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Edizione Nationale delle Opere di Giacomo Puccini : Vol II/1 - Instrumentalwerke

As the second volume of the "Edizione Nationale delle Opere di Giacomo Puccini," a critical new edition of his compositions for orchestra has been published in the series "Musical Works." In addition to the familiar Preludio a orchestra [SC 1], Preludio sinfonico [SC 32], Trio in Fa [SC 52] and Capriccio sinfonico [SC 55], the volume contains a short but unknown Adagetto [SC 51], probably a sketch of a composition from Puccini's student years in Milan. And, for the first time ever, it also includes an orchestral version of the Scherzo in La [SC 34] from 1882, a work which was just recently discovered. The Scherzo, known until now only in a version for string quartet, complementsthe Trio in Fa, which is scored for the same orchestral forces, to form an independent movement.

6 Sonate per Violino e Cembalo BWV 1014-1019 : Johannsen

These important works within Bach’s chamber music opus are played by C. Busch and K. Johannsen on period instruments in an extraordinarily lively and finely differentiated style. The slow movements are rendered in an intimate, almost contemplative manner. In doing without the basso continuo Bach divided the three voices of a traditional trio sonata between two instruments by making the harpsichord an equal partner with the violin.

Wilhelm Friedemann Bach: Concerti & Trios

Wilhelm Friedemann Bach was considered one of the greatest organ and keyboard virtuosos of his time. He laid the foundation for this reputation in his early years, primarily during his tenure as organist at the Dresden Sophienkirche. In addition, in the 1740s several of W. F. Bach’s public performances in Leipzig as a virtuoso harpsichordist are documented, while it is assumed that he participated in musical soirees in the houses of the nobility and perhaps also at the court. The compositional fruits of these performances are his brilliant harpsichord concertos, of which the concerto in G minor is recorded here for the first time. A sonata and a trio round off the stillfragmentary discography of the eldest son of Bach.

32 Praeludia zu geistlichen Liedern : für zwei Claviere und Pedal

After moving to his position at the Dresdner Kreuzkantorat, which meant the end of his career as an organist, Homilius compiled 32 of his Chorale preludes for organ and offered them for sale to be disseminated as handwritten copies. For the first time this collection is published here in its entirety and in the original sequence of the preludes. Homilius shows that on the one hand he was inspired by Johann Sebastian Bach, while on the other he followed his own stylistic paths. Thus, for example, he employs extensively the traditional form of the chorale trio, but treads new territory in the harmonic realm. With this volume those seeking a rewarding enrichment ofchorale-based organ music will find what they are looking for.

Rheinberger: Kammermusik mit Orgel

Chamber music with organ is a rarity among the musical repertoire. Scarcely a composer has dared to attempt to compose for the charming and challenging combination for solo strings and organ. All the more significant is the contribution of Josef Gabriel Rheinberger, the composer of the Court of Munich, who knew the sounds and colors of the organ like almost no other of his contemporaries, and who knew how to employ them in the "mellifluous art of setting tones." The Suite op. 149 [a "piano trio" with organ, instead of piano], die Drei Stücke op. 150 for violoncello and organ and the Suite op. 166 for violin and organ are romantic character pieces and are - especially inthe suites - sensitive adaptations of baroque form types. They open up an especially attractive world of sound.

Hebe deine Augen auf. Kirchenwerke VII [Bernius]

The CD series featuring the sacred choral music of Felix Mendelssohn in interpretations by the Kammerchor Stuttgart under Frieder Bernius makes the entire breadth and variety of Mendelssohn’s church works accessible. The works presented on the new CD „Hebe deine Augen auf“ for a cappella choir or with organ accompaniment range from pieces by the young Felix Mendelssohn for Catholic and Anglican worship to pieces by the mature composer, such as Psalm 100, Jauchzet dem Herrn op. 69,2 [1847]. In the motets for women’s choir op. 39, such as O beata et benedicta for three female voices and organ, Mendelssohn’s sense for the cantabile musical idiom and differentiated harmony isalready evident. Later, these aspects were displayed in such works as the trio for three women’s voices, the unmistakable Hebe deine Augen auf, composed in 1846 for Elijah. For his other great oratorio, Paulus, Mendelssohn had originally planned to include the two Sologesänge op. 112, but in the course of completing that work he changed his mind. The Kammerchor Stuttgart and Frieder Bernius present this selection of Mendelssohn’s works with their accustomed brilliance and clarity.

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