Maulbronn Monastery Edition

Maulbronn Monastery Edition by Josef-Stefan Kindler & Andreas Otto Grimminger, K&K Verlagsanstalt
A release series of audiophile concert recordings from the German UNESCO World Heritage Site Maulbronn Monastery, recorded, produced and created by Josef-Stefan Kindler and Andreas Otto Grimminger in cooperation with the 'Maulbronn Monastery Concerts' organisation.
Copyright by K&K Verlagsanstalt, www.kuk-art.com.

Maulbronn Monastery Edition by Josef-Stefan Kindler & Andreas Otto Grimminger, K&K VerlagsanstaltPublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.
The concerts in the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquility that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustics and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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TELEMANN: Sonata in G Major (from: "Der getreue Music Meister")

Track

Cover
EUR 3,80
Georg Philipp Telemann (1681-1767):
Sonata in G Major, from "Der getreue Music Meister"

The Sonata in G Major for Diskant-Viola da gamba and B.c.
from "Der getreue Music Meister" (Hamburg 1728) by Georg Philipp Telemann,
performed by the Ensemble 'Hamburg Ratsmusik':
Simone Eckert (Viola da gamba) · Ulrich Wedemeier (Theorbo)

A concert recording from the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 10 Min. 12 Sec.
Digital Album · 4 Tracks

MP3

MP3 Album

320 kBit/sec.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Maulbronn Chamber Choir · Love & Sorrow

Cover
EUR 22,00
CD
Maulbronn Chamber Choir
Love & Sorrow

"Liebe & Leid"

An a-cappella-recording with works about love and sorrow
for 4- to 12-part mixed choir
by Robert L. de Pearsall (1795-1856), Robert Schumann (1810-1856),
Peter Cornelius (1824-1874), Sven David Sandström (*1942),
John Tavener (*1944), John Rutter (*1945), Branko Stark (*1954),
David Hill (*1957), Wolfram Buchenberg (*1962),
Jaakko Mäntyjärvi (*1963) & Eric Whitacre (*1970)
Conductor: Jürgen Budday

A recording from the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: c. 75 Minutes

Previews

Performer(s)

T

he Maulbronn Chamber Choir (German: Maulbronner Kammerchor) was founded in 1983 and counts today as one of the renowned chamber choirs in Europe. Awards like first places at the Baden-Württemberg Choir Competitions in 1989 and 1997, second place at the German Choir Competition in 1990, first prize at the German Choir Competition in 1998, second place at the International Chamber Choir Competition in Marktoberdorf 2009 and first place at the Malta Choir Competition show the extraordinary musical calibre of this ensemble.
The Chamber Choir has managed to make quite a name for itself on the international scene, too. It was received enthusiastically by audiences and reviewers alike during its debut tour through the USA in 1983, with concerts in New York, Indianapolis and elsewhere. Its concert tours in many European countries, in Israel and Argentina as well as in South Africa and Namibia have also met with a similar response. The choir has performed oratorios by George Frideric Handel each year annually since 1997. All these performances were documented on disc; because of that the Maulbronn Chamber Choir holds a leading position internationally as an interpreter of this genre.

Soprano: Caroline Albert, Katrin Andraschko, Carina Engel, Teresa Frick, Ute Gerteis, Hannah Glocker, Barbara Heieck, Heike Hoffmann-Straub, Ilka Hüftle, Larissa Just, Monika Martin, Veronika Miehlich, Irene Vorreiter, Annette Weippert, Daniela Wolff
Alto: Roswitha Fydrich-Steiner, Kathrin Gölz, Barbara Hirsch, Anne-Katrin Mücke, Renate Secker, Angelika Stössel, Stefanie Trompler, Bettina van der Ham
Tenor: Sebastian Fuierer, Johannes Heieck, Hartmut Meier, Thomas Meyer, Bernd Reichenecker, Felix Schultz, Jonathan Wahl, Cornelius Weissert
Bass: Jo Dohse, Sebastian Eberhardt, Timmy Ebert, Bernhard Fräulin, Daniel Fritsch, Hans Gölz-Eisinger, Matthias Heieck, Hansjörg Lechler, Eberhard Maier, Burkhard Miehlich, Frieder Weckermann

P

rof. Jürgen Budday (born 1948) is conductor, director of church music, music teacher and was until 2013 artistic director of the concert series at the UNESCO World Heritage Site Maulbronn Abbey. He started teaching at the Evangelical Seminar in Maulbronn in 1979 and returned from this post in 2012. This also involved his taking over as artistic director of the Maulbronn Cantor Choir and the Maulbronn Monastery Concerts, the concert series at the UNESCO World Heritage Site Maulbronn Abbey, which he held until 2013. He studied church music and musicology at the Academy of Music in Stuttgart from 1967 to 1974. In 1992, he was named Director of Studies, in 1995 came the appointment as Director of Church Music and in 1998 he was honored with the "Bundesverdienstkreuz" (German Cross of Merit) as well as the Bruno-Frey-Prize from the State Academy in Ochsenhausen for his work in music education. In 1983 Jürgen Budday founded the Maulbronn Chamber Choir (Maulbronner Kammerchor) with whom he won numerous national and international awards. At the Prague International Choir Festival, for example, Jürgen Budday received an award as best director. Since 2002, he has also held the chair of the Choral Committee of the German Music Council and became director and jury chairman of the "German Choir Competition" (Deutscher Chorwettbewerb). In 2008, he received the silver Johannes-Brenz-Medal, the highest honor of the Evangelical-Lutheran Church in Wuerttemberg. Jürgen Budday was awarded the honorary title "Professor" in 2011. In May 2013 Prof. Jürgen Budday was presented with the "George-Frideric-Handel-Ring" by the Association of German Concert Choirs - one of the highest honors for choir conductors in Germany. Thus Jürgen Budday followed Helmuth Rilling, who was recieved the ring from 2009 till 2013. In June 2014 Jürgen Budday was appointed artistic director of the International Chamber Choir Competition Marktoberdorf (Germany) - one of the major international choral competitions, hosted by the "German federation of Choir-Associations" (Bundesvereinigung Deutscher Chorverbände e.V.).
Jürgen Budday has started a cycle of Handel oratorios that is planned to span several years, which involves working with soloists like wie Emma Kirkby, Miriam Allan, Michael Chance, Nancy Argenta, Mark Le Brocq, Charles Humphries and Stephen Varcoe, to name but a few. The live recordings of these performances, which have received the highest praise from reviewers, have won him international recognition. At present 11 oratorios by G.F. Handel are documented on discs.
"No conductor and no choir have so consistently recorded so many Handel oratorios as Jürgen Budday and his Maulbronn Chamber Choir." (Dr. Karl Georg Berg, Handel Memoranda Halle 2008).

