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Paul O'Dette, Stephen Stubbs, Boston Early Music Festival Orchestra - Christoph Graupner: Antiochus und Stratonica (2020)

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Paul O'Dette, Stephen Stubbs, Boston Early Music Festival Orchestra - Christoph Graupner: Antiochus und Stratonica (2020)

Paul O'Dette, Stephen Stubbs, Boston Early Music Festival Orchestra - Christoph Graupner: Antiochus und Stratonica (2020)
XLD | FLAC | Tracks (Cue & Log) ~ 0.99 Gb | Total time: 224:30 | Scans included
Classical | Label: CPO | 555 369-2 | Recorded: 2020

The prizewinning Boston Early Music Festival, joined by the choicest soloists, once again presents a spectacular Baroque opera discovery with Christoph Graupner’s Antiochus and Stratonica. Graupner composed the musical play L’Amore Ammalato, Die kranckende Liebe, oder: Antiochus und Stratonica during his time as the harpsichordist at the Gänsemarkt Opera in Hamburg. The core subject of the opera is the love of the Seleucid prince Antiochus for his stepmother Stratonica. This match brings with it highly dramatic moments as well as deeply sad ones inasmuch as Antiochus is supposed to have an incurable illness – but then at the end three old and new romantic couples appear on the stage and everything comes to a happy ending.

Sergio Azzolini, Florian Heyerick, Kirchheimer BachConsort - Graupner: Jauchzet ihr Himmel, erfreue dich Erde (2020)

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Sergio Azzolini, Florian Heyerick, Kirchheimer BachConsort - Graupner: Jauchzet ihr Himmel, erfreue dich Erde (2020)

Sergio Azzolini, Florian Heyerick, Kirchheimer BachConsort - Graupner: Jauchzet ihr Himmel, erfreue dich Erde. Bassoon Cantatas (2020)
XLD | FLAC | Tracks (Cue & Log) ~ 488 Mb | Total time: 119:05 | Scans included
Classical | Label: CPO | 555 353-2 | Recorded: 2020

During the eighteenth century the knowledge that the bassoon could very well rise up to the virtuosic spheres was reserved for only rather small circles of hearers. In April 1736 a new bassoon star in the person of Johann Christian Klotsch came from Zerbst to Darmstadt. Christoph Graupner must have been extremely delighted to work with this talented musician; Klotsch had only recently been under contract in Darmstadt when he was given multiple opportunities to demonstrate his bassoonist’s skill in the Sunday cantatas. Since Graupner loved to experiment with innovative tone colors, he increasingly placed the bassoon in the spotlight in his cantatas. This development reached its height in 1741 with bassoon parts of concerto character in sixteen different cantatas.

Miriam Feuersinger, Franz Vitzthum, Peter Barczi, Capricornus Consort Basel - Christoph Graupner: Duo-Kantaten (2018)

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Miriam Feuersinger, Franz Vitzthum, Peter Barczi, Capricornus Consort Basel - Christoph Graupner: Duo-Kantaten (2018)

Miriam Feuersinger, Franz Vitzthum, Peter Barczi, Capricornus Consort Basel - Christoph Graupner: Duo-Kantaten (2018)
EAC | FLAC | Image (Cue & Log) ~ 333 Mb | Total time: 65:09 | Scans included
Classical | Label: Christophorus ‎| CHR 77427 | Recorded: 2018

It was Christoph Graupner who was selected as the Thomaskantor in Leipzig after Johannes Kuhnau, and it was only the fact that Graupners patron in Darmstadt did not let him go that Johann Sebastian Bach got the job! In fact Graupner was the more famous and more modern composer during those years, yet history almost forgot him for more than two centuries even having composed five times as many cantatas as Bach. An important and highly praised step in the re-discovery or Graupners music was already presented by the soprano Miriam Feuersinger and her ECHO Klassik awarded debut release on Christophorus together with the Capricornus Consort Basel. She is now joined by countertenor Franz Vitzthum for a new album of duo cantatas. This is music of great depth, with the two voices blending so well that sometimes they seem just one.

The Artistry of Emma Kirkby [4CDs] (2009)

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The Artistry of Emma Kirkby [4CDs] (2009)

The Artistry of Emma Kirkby [4CDs] (2009)
EAC | FLAC | Image (Cue & Log) ~ 1.25 Gb | Total time: 04:52:32 | Scans included
Classical | Label: BIS | # BISCD1734/35 | Recorded: 1999-2008

With her almost supernaturally clear and agile soprano, Emma Kirkby has enchanted audiences ever since she first appeared on the Early Music scene in the 1970s. And as the art of historically informed performance has become more and more widely appreciated, so has her style of singing, to the extent that she in 2007 was included in a listing of ‘the 20 greatest sopranos ever’ made by the BBC Music Magazine. Throughout her career, Emma Kirkby has made a large number of recordings of a wide range of music. Released on the occasion of her 60th birthday, the present collection celebrates her collaboration with BIS, which has resulted in ten discs to date.

