Clematis, Stéphanie de Failly, Brice Sailly – David Pohle: Complete Sonatas & Ballet Music (2024)
FLAC (tracks) 24 bit/192 kHz | Time – 02:32:38 minutes | 5,21 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ricercar
David Pohle was one of Heinrich Schütz’s most talented pupils although, unlike his master, Pohle did not compose only sacred vocal works; he also created a substantial body of instrumental music, including some thirty sonatas for four to eight instruments and a number of ballet suites. Pohle was very much an heir to the polyphonic tradition and was certainly influenced by the playing of Italian violinists, and particularly so by Carlo Farina, who lived in Dresden at that time. Pohle not only made use of Italian influences but also adapted models from French dance music: this explains the great diversity of structures in these sonatas, which in some respects also herald the outbursts of the stylus fantasticus. This is a revelatory first recording of Pohle’s complete sonatas.
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Clematis, Stéphanie de Failly – Vitali: Ciaconna (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:14 minutes | 1,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ricercar
Every violinist from the Romantic period onwards has played Tomaso Antonio Vitali’s famous Chaconne,although the score that they used was always based on the very much modified version of the piece that violin virtuoso Ferdinand David had made of it around 1860.Various unusual aspects of the piece together with some unexpected modulations have always led experts on the Baroque to regard the piece as inauthentic.Stéphanie de Failly,however,has gone back to the original manuscript and in so doing has not only shed new light on the work but also revealed its connections to other works by Tomaso Antonio Vitali and his father Giovanni Battista Vitali.The musical invention in Giovanni Battista’s pieces and dances with variations leads the listener directly to the extravagances of the Chaconne.
Read more![Clematis, Stéphanie de Failly, Brice Sailly, Julie Roset - Nun danket alle Gott (2020) [Official Digital Download 24bit/192kHz] Download](https://imghd.xyz/images/2022/09/12/a6qrfv08fo7hc_600.jpg)
Clematis, Stéphanie de Failly, Brice Sailly, Julie Roset – Nun danket alle Gott (2020)
FLAC (tracks) 24 bit/192 kHz | Time – 01:02:09 minutes | 1,99 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Ricercar
With its ciaconna bass, Hammerschmidt’s sacred concerto Nun danket alle Gott perfectly exemplifies the programme of this recording devoted to the influences of the Italian Baroque on the works of seventeenth-century Lutheran composers. The vast majority of the repertory gathered here comes once again from the exceptionally rich library assembled at the end of the seventeenth century by Gustav Düben, organist of the German Church in Stockholm. His collection contains the only known copy of a Confitebor tibi, Domine by Claudio Monteverdi. Other composers such as Bernhard and Rosenmüller had very close links with Italy and were among those who helped to disseminate Italian practices in the German-speaking lands. In all this sacred repertory, the role of instruments, and particularly that of the violin (the emblematic instrument of Italy), is highly developed. The instruments accompany the voice and comment on the texts in most expressive fashion. This programme also offers a chance to discover some gems by lesser-known composers such as Hanff, Pfleger and Pohle.
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Stéphanie de Failly, Clematis, Brice Sailly – Quattro violoni a Venezia (2019)
FLAC (tracks) 24 bit/192 kHz | Time – 01:04:31 minutes | 2,34 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Ricercar
Although the first violin virtuosos came mainly from Cremona, Brescia or Mantua, it was Venice that swiftly emerged as the principal centre for the development of instrumental music. Moreover, it was there that most collections of this music were printed all through the seventeenth century. It is curious to note that all these virtuosos obviously enjoyed sharing their success with their colleagues: for, alongside works for one or two violins and continuo, almost all the composer-violinists gathered together on this disc conceived sonate, canzone or sinfonie for ensembles of three or four violins. In addition, these compositions often make use of bichoral or echo effects. All this was happening as part of the discovery of that nascent virtuosity so characteristic of the Baroque period, as a result of which instrumentalists devised many new effects, such as the use of double stopping, and drew attention to their artistry with virtuoso runs akin to the extravagant language of the toccata.
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