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

Robert L. de Pearsall (1795-1856)
1. Great God of Love
for 8-part mixed choir

Robert Schumann (1810-1856)
2. Dein Angesicht so mild und schön · Your face so lovable and fair
for 5-part mixed choir

Robert Schumann (1810-1856)
3. Aus alten Märchen winkt es · From old fairy tales beckons
for 5-part mixed choir

John Rutter (*1945)
4. Cantate Domino
according to Psalm 96, from "Psalmfest" for 4- to 8-part mixed choir

Peter Cornelius (1824-1874)
5. Liebe I: Liebe, dir ergeb ich mich
Love I: Love, I give myself Opus 18/1
for two 4-part choirs (Male Choir / Female Choir),
from: Motet cycle after lyrics by Angelus Silesius (1624-1677)

Peter Cornelius (1824-1874)
6. Liebe II: Ich will dich lieben, meine Krone
Love II: You will I love, my crown Opus 18/2
for 6-part mixed choir, from: Motet cycle after lyrics by Angelus Silesius (1624-1677)

Peter Cornelius (1824-1874)
7. Liebe III: Thron der Liebe, Stern der Güte
Love III: Throne of virtue, star of goodness Opus 18/3
for 8-part mixed choir, from: Motet cycle after lyrics by Angelus Silesius (1624-1677)

Jaakko Mäntyjärvi (*1963)
8. Canticum Calamitatis Maritimae
Requiem to the sinking of the ferry "Estonia" in 1994
for two soloists and 8-part mixed choir, composed in 1997.
Soloists: Carina Engel (Soprano), Matthias Heieck (Baritone)

John Tavener (*1944)
9. The eternal sun
for 8-part mixed choir and 4-part choir from afar, composed in 2007

Eric Whitacre (*1970)
10. Nox aurumque
for 8-part mixed choir

Eric Whitacre (*1970)
11. Hope, faith, life, love
Motet for 8- to 11-part mixed choir, composed in 1999

David Hill (*1957)
12. Ubi Caritas et Amor
Motet for three solo voices and 4- to 8-part choir, composed in 2008
Soloists: Teresa Frick (Soprano), Johannes Heieck (Tenor) & Matthias Heieck (Baritone)

Branko Stark (*1954)
13. Mein Gott, warum hast du mich verlassen? · My God, why have you forsaken me?
Psalm 22 ~ Motet for 4- to 8-part mixed choir

Wolfram Buchenberg (*1962)
14. Von 55 Engeln behütet · Sheltered by 55 Angels
Motet for 6-part mixed choir, composed in 2008

Sven David Sandström (*1942)
15. The Lord's Prayer
Motet for 12-part mixed choir, composed in 2009

Review

One of the best German choirs

The Maulbronner Kammerchor, conducted by Jurgen Budday, can serve as a model example of the best that there is in the German style of this art: roundly shaped clear phrases, deliberately designed shadings of dynamics, precise articulation an a homogeneous balance of well-cultured voices. These caracteristics are symptomatic, regardless of whether they are singing a Mendelssohn motet or a modern psalm setting, light in presentation but studded with thoroughly rehearsed effects.

The Jerusalem Post

Review

***** Excellent and highly recommended

This a-cappella-recording contains an interesting collection of historical and contemporary choral works, excellently interpreted by the highly honored Maulbronn Chamber Choir, under the direction of Jürgen Budday. This project is incredibly exciting, contains a lot of new sounds and is absolutely diversified. This release is an absolute recommendation for all lovers of choral music.

'MichaelJG' at Barnes & Noble

Review

What a juicy sound this choir makes at full throttle!

This Liebe & Leid program was recorded at Maulbronn Monastery in Germany, a UNESCO World Heritage Site and a very resonant space. It's in those echoes, in fact, that the charm of the release resides. This is a pretty good choir, to be sure; and a joyful noise is made in varied repertoire stretching from Robert Lucas de Pearsall's sumptuous "Great God of Love", to Eric Whitacre's tingly "Nox Aurumque", to Jaako Mantyjarvi's absorbing account of a true-to-life maritime disaster that took place on the Baltic.

What's more exciting, though, than any technical nuance or interpretive wrinkle is the high-octane sound of the Maulbronn singers performing in their very own sacred space. That's the draw, pure and simple. Texts and translations are available and necessary because the reverb cancels out some of the diction. But what a juicy sound this choir makes at full throttle!

Philip Greenfield - American Record Guide, April 2015

Review

Featured on Spotify

This release is featured in the editorial playlist on Spotify​:
COMPOSER WEEKLY: SVEN-DAVID SANDSTRÖM

Spotify Editorial

DANZI: Wind Quintet in G Minor, Op. 56, No. 2

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Cover
EUR 3,60
Franz Danzi (1770-1827):
Wind Quintet in G Minor, Op. 56, No. 2

performed by the Berlin Chamber Consort

A live recording from the German UNESCO
World Heritage Site Maulbronn Monastery

DDD · Duration: 13 Min. 33 Sec.
Digital Album · 4 Tracks

MP3

MP3 Album

256 kBit/sec.

Work(s) & Performance

F

ranz Danzi, a contemporary Beethovens, is the son of the Italian Cellisten Innocenzo Danzi, a member of the famous Mannheimer chapel under Johann Stamitz. Already at the age of 15 years Franz Danzi joined this orchestra likewise as Cellist. 1798, after he some years with its wife, who became singer Margarethe Marchand, which had bereist European foreign country, Danzi as Vizekapellmeister to Munich appoints, where he urauffuehrte and others its opera "Iphigenie in Aulis". From 1807 to 1812 Franz Danzi worked as Hofkapellmeister and a teacher of the royal institute for art in Stuttgart, before he followed 1812 a call to Karlsruhe, where a new yard theatre in the klassizistischen style had been built briefly before. Here one heard among other things under its line. Weber " free contactor " as well as factories of Mozart, Beethoven and Cherubini. The available Quintett developed for its in of Paris living composer colleagues Anton Reicha during Danzis Karlsruher time and is dedicated like the two other factories of the Op.56. As is the case for all its Blaeserquintetten Danzi adheres also here strict to the viersaetzige record sequence. Special attention finds thereby the Menuett, which stripped with remarkably rapid time measure also the last linkage to the hoefischen recordrecord record and with its Trio time-usual Volksmusik Intonationen space gives.

Performer(s)

T

he Berlin Chamber Consort (in German: Kammervereinigung Berlin) was foundet in 1984 by five joung musicians - then still students at the Berlin Musikhochschule - who soon succeeted in developing a joint stylistic concept under the guidance of their mentor Professor Eberhardt Grünenthal. It is not the aggregate of individual achievements that is importend; it is the formation of a homogeneous, unified sound that will truly engender soloist playing.
The ensemble's steadily growing repertoire pays equal attention to standard works of the quintet literature and lesser known or new compositions which charmingly anlarge the expressive potential of chamber music for winds.
The Kammervereinigung gave its competition debut in Colmar (France) in 1988 and althought the youngest quintet taking part, succeedet in winning second price and the spezial jury prize in the international chamber music competition there. In 1989 the quintet was a pricewinner (third prize) at the ARD public broadcasting network's International Music Competition in Munich. This period marked the beginning of an exceptionally fruitful artistic partnership whith Prof. Michael Höltzel (Detmold/Germany), who took the young artists under his wing.
In 1991 the Kammervereinigung Berlin won the German Music Competition in Bonn, making it the first ensemble from the new east German Länder to be award this prize. This was a succes that received elegant confirmation in the autumn of 1993 when the Kammervereinigung again won a ARD competition prize.
Apart from performing together as a quintet, whith guest appearances all over Europe, the young musicians play (some of them in solo positions) with various German orchestras: the Norddeutsche Philharmonie Rostock, the Orchestra of Komische Oper Berlin, the Staatskapelle Berlin and the orchestra of the Bayreuther Festspiele.