Sergio Azzolini, Friedemann Wezel - Graupner: Bassoon and Violin Concertos (2011) (Repost)

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Sergio Azzolini, Friedemann Wezel - Graupner: Bassoon and Violin Concertos (2011) (Repost)

Sergio Azzolini, Friedemann Wezel - Graupner: Bassoon and Violin Concertos (2011)
EAC | FLAC (image+.cue, log) | Covers Included | 73:16 | 380 MB
Genre: Classical | Label: Carus | Catalog: CARUS83443

Graupner is best known as a composer of cantatas but this CD highlights his compositions in other genres. Ensemble il capriccio plays on replicas of historical instruments and here presents four bassoon concertos, a double concerto for bassoon and chalumeau, as well as Graupner’s only violin concerto in what are mostly world premeiere recordings.

Florian Heyerick, Ex Tempore, Mannheimer Hofkapelle - Christoph Graupner: Ein Weihnachtsoratorium (2010)

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Florian Heyerick, Ex Tempore, Mannheimer Hofkapelle - Christoph Graupner: Ein Weihnachtsoratorium (2010)

Florian Heyerick, Ex Tempore, Mannheimer Hofkapelle - Christoph Graupner: Ein Weihnachtsoratorium (2010)
EAC | FLAC | Image (Cue & Log) ~ 605 Mb | Total time: 136:11 | Scans included
Classical | Label: Ricercar | # RIC307 | Recorded: 2009, 2010

Director of music to the Darmstadt court, Graupner's output almost equalled that of Telemann and certainly surpassed that of J.S. Bach: he composed a number of operas, many concertos and orchestral suites, chamber music, keyboard works and more than 1400 church cantatas. Almost the entire body of Graupner’s work has survived in autograph but hardly any of his compositions were published during his lifetime or afterwards. Fortunately they were not burnt after his death as he himself wished, but were the subject of a legal dispute between the landgrave and Graupner’s heirs. Thanks to this the complete archive was taken to a place outside the city and thus spared a second burning, as very little of the old city of Darmstadt would be spared during the Second World War.

Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 3 (2010)

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Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 3 (2010)

Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 3 (2010)
EAC | FLAC | Image (Cue & Log) ~ 339 Mb | Total time: 60:51 | Scans included
Classical | Label: MDG | # 341 1628-2 | Recorded: 2009

The study of counterpoint had a lasting influence on Graupner. Just like Heinichen he developed a special interest in the canon. In 1730 he started to write 5625 canons on the same subject. And in 1736 he copied Kuhnau's treatise Von dem doppelten Contrapunct, which was circulating only in manuscript. This is most remarkable, as at that time the aesthetic of the Enlightenment quickly won ground. Its main theorist was Johann Mattheson, who, in 1723 in his journal Critica Musica, specifically wrote that the foundation of music is not the canon but melody and that the ability to write a melody owes little or nothing to the artifice of the canon.

Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 2 (2004)

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Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 2 (2004)

Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 2 (2004)
EAC | FLAC | Image (Cue & Log) ~ 306 Mb | Total time: 55:08 | Scans included
Classical | Label: MDG | # 341 1252-2 | Recorded: 2003

This recording impressively proves that Graupner isn't just a 'minor master' of the 18th century in Germany, and more than 'a contemporary of Bach and Telemann'. He was a very distinguished composer whose works considerably add to the picture of musical styles and compositional developments in Germany in the period from about 1725 to 1760. The playing of Nova Stravaganza is outstanding, and does full justice to the brilliance of these scores. The solo parts are all superbly played, and the ensemble playing is impeccable. This release shows a great zest on the part of everyone involved. It must have been a great privilege to play this fine music for the first time ever. One can just hope that more will follow, and that others may be encouraged to perform more of Graupner's output which is awaiting to be rediscovered in the archives in Darmstadt.

Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 1 (2002)

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Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 1 (2002)

Siegbert Rampe, Nova Stravaganza - Christoph Graupner: Orchestral Works Vol. 1 (2002)
EAC | FLAC | Image (Cue & Log) ~ 384 Mb | Total time: 77:21 | Scans included
Classical | Label: MDG | # 341 1121-2 | Recorded: 2002

Christoph Graupner gehört sicher nicht zu den allgemein geläufigen Komponisten des Barock. 1683 im sächsischen Kirchberg geboren, trat Graupner erstmals in Hamburg als Komponist in Erscheinung. Dort entstanden einige Opern, zum Teil in Zusammenarbeit mit Reinhard Keiser, zum Teil als eigene Werke. 1709 erfolgte der Ruf an den Hof Ernst Ludwigs, Landgraf von Hessen-Darmstadt, an dem Graupner bis zu seinem Tod im Jahre 1760 blieb.