to express and to transmit concrete version, defined stance and determined aesthetics on the specific musical experience. Stylus phantasticus delineation departs from the system and classification of musical theory that appears tied to the avant-garde transforming vortex that carries the first half of the 17th century. This theoretical scene sets the environment for Athanasius Kircher's style classifying model, which he structures in his Musurgia Universalis of 1650, where stylus phantasticus is named and defined for the first time.
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