The Ensemble:
Iris Jess (Flute) · Gudrun Reschke (Oboe)
Alexander Roske (Clarinet) · Bodo Werner (French Horn)
Mathias Baier (Bassoon)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Minor Piano Atmospheres of Paris

Cover
EUR 10,08
K&K Impressions
Minor Piano Atmospheres of Paris

Art Movie by Josef-Stefan Kindler
after and with compositions for Piano Solo
by Frédéric Chopin & Karol Szymanowski,
performed by Aleksandra Mikulska

7 Chapters · Runtime: c. 40 Minutes

Cover
MOVIE

Chapters & Tracklist

1. Chopin: Ballade No. 4 in F Minor Opus 52

2. Chopin: Mazurka Opus 33 No. 4 in B Minor

3. Chopin: Mazurka Opus 24 No. 4 in Bflat Minor

4. Chopin: Largo from the Piano Sonata No.3 in B Minor Opus 58

5. Szymanowski: Prelude Opus 1/2 in D Minor ~ Andante con moto

6. Szymanowski: Prelude Opus 1/7 in C Minor ~ Moderato

7. Szymanowski: Prelude Opus 1/8 in Eflat Minor ~ Andante ma non troppo

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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BACH: Cantatas for Soloists, Choir & Orchestra

Cover
EUR 11,52
Johann Sebastian Bach:
Cantatas for Soloists, Choir & Orchestra

Art Movie by Josef-Stefan Kindler
after and with the great cantata "Vom Reiche Gottes" (About the Kingdom of God)
with arias, choruses & chants from 18 Bach Cantatas,
performed according to the traditions of the time
by Heike Heilmann, Franz Vitzthum, Johannes Mayer, Falko Hönisch,
the Maulbronn Chamber Choir & the Ensemble il Capriccio at Maulbronn Monastery
Conductor: Jürgen Budday

8 Chapters · Runtime: c. 31 Minutes

Cover
MOVIE

Chapters & Tracklist

01. Unerforschlich ist die Weise
Not to fathom is the manner
Aria, Cantata BWV 188,4

02. Du sollst Gott, deinen Herren, lieben von ganzem Herzen
Thou shalt thy God and master cherish with all thy bosom
Chorus, Cantata BWV 77,1

03. Von Gott kommt mir ein Freudenschein
From God to me comes joyful light
Chorale, Cantata BWV 172,6

04. Schmücke dich, o liebe Seele
Deck thyself, O soul beloved
Chorale-Chorus, Cantata BWV 180,1

05. Komm, heiliger Geist, Herre Gott
Come Holy Spirit, God the Lord
Chorale, Cantata BWV 59,3

06. Ich will dich all mein Leben lang
I will thee all my life's extent
Aria, Cantata BWV 117,7

07. So kommet vor sein Angesicht
So come before his countenance
Chorale, Cantata BWV 117,9

08. Die Himmel erzählen - Lobe den Herren
The heavens are telling the glory of God - Praise the Almighty
Chorus BWV 76,1 - Chorus BWV 137,5

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Thanks you for post. One of my favorites.

Maine Bound on YouTube

Review

Breathtaking

Osip on YouTube

Review

Sublime

Ghehes on YouTube

SHOSTAKOVICH: Chamber Symphony, Op. 110a

Cover
EUR 7,20
Dmitry Shostakovich:
Chamber Symphony in C Minor, Op. 110a

Art Movie by Josef-Stefan Kindler
after and with the orchestra version of the
String Quartet No. 8 in C Minor, Op. 110,
by Dmitry Shostakovich, performed live
by the Capella Istropolitana
at Maulbronn Monastery (Germany).
Conductor: Pawel Przytocki.

5 Chapters · Runtime: c. 23 Minutes

Cover
MOVIE

Chapters & Tracklist

Dmitry Shostakovich: Chamber Symphony in C Minor, Op. 110a
1. Largo
2. Allegro Molto
3. Allegretto
4. Largo
5. Largo

Josef-Stefan Kindler ~ Images, Art, Direction, Movie & Music Producer
Andreas Otto Grimminger ~ Sound Engineer & Music Producer

Review

***** 5 Stars (out of 5)
Customer Ratings on iTunes

Review

***** Powerful Performance
Great performance of this wonderfully crafted string quartet. There is so much power and passion in the playing on this recording. Such a great piece, and a great performance.
Fractaldactyl on Amazon Music - Customer Rating: 5 stars out of 5

Review

***** Five Stars
A new favorite. Deep and brooding.
Andrew R. Talbert on Amazon Music - Customer Rating: 5 stars out of 5

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G.F. HANDEL: Oratorio Aria Highlights

Cover
EUR 17,28
George Frideric Handel:
Oratorio Aria Highlights

Art Movie by Josef-Stefan Kindler
after and with Arias from selected English Oratorios
by George Frideric Handel, performed live by various soloists,
the Maulbronn Chamber Choir, the Hanoverian Court Orchestra,
Musica Florea Prague and the Monastery Baroque Orchestra
at Maulbronn Monastery (Germany)
Conductor: Jürgen Budday

12 Chapters · Runtime: c. 51 Minutes

Cover
MOVIE

Chapters & Tracklist

1. Oh had I Jubal's lyre, or Miriam's tuneful voice
Air Achsah
from Joshua (Oratorio HWV 64)
Miriam Allan - Soprano
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

2. Glory to God
Air Joshua & Thunderchoir
from Joshua (Oratorio HWV 64)
Mark Le Brocq - Tenor
Maulbronn Chamber Choir - Choir
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

3. O peerless maid
Duet Othniel & Achsah
from Joshua (Oratorio HWV 64)
Miriam Allan - Soprano
David Allsopp - Countertenor / Altus
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

4. Will the sun forget to streak
Air of the Queen of Sheba
from Solomon (Oratorio HWV 67)
Laurie Reviol - Soprano
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

5. O King your favours with delight
Air David
from Saul (Oratorio HWV 53)
Michael Chance - Countertenor / Altus
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

6. O fatal day
Air David & the Chorus of Israelites
from Saul (Oratorio HWV 53)
Michael Chance - Countertenor / Altus
Maulbronn Chamber Choir - Choir
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

7. He Spake The Word
Chorus
from Israel in Egypt (Oratorio HWV 54)
Maulbronn Chamber Choir - Choir
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

8. Total Eclipse
Air of Samson
from Samson (Oratorio HWV 57)
Mark Le Brocq - Tenor
Monastery Baroque Orchestra - Orchestra
Jürgen Budday (Conductor)

9. Oh dearer than my life
Duet Nitocris & Belshazzar
from Belshazzar (Oratorio HWV 61)
Miriam Allan - Soprano
Mark Le Brocq - Tenor
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

10. Tell it out among the heathen that the Lord is King
Soli & Chorus
from Belshazzar (Oratorio HWV 61)
Miriam Allan - Soprano
Michael Chance - Countertenor / Altus
Mark Le Brocq - Tenor
Maulbronn Chamber Choir - Choir
Hanoverian Court Orchestra - Orchestra
Jürgen Budday (Conductor)

11. Sound an Alarm
Air & Chorus of Israelites
from Judas Maccabaeus (Oratorio HWV 63)
Mark Le Brocq - Tenor
Maulbronn Chamber Choir - Choir
Musica Florea Prague - Orchestra
Jürgen Budday (Conductor)

12. Oh never bow me down
Duet Israelitish woman and man & Chorus of Israelites
from Judas Maccabaeus (Oratorio HWV 63)
Sinead Pratschke - Soprano
Charles Humphries - Countertenor / Altus
Maulbronn Chamber Choir - Choir
Musica Florea Prague - Orchestra
Jurgen Budday - Conductor

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Great singing and music. Bravo.

