The conventional wisdom about Venetian Antonio Lotti, composer of the a cappella masterwork "Crucifixus," is that as a card-carrying member of the stil antico he represented a conservative viewpoint akin to that of his later contemporary Leonardo Leo -- the fewer instruments the better, the closer to the polyphonic language of Palestrina the ...
This German disc is part of a growing group that attempts to put the sacred music of the Renaissance in the context of its daily and local use rather than treating favorite masses and motets in isolation as aesthetic artifacts. The enterprise at this point is of a specialist nature, but the German group Capella de la Torre here achieves a program ...
As Bugs Bunny quipped during one of his sea-going adventures with Yosemite Sam, "if it's the Captain's mess, let him clean it up." It was Georg Philipp Telemann's own mess that he was seeking to clean up when he took on the chore of composing Kapitänsmusik, or "Captain's Music," as Telemann's wife was an avid gambler with expensive tastes; at one ...
This disc represents one of a number of attempts to fill in the landscape of German music between Schütz and Bach -- a landscape that Albert Schweitzer once famously characterized as filled with hills rather than mountains. The program offered by this excellent agglomeration of Saxon musicians, playing pieces that originated in their own region, ...
David Pohle forges a near-direct link between the influence of Heinrich Schütz and the generation of Bach and Telemann. One of Schütz's last students, Pohle had composed at least one complete cantata cycle for the Lutheran church year by 1665. However, Pohle never published any of his works and the cantata cycle, along with most of the other music ...
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