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Hamburger Ratsmusik, Simone Eckert - "Felix Austria": Works for Viola da Gamba Consort (2010)

Posted By: Designol
Hamburger Ratsmusik, Simone Eckert - "Felix Austria": Works for Viola da Gamba Consort (2010)

Hamburger Ratsmusik, Simone Eckert - "Felix Austria": Works for Viola da Gamba Consort (2010)
EAC | FLAC | Image (Cue&Log) ~ 299 Mb | Mp3 (CBR320) ~ 163 Mb | Scans included
Genre: Classical | Label: cpo | # cpo777451-2 | Time: 01:06:00

Over the years I have heard many recordings of music written for the Imperial court in Vienna. That’s no wonder: Vienna was a centre of music-making in Europe. During the 17th and 18th centuries some of the best musicians and composers were in the service of the Habsburg emperors. Most of the recordings concentrate on music for violins or voice. This disc is different in that it presents music for viol consort. That’s all the more interesting, as it is often thought that in the 17th century consort music was only written in France and England. It is quite surprising that this kind of music was also written in Austria. Most musicians in the service of the Imperial court were from Italy, where the viol consort had gone out of fashion since the first quarter of the 17th century. The fact that Italian composers wrote music for viol consort was due to the personal preferences of the emperors, Ferdinand III and Leopold I, who also wrote some music for this kind of ensemble themselves.

Dorothee Mields, Simone Eckert, Hamburger Ratsmusik - Johann Theile: Seelen-Music (2019)

Posted By: ArlegZ
Dorothee Mields, Simone Eckert, Hamburger Ratsmusik - Johann Theile: Seelen-Music (2019)

Dorothee Mields, Simone Eckert, Hamburger Ratsmusik - Johann Theile: Seelen-Music (2019)
EAC | FLAC | Image (Cue & Log) ~ 379 Mb | Total time: 68:35 | Scans included
Classical | Label: CPO | # 555 132-2 | Recorded: 2017

The title Seelen-Music (Soul Music) refers to the first complete collection of all the extant Cantatas by Johann Theile for soprano solo with viol accompaniment, presented here with the recording premieres of Sacred Concertos by Theile’s fellow Northern German Christian Flor and Instrumental Suites by the Gottorf violinist Gregor Zuber. The composer Johann Theile is of great significance in music history inasmuch as he is held to be one of the last pupils of Heinrich Schütz, who was the most important German-language composer of the seventeenth century.

Dorothee Mields, Simone Eckert, Hamburger Ratsmusik - Johann Philipp Krieger: Musicalischer Seelen-Frieden (2013)

Posted By: ArlegZ
Dorothee Mields, Simone Eckert, Hamburger Ratsmusik - Johann Philipp Krieger: Musicalischer Seelen-Frieden (2013)

Dorothee Mields, Simone Eckert, Hamburger Ratsmusik - Johann Philipp Krieger: Musicalischer Seelen-Frieden (2013)
EAC | FLAC | Image (Cue & Log) ~ 322 Mb | Total time: 58:54 | Scans included
Classical | Label: Carus | # 83.372 | Recorded: 2012

On the CD Musicalischer Seelen-Frieden Dorothee Mields and the ensemble Hamburger Ratsmusik present several of the most beautiful solo cantatas of the baroque composer Johann Philipp Krieger. Krieger understood how to unite French and Italian elements of style in his music and thus as a composer he was an important role model for the generation in which Bach and Telemann were active. His altogether twenty sacred concertos from the collection "Musikalischer Seelen-Friede", the only edition of Krieger’s sacred music, which was printed in 1990 and 1996, are among the most important contributions to this important genre in his time.

Simone Eckert - Johann Christian Schieferdecker: Geistliche Konzerte (2012) (Repost)

Posted By: tirexiss
Simone Eckert - Johann Christian Schieferdecker: Geistliche Konzerte (2012) (Repost)

Simone Eckert - Johann Christian Schieferdecker: Geistliche Konzerte (2012)
EAC | FLAC (image+.cue, log) | Covers Included | 01:02:14 | 372 MB
Genre: Classical | Label: Carus | Catalog: CARUS 83398

For someone as obscure as Johann Christian Schieferdecker, a pupil of Buxtehude, he certainly has gotten his share of play recently. Not only has my Read more Fanfare 34:3) but another, Jerry Dubins, reviewed and recommended an entire disc of these instrumental works in a recent issue ( Fanfare 35:6) performed by the Elbipolis Hamburg period-instrument ensemble on Challenge. Both found them recommendable, though the latter seemed reticent on whether or not Schieferdecker represents a marvelous new rediscovery. This disc may not decide that issue, but I do find it curious that in the space of a very short time, a composer who was completely dissed by Johann Mattheson, the early chronicler of Hamburg music but who grew up practically as the blood brother of Reinhard Keiser, should suddenly emerge from shadows.