Michal Kielsa on YouTube

Review

This countertenor is amazing! Please post more...

Christiaan d'Hooghe on YouTube

Review

Wonderful! Thank you!

Kat Morgan on YouTube

G.F. HANDEL: Arias from the Oratorio Messiah

Cover
EUR 8,64
George Frideric Handel
Arias from the Oratorio Messiah

Art Movie by Josef-Stefan Kindler after and with
Arias from Handel's English Oratorio "Messiah" HWV 56,
performed live by Miriam Allan (Soprano), Michael Chance (Countertenor, Altus),
the Maulbronn Chamber Choir and the Hanoverian Court Orchestra
at Maulbronn Monastery (Germany). Conductor: Jürgen Budday

6 Chapters · Runtime: c. 33 Minutes

Cover
MOVIE

Chapters & Tracklist

1. For Unto Us A Child Is Born
Chorus
Maulbronn Chamber Choir, Hanoverian Court Orchestra, Jürgen Budday (Conductor)

2. Pastoral Symphony (Pifa) - And Lo, The Angel Of The Lord Came Upon Them
Accompagnato Soprano
Miriam Allan (Soprano), Hanoverian Court Orchestra, Jürgen Budday (Conductor)

3. And Suddenly There Was With The Angel - Glory To God In The Highest, And Peace On Earth
Chorus
Miriam Allan (Soprano), Maulbronn Chamber Choir, Hanoverian Court Orchestra, Jürgen Budday (Conductor)

4. He Shall Feed His Flock Like A Shepherd
Duet
Michael Chance (Countertenor, Altus), Miriam Allan (Soprano),
Hanoverian Court Orchestra, Jürgen Budday (Conductor)

5. He Was Despised And Rejected Of Men
Air
Michael Chance (Countertenor, Altus), Hanoverian Court Orchestra, Jürgen Budday (Conductor)

6. I Know That My Redeemer Liveth
Air
Miriam Allan (Soprano), Hanoverian Court Orchestra, Jürgen Budday (Conductor)

Work(s) & Performance

T

he music recording (live) of this movie is part of a cycle of oratorios and masses, performed in the basilica of Maulbronn Abbey under the direction of Jürgen Budday. The series combines authentically performed oratorios and masses with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composer's lifetimes (this performance is tuned in a' = 415 Hz).

George Frideric Handel

A

vital aspect of Jürgen Budday's interpretation of George Frideric Handel's The Messiah, apart from matters of performance practice, is his focus on the work's dynamic conception. Dynamics are notated in the autograph manuscript, but Handel further annotated the Dublin score to mark the ripieno passages. By adding shifts in ensemble strength to the alternation of piano and forte, Handel evokes an ample measure of contrast and colour. Handel's dynamic indications in The Messiah go beyond the usual forte, piano and pianissimo to include mezzo piano and un poco piano, markings by which he intended an even finer differentiation. One would do well, when preparing a performance, to observe the ripieno indications in the Dublin score, as they are for the most part essential to Handel's dynamic conception. Examples in point include the arias Comfort ye (No. 2) and Ev'ry valley shall be exalted (No. 3); the choruses And the glory, the glory of the Lord (No. 4) and His yoke is easy, His burthen is light! (No. 18); as well as the beginning of the Hallelujah chorus (CD II, No. 16).

The Maulbronn interpretation takes this dynamic conception seriously and clearly differentiates solo and ripieno sections in the numbers just mentioned. This inevitably gives rise to novel and more subtle auditory impressions, for which the beginning of the Hallelujah chorus provides a clear example. Elsewhere, Handel's senza ripieno indications appear to have been motivated more by consideration of the technical inadequacies of his ripienisti, and therefore were not observed in the Maulbronn performance. The libretto and the music, each in itself and together as a whole, form a providential unity. The libretto, ascribed to Charles Jennens, is no mere compilation of Bible quotations, and Jennens made various changes to the wording of the selected text passages. In the course of successive performances, Handel composed variants of some of the arias to fit the immediate occasion or circumstances. For the Maulbronn performance, those variants were chosen that Handel himself is said to have preferred.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Beautiful... seems so effortless...

Irene Wells on YouTube

Review

Absolutely beautiful

Guidance19 on YouTube

Review

I purchased this CD just to hear this truly emotional song

I purchased this CD from Maulbronn as soon as it was issued just to hear this truly emotional song sung by the greatest interpreter of all time MICHAEL CHANCE. No other singer I know of can invest so much emotion into a song as Chance!

George Peabody on YouTube about "He was despised and rejected of men" from the Oratorio "Messiah&quot

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Release Type: Digital Movies

BARBIROLLI & TELEMANN: Pan Flute and Organ

Cover
EUR 12,96
Barbirolli & Telemann:
Music for Pan Flute & Organ

Art Movie by Josef-Stefan Kindler after and with
Barbirolli's Concerto in F Major on a theme by Corelli
and Telemann's Sonata in A Minor,
performed live by Ulrich Herkenhoff (Pan Flute)
and Matthias Keller (Church Organ)
at Maulbronn Monastery (Germany)

9 Chapters · Runtime: c. 16 Minutes

Cover
MOVIE

Chapters & Tracklist

Barbirolli: Concerto in F Major on a theme by Corelli
1. Preludio
2. Allemanda
3. Sarabanda
4. Gavotta
5. Giga

Telemann: Sonata in A Minor
6. I. Andante Siziliano
7. II. Spirituoso
8. III. Andante
9. IV. Vivace

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Superb! Bravo, performers and engineers!

Colin Gantiglew on YouTube

Review

Wish this was longer, I liked it very much, it is very soothing.

SmoothJazzDecember on YouTube

Review

My favorite of the Baroque

Mi favorito del barroco, el maestro de maestros G. P. Telemann.

Ed Sanchez on YouTube

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Release Type: Digital Movies

TELEMANN: Sonatas for Viola, Harpsichord & B.c.

Cover
EUR 11,52
Georg Philipp Telemann:
Sonatas for Viola, Harpsichord & B.c.

Music Art Movie by Josef-Stefan Kindler
after and with Georg Philipp Telemann's
Sonata in G Major for Viola Da Gamba & Basso Continuo
(from: "Der getreue Music Meister", 1728)
and "Essercizii Musici" (1741),
performed by the Ensemble Hamburger Ratsmusik

8 Chapters · Runtime: c. 21 Minutes

Cover
MOVIE

Chapters & Tracklist

Telemann: Sonata in G for Diskant-Viola da gamba and B.c.
from 'Der getreue Music Meister', 1728
1. (1) Siciliana
2. (2) Vivace
3. (3) Dolce
4. (4) Scherzando

Telemann: Sonata in G for Viola da gamba, Harpsichord obligato and B.c.
from 'Essercizii Musici', 1741
5. (1) Andante
6. (2) Allegro
7. (3) Largo
8. (4) Presto

Music Performer(s)
Image by Josef-Stefan Kindler

T

he beginnings of the Ensemble Hamburger Ratsmusik go back as far as the 16th century. As the city fathers considered good instrumental music to be an important part of civic representation at official ceremonies and in the main churches they made sure that respected musicians worked for them. Based on the principal "for the glory of God - and the pleasure, delight and benefit of Hamburg" the city boasted an elite ensmble of eight civic instrumentalists who were able to compete with many a princely court orchestra. The ensemble enjoyed its heyday during the 17th century under such leading musicians as William Brade and Johann Schop. During the 18th century, Georg Philipp Telemann and Carl Philipp Emanuel Bach called on the services of Hamburg's civic instrumentalist for their performances, before the ensemble fell victim to effiency measures in the 19th century.
Since we re-established the ensemble in 1991 we have built up an extensive and remarkable repertoire with devotion and enthusiasm in more than fourteen years of working together. For us, the music of our predecessors, with its close dependance on rhetoric and articulation rich in nuances, is so eloquent that it is closer to human speech than any other form of music. With its clear structures and varied rhythms, borrowed from centuries-old dances, the music of the 16th to 18th centuries developed its own "swing". The adventure of re-descovering unknown early music, lying dormant in Europe's libraries, is also tempting and the "resuscitation" of these treasures is our exciting objective. We present audiences with these works at concerts, on recordings for radio broadcast and CD release and in publications for international publishing houses.
The Hamburger Ratsmusik has appeared at numerous festivals, including the Handel Festival in Göttingen and Halle, the International Bach-Fest Leipzig, the Baroque Festival at Bad Arolsen and many others. The ensemble has also gained a nationwide reputation through first recordings for the Christophorus, Thorofon and NCA labels, as well as broadcasts for the NDR, MDR, Radio Bremen, WDR, SWR and HR broadcasting companies. 2006 the Hamburger Ratsmusik was awarded the Echo Klassik, the most important German music award. The international press praises the "subtlety" and the "excellent knowledge of baroque style" of the ensemble's interpretations - and the Hamburger Ratsmusik itself as a "leading ensemble for early music".

Image by Josef-Stefan Kindler, www.kuk-art.com

A

t the age of eight, when asked what she wanted to be Simone Eckert answered: "gamba player". Ignoring the warning that she should get a "proper job" she lives and works as a freelance musician in Hamburg. She studied at the Musikhochschule Hamburg and at the Schola Cantorum Basiliensiswith H. Mueller and J. Savall. She finished her studies in 1990 with a diploma in early music. In 1991 she founded the ensemble Hamburger Ratsmusik. She has taught, since 1992 at the Hamburger Konservatorium and holds seminars on the viola da gamba in both Germany and England. Apart from the repertoire of the renaissance, baroque and early classics she also concentrates on modern music for the viol. A large number of works have been dedicated to her and performed by her for the first time. She performs as a soloist, ensemble leader and lecturer in Germany, other European countries an Japan.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Release Type: Digital Movies

TCHAIKOVSKY: Souvenir de Florence for Strings

Cover
EUR 5,76
Pyotr Il'yich Tchaikovsky:
Souvenir de Florence Opus 70
for String Orchestra

Music Art Movie by Josef-Stefan Kindler
after and with Tchaikovsky's
"Souvenir de Florence" for Strings Opus 70,
performed by the South-West German Chamber Orchestra
Conductor: Sebastian Tewinkel

4 Chapters · Runtime: c. 34 Minutes

Cover
MOVIE

Chapters & Tracklist

1. Allegro con spirito

2. Adagio cantabile e con moto

3. Allegretto moderato

4. Allegro vivace

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Review

This is great

My god this is great!

'Shintee' on YouTube

Review

Many thanks

Many thanks for the good music and the film

Michal Kielsa on YouTube

Review

Excellent!

Oleksii Zinchenko on YouTube

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Release Type: Digital Movies

MOZART: Great G Minor Symphony No. 40

Cover
EUR 5,76
Wolfgang Amadeus Mozart:
Symphony No. 40 in G Minor K. 550
"The Great G Minor Symphony"

Music Art Movie by Josef-Stefan Kindler
after and with Wolfgang Amadeus Mozart's
"Great G Minor Symphony",
performed live by the Wuerttemberg Chamber Orchestra
at Maulbronn Monastery (Germany)
Conductor: Jörg Faerber

4 Chapters · Runtime: c. 24 Minutes

Cover
MOVIE

Chapters & Tracklist

1. Molto allegro

2. Andante

3. Menuetto. Allegretto - Trio

4. Allegro assai (Finale)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Sublime music and beautiful pictures!

'Camélia B.' on YouTube

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Release Type: Digital Movies

MENDELSSOHN: Six Anthems for Double Chorus

Cover
EUR 8,64
Felix Mendelssohn Bartholdy:
Six Anthems for Double Chorus Opus 79

Art Movie by Josef-Stefan Kindler
after and with
Felix Mendelssohn's
"Six Anthems for Double Chorus", Op. 79,
performed live by the Maulbronn Chamber Choir
at Maulbronn Monastery (Germany)
Conductor: Jürgen Budday

6 Chapters · Runtime: c. 12 Minutes

Cover
MOVIE

Chapters & Tracklist

1. Advent: Lasset uns frohlocken
Let our hearts be joyful

2. Christmas: Frohlocket ihr Völker auf Erden
Rejoice, O ye peoples

3. New Year's Day: Herr Gott, du bist unsre Zuflucht
Thou, Lord, hast been our refuge

4. Lent: Herr, gedenke nicht unsrer Übeltaten
Lord, take no remembrance of our misdoings

5. Good Friday: Um unsrer Sünden willen
Because of our transgressions

6. Ascension: Erhaben, o Herr, über alles Lob
Exalted, O Lord, over all our praise

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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MOZART: Symphony No. 36 "Linz"

Cover
EUR 5,76
Wolfgang Amadeus Mozart:
Symphony No. 36 in C Major
K. 425 "Linz"

Art Movie by Josef-Stefan Kindler
after and with Mozart's Symphony No. 36
in C Major K. 425 "Linz",
performed by the Silesian Philharmonic Orchestra
Conductor: Pawel Przytocki

4 Chapters · Runtime: c. 30 Minutes

Cover
MOVIE

Chapters & Tracklist

1. Adagio - Allegro Spiritoso

2. Andante

3. Menuetto

4. Finale. Presto

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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BRAHMS: Piano Sonata No. 3 in F Minor, Op. 5

Cover
EUR 7,20
Johannes Brahms:
Piano Sonata No. 3

in F Minor, Op. 5

Art Movie by Josef-Stefan Kindler
after and with the Piano Sonata No. 3
in F Minor Opus 5 by Johannes Brahms,
performed live by Magdalena Müllerperth
at Maulbronn Monastery (Germany)
on a Steinway & Sons Concert Grand Piano C-227

5 Chapters · Runtime: c. 37 Minutes

Cover
MOVIE

Chapters & Tracklist

Brahms: Piano Sonata No. 3 in F Minor, Op. 5
1. Allegro maestoso
2. Andante espressivo
3. Scherzo: Allegro energico
4. Intermezzo: Andante molto
5. Finale: Allegro moderato ma rubato

Josef-Stefan Kindler ~ Images, Art, Direction, Movie & Music Producer
Andreas Otto Grimminger ~ Sound Engineer & Music Producer

Work(s) & Performance
Johannes Brahms

T

hrough evening's shade, the pale moon gleams - While rapt in love's ecstatic dreams - Two hearts are fondly beating", quoted Johannes Brahms above the notes for the "Andante" in the Piano Sonata No.3. This excerpt of a poem by C.O. Sternau (a pseudonym of Otto Inkermann) characterizes the mood of this piece, which had a large contribution to the fame of the young composer. Written in 1853 this "poetic" sonata marks the end of a cycle of three sonatas. Likewise it was the last tune the 20-year-old composer submitted to Robert Schumann for commentary. Robert Schumann himself described Brahms in an article titled "Neue Bahnen" (New Paths) in October 1853 as "a man with a calling" who was "destined to give ideal expression to the times".

Music Performer(s)

T

he German pianist Magdalena Müllerperth excited audiences in many concerts in Germany, Denmark, Belgium, Italy, Austria, The Czech Republic, France and Switzerland and was also invited to perform in Russia, Ukraine and the USA. In 2008 she performed there as a soloist with the Minnesota Orchestra in Minneapolis. With an impressive recital program she gave her debut recital in 2009 at the Klosterkonzerte Maulbronn and the Liederhalle Stuttgart, Germany. In 2011 she performed Gershwin's "Rhapsody in Blue" at the Festspielhaus Baden-Baden.
Magdalena Müllerperth, born in 1992 in Maulbronn, Germany, began piano lessons at the age of five. When she was seven, she became a student, and in 2003 junior student at the University of Music Karlsruhe, of the renowned Prof. Sontraud Speidel. From 2007 until 2010 she studied with Prof. Alexander Braginsky at Hamline University, Minneapolis, Minnesota, USA. At the moment she is a student of the pianist Jerome Rose at Mannes College - The New School of Music in New York City.
Since 1999, she earned many international prizes and awards, amongst others the First Prize at "Les Reoncontres Internationales des Jeunes Pianistes" in Belgium (2002), the First Prize and Premio della Critica (RAI) at the Concorso Europeo di Musica "Pietro Argento" in Italy (2004), a First Prize at the national competition "Jugend musiziert" (2005) and the First Prize at the Minnesota Orchestra, Young People's Symphony Concert Auditions in Minneapolis, USA (2008). Since 2007 Magdalena Müllerperth is "Youth Ambassadress of Music" of her hometown Maulbronn.
For her outstanding achievements Magdalena Müllerperth was awarded scholarships from the Mayer Foundation, the Karin Riese Foundation, "Lichtenberger Musikpreis", the "Kunststiftung Baden-Wuerttemberg", the Foundation "Deutsches Musikleben" and the "Richard Wagner Association".

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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SCHUMANN: Carnaval for Piano

Cover
EUR 8,64
Robert Schumann:
Carnaval for Piano Opus 9
"Little Scenes on Four Notes"

Art Movie by Josef-Stefan Kindler
after and with Robert Schumann's
Carnaval for Piano Opus 9
"Little Scenes on Four Notes",
performed by Rolf Plagge
on a Steinway & Sons concert grand piano C-227

5 Chapters · Runtime: c. 31 Minutes

Cover
MOVIE

Chapters & Tracklist

1. Preambule - Pierrot - Arlequin - Valse noble

2. Eusebius - Florestan - Coquette - Replique

3. Papillons - A.S.C.H. - Chiarina - Chopin - Estrella - Reconnaissance - Pantalon et Colombine

4. Valse allemande - Paganini - Aveu - Promenade

5. Pause - Marche des 'Davidsbuendler' contre les Philistins

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

View more releases:

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Release Type: Digital Movies

Grand Piano Masters · Chopin & Szymanowski

Track

EUR 12,60
Grand Piano Masters
Chopin & Szymanowski

Aleksandra Mikulska plays

Frédéric Chopin (1810-1849):
· Piano Sonata No. 3 in B Minor Opus 58 · Andante spianato et grande polonaise brillante
· Mazurka Opus 24 No. 4 in B-Flat Minor · Scherzo No. 2 in Bflat Minor Opus 31
· Mazurka Opus 33 No. 4 in B Minor · Ballade No. 4 in F Minor Opus 52

Karol Szymanowski (1882-1937):
· Preludes Opus 1 Nos. 1, 7 & 8

Concert Grand Piano: Steinway & Sons C-227
A live recording from Maulbronn Monastery

HD Recording · DDD · c. 83 Minutes
Digital Album · 12 Tracks

MP3

MP3 Album

256 kBit/sec.

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Image Gallery
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S

ensitivity, musical expression and a flawless, transparent technique: Aleksandra Mikulska embodies to the highest degree all of these qualities once demanded by Chopin himself. Teachers, critics, members of the jury as well as audiences all unanimously agree on this. For a long time now Aleksandra Mikulska has not only distinguished herself through her very own, extraordinarily genuine interpretation of Chopin, which won her the prestigious special award as best Polish female pianist at the International Frédéric Chopin Competition in Warsaw in 2005 and ensured an enthusiastic reception of her début Chopin CD in 2010. With her "passionate" and "enrapturing" performances of Haydn, Beethoven and Chopin, she presented audiences at the Lake Constance Festival in 2010 and 2011 with some of the "finest hours of piano music".
Attending the class for gifted children at the Karol Szymanowski Music High School in Warsaw, gaining several promotion awards from the Polish government as well as winning prizes at international competitions laid the groundwork for the top-class international training of the young pianist.
Even while still at grammar school, Aleksandra Mikulska was already being coached by Peter Eichler in Mannheim, and, after gaining her high-school diploma, she continued to study with him at the Karlsruhe Academy of Music. Parallel to her studies there, international masterclasses with Diane Andersen and Lev Natochenny amongst others provided further stimuli. After graduating with honours she moved to the piano academy "Accademia Pianistica incontri col maestro" in Imola, Italy, the land of music, where she was coached mainly by Lazar Berman and Michael Dalberto till 2008. From 2006 she also worked with Prof. Arie Vardi at the Hanover Academy of Music, where she gained her concert diploma in 2010.
Aleksandra Mikulska unites the three musical traditions of Poland, Germany and Italy in a unique, personal and unmistakable style. She is a frequent guest at international festivals such as the Lake Constance Festival, the Maulbronn Monastery Concerts, the piano cycle "Musik am Hochrhein" (Switzerland), the Merano Festival in Italy and the Lapland Piano Festival. Furthermore, she also gives solo recitals all over Europe and performs with orchestras in Germany, Italy and Belgium.
One focus of her artistic efforts is the dissemination of music by the great composers of her native country. Aleksandra Mikulska is vice-president of the Chopin Society in the Federal Republic of Germany in Darmstadt and board member of the German-Polish Association of Baden-Württemberg. Furthermore, she is a member of the Karol Szymanowski Society in Zakopane (Poland) and has close ties with the music society De Musica in Warsaw and the German-Polish Cultural Society "Salonik".
Her recording début in 2010 was devoted to the works of Frédéric Chopin. In the Autumn of 2011 Aleksandra Mikulska published her second CD with the title "Expressions" including works by Haydn, Szymanowski und Chopin. Both recordings enjoyed great popularity with audiences and the specialist press. Meanwhile she has presented her third album which includes Chopin's four ballades.(Translation by Jill Rabenau)

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

MOZART: Piano Concerto No. 26 in D Major, K. 537 "Coronation"

Track

Cover
EUR 4,75
Wolfgang Amadeus Mozart:
Piano Concerto No. 26

in D Major, K. 537 "Coronation"

Christoph Soldan ~ Concert Grand Piano
Silesian Philharmonic Orchestra
Conductor: Pawel Przytocki

A live recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 32 Min. 57 Sec.
Digital Album · 3 Tracks · Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Wolfgang Amadeus Mozart

T

he Piano Concerto No. 26 in D major, K. 537, was written by Wolfgang Amadeus Mozart and completed on 24 February 1788. It is generally known as "the Coronation Concerto". The concerto is scored for solo piano, one flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani (in D, A), and strings. The traditional name associated with this work is not Mozart's own, nor was the work written on the occasion for which posterity has named it. Mozart remarked in a letter to his wife in April 1789 that he had just performed this concerto at court. But the nickname "Coronation" was derived from his playing of the work at the time of the coronation of Leopold II as Holy Roman Emperor in October 1790 in Frankfurt am Main. At the same concert, Mozart also played the Piano Concerto No. 19, K. 459.

From Wikipedia, the free encyclopedia

Performer(s)

T

he German press describes the pianist Christoph Soldan as an artist personality who works with the spiritual intensity and soulful dimension of a piece of music, rather than giving a purely technical virtuoso performance. This challenge to music and to himself is rarely seen today. Soldan studied under Professors Eliza Hansen and Christoph Eschenbach at the Hamburg Musikhochschule. His break-through to active international concert playing came in a tour with Leonard Bernstein in summer 1989. Of Christoph Soldan, the world- famous director said, "I am impressed by the soulful size of this young musician." Since then, Soldan has played in numerous tours with renowned orchestras across Europe and abroad. A particularly close co- operation binds him to the polish conductor Pawel Przytocki. A tour of piano evenings took place in Mexico and other countries in Central America in October 1997. In August 1998 he debuted in Salzburg and in the Chamber Music Hall of the Berlin Philharmonic, and in May 1999 in the Leipzig Gewandhaus. In March 2000, there were three piano evenings in Japan. So far, there have been radio and television productions with the Hessische Rundfunk, Frankfurt, Deutschlandfunk, SWR, ORF and ZDF. The Bayerische Rundfunk broadcasted his piano evening in the Munich Residenz in October 1998 and his concert in the Bad Brückenau music festival live in 1999. Radio Bremen braodcasted his recital in Bremen in august 2002. In spring 2001 Christoph Soldan participated the Prague Spring Festival accompanied by the slovakian chamberorchestra "Cappella Istropolitana". Two recitals in Hamburg and Berlin were followed by a live - recording of two Mozart piano concertos in the medieval monastery of Maulbronn in september 2002. In the 2003/2004 season, Christoph Soldan will be guesting with various programmes in Germany, Austria, Switzerland, Slovakia, France and the USA. In January 2004 a concert-tour to South Africa will follow.
Christoph Soldan combines a long-standing cooperation with the Polish conductor Pawel Przytocki. Przytocki works since 1999 as a constant guest conductor of the radio symphony orchestra Krakau and perfomed with the Budapest Concert Orchestra, the Orchestra Sinfonica de Xalapa in Mexico, the Real Philharmonia de Galicia in Spain, the Cappella Istropolitana and the Schlesische Kammerphilharmonie Kattowitz.
The Schlesische Kammerphilharmonie Kattowitz was founded in Poland 1945. This chamber-orchestra, which constists of the soloist from the philharmonic orchestra, excists in this form since 1981. The newspapers characterizes this orchestra as "highly accurate, dulcet and full of juvenile spirit". Accordingly the orchestra performed and performs with celebrated artists like Zubin Mehta, Arthur Rubinstein and Krystian Zimerman. This artistical capacity co-operates perfectly with Soldan´s interpretations and the conductor´s concept of Mozart´s works. The result is an new remarkable documentation of an unique and high-contrasted reception of piano-works from the famous maestro, Wolfgang Amadeus Mozart.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

HANDEL: Oratorio Jephtha

Track

Front Cover - Jephtha
EUR 26,90
George Frideric Handel
J E P H T H A

The complete recording of the English Oratorio HWV 70,
performed according to the traditions of the time
by Kirsten Blaise (Soprano), Annelie Sophie Müller (Mezzo-Soprano),
David Allsopp (Altus, Countertenor), Benjamin Hulett (Tenor), Simon Bailey (Bass),
Ensemble il capriccio (Baroque Orchestra) and the Maulbronn Chamber Choir.
Music Director / Conductor: Jürgen Budday.
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery
DDD · Total Playing Time: c. 163 Minutes / 2h.43m.
MP3 · 256kBit/sec. · 45 Tracks · File Size: c. 316 MB

MP3

MP3 Album

256 kBit/sec.

Previews

More Details

T

his live recording is part of a cycle of oratorios and masses, performed in the basilica of Maulbronn Abbey under the direction of Jürgen Budday. The series combines authentically performed oratorios and masses with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, tuned in the pitch, which was customary during the composer's lifetime (this performance is tuned in a' = 415 Hz).

J

ephta was Handel's last work of great dimensions. It was written in 1751 in London. It was performed for the first time at Covent Garden at february, 26. in 1752. Händel's last dramatical work was in the same time the most poetic of his oratories. The tension is not created by action but by the inner aspect of Jephta's unsolvible solitude. Expelled from Gilead by his half-brothers, he grows up in exile and becomes a godfearing army commander, while Gilead is suppressed by the Ammonites. After 18 years of slavery, the eldest of Gilead ask Jephta to free them from their tyrants. As army commander, Jephta swears his god Jehova to sacrifice to him the first creature he will meet after victory. He can't see that it's his own daughter Iphis to take this burdon upon her shoulders. The desperation of Jephta, mother Storge and lover Hamor is met by the courage of Iphis, who comes to show herself as a true heroine. The tragical conflict of the sacrifice of his own daughter is turned to a good end, inspite of the outlines of the old testament. The music is of an overwhelming forcefulness and beauty. Jephta's importance is based in the first place on the imposing choir scenes. The choir has double function: at one hand he takes part in action actively, on the other hand he stays in the backround and comments on the story.

About the story:
Jephtha is the illegitimate son of the Israelite leader, Gilead. On Gilead's death (over eighteen years before the action begins) Jephtha was scorned and thrown out of Israel by his half-brothers. He has been living in Tob with his wife, Storgè, and their daughter, Iphis, who was born in exile. Soon after Jephtha's exile the Ammonites attacked Israel and began a long and bitter war.
Act One:
The Israelites have been at war with the Ammonites for the past eighteen years. All their military leaders have been killed, and the people have begun to turn away from Jehovah and worship false gods. In desperation they ask the exiled Jephtha to return and lead their forces in a final offensive against the Ammonite occupation. Jephtha agrees to lead the army on condition that he is allowed to lead the country if he wins the battle. The Israelites, led by Jephtha's half‑brother, Zebul, agree to his demand. He says goodbye to his wife and daughter. Iphis then says goodbye to the Israelite, Hamor, to whom she is engaged and who will fight alongside her father in the forthcoming battle. Jephtha is worried about the outcome of the battle and privately makes a deal with God: if he returns victorious, he will sacrifice the first living thing that he sees on his return. Meanwhile his wife is afraid that some misfortune will happen, and is comforted after a nightmare by her daughter and servants. Jephtha, who has failed to secure a peace by treaty, prepares his Israelite forces for the battle.
Act Two:
Hamor informs Iphis of her father's victory, and describes the miracle of the battle, in which an army of angels signalled the enemy's defeat. She asks her servants to prepare to welcome her father back. Jephtha returns triumphant and commends the bravery of his officers, Zebul and Hamor, but says that God deserves the real credit for the victory. Iphis then appears unexpectedly to greet her father with her servants. Jephtha is horrified to realize that it his daughter who is the subject of his rash promise to God. He is forced to tell everyone of his vow, and all try to persuade him to change his mind. He refuses. Iphis herself convinces him that she will go ahead with the with the sacrifice for the sake of her country and family. The community wrestles with the nature of the goodness of a God who asks for the murder of a child.
Act Three:
Jephtha, his wife and the community prepare for Iphis's sacrifice. She is very frightened and says goodbye to everyone. The whole community appeals to God for guidance. Just as Iphis is being dragged off to her death an angel appears and forbids the sacrifice to proceed: Iphis must dedicate herself to a life of chastity and the service of God. Jephtha and the community thank God for sparing Iphis's life. Storgè and her servants prepare for Iphis to leave. lphis and Hamor say a final goodbye to each other. Everyone tries their best to rejoice at the happy and strange end to their troubles, and the peace which Jephtha's military leadership has secured.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

George Fr. Handel · Jephtha

Jephtha - Frontcover
Jephtha - Backcover
EUR 33,00
2 CD
George Frideric Handel:
J E P H T H A

Complete recording of the English Oratorio HWV 70,
performed according to the traditions of the time

by Kirsten Blaise (Soprano),
Annelie Sophie Müller (Mezzo-Soprano),
David Allsopp (Altus, Countertenor),
Benjamin Hulett (Tenor),
Simon Bailey (Bass),
Ensemble il capriccio (Baroque Orchestra),
Maulbronn Chamber Choir.
Conductor: Jürgen Budday.

A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Double Album · c. 163 Minutes (2h:43m)

Previews

Art Movie(s)

Work(s) & Performance

T

his live recording is part of a cycle of oratorios and masses, performed in the basilica of Maulbronn Abbey under the direction of Jürgen Budday. The series combines authentically performed oratorios and masses with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. The music is exclusively performed on reconstructed historical instruments, tuned in the pitch, which was customary during the composer's lifetime (this performance is tuned in a' = 415 Hz).

George Frideric Handel

J

ephta was Handel's last work of great dimensions. It was written in 1751 in London. It was performed for the first time at Covent Garden at february, 26. in 1752. Händel's last dramatical work was in the same time the most poetic of his oratories. The tension is not created by action but by the inner aspect of Jephta's unsolvible solitude. Expelled from Gilead by his half-brothers, he grows up in exile and becomes a godfearing army commander, while Gilead is suppressed by the Ammonites. After 18 years of slavery, the eldest of Gilead ask Jephta to free them from their tyrants. As army commander, Jephta swears his god Jehova to sacrifice to him the first creature he will meet after victory. He can't see that it's his own daughter Iphis to take this burdon upon her shoulders. The desperation of Jephta, mother Storge and lover Hamor is met by the courage of Iphis, who comes to show herself as a true heroine. The tragical conflict of the sacrifice of his own daughter is turned to a good end, inspite of the outlines of the old testament. The music is of an overwhelming forcefulness and beauty. Jephta's importance is based in the first place on the imposing choir scenes. The choir has double function: at one hand he takes part in action actively, on the other hand he stays in the backround and comments on the story.
The story:
Jephtha is the illegitimate son of the Israelite leader, Gilead. On Gilead's death (over eighteen years before the action begins) Jephtha was scorned and thrown out of Israel by his half-brothers. He has been living in Tob with his wife, Storgè, and their daughter, Iphis, who was born in exile. Soon after Jephtha's exile the Ammonites attacked Israel and began a long and bitter war.
Act One:
The Israelites have been at war with the Ammonites for the past eighteen years. All their military leaders have been killed, and the people have begun to turn away from Jehovah and worship false gods. In desperation they ask the exiled Jephtha to return and lead their forces in a final offensive against the Ammonite occupation. Jephtha agrees to lead the army on condition that he is allowed to lead the country if he wins the battle. The Israelites, led by Jephtha's half‑brother, Zebul, agree to his demand. He says goodbye to his wife and daughter. Iphis then says goodbye to the Israelite, Hamor, to whom she is engaged and who will fight alongside her father in the forthcoming battle. Jephtha is worried about the outcome of the battle and privately makes a deal with God: if he returns victorious, he will sacrifice the first living thing that he sees on his return. Meanwhile his wife is afraid that some misfortune will happen, and is comforted after a nightmare by her daughter and servants. Jephtha, who has failed to secure a peace by treaty, prepares his Israelite forces for the battle.
Act Two:
Hamor informs Iphis of her father's victory, and describes the miracle of the battle, in which an army of angels signalled the enemy's defeat. She asks her servants to prepare to welcome her father back. Jephtha returns triumphant and commends the bravery of his officers, Zebul and Hamor, but says that God deserves the real credit for the victory. Iphis then appears unexpectedly to greet her father with her servants. Jephtha is horrified to realize that it his daughter who is the subject of his rash promise to God. He is forced to tell everyone of his vow, and all try to persuade him to change his mind. He refuses. Iphis herself convinces him that she will go ahead with the with the sacrifice for the sake of her country and family. The community wrestles with the nature of the goodness of a God who asks for the murder of a child.
Act Three:
Jephtha, his wife and the community prepare for Iphis's sacrifice. She is very frightened and says goodbye to everyone. The whole community appeals to God for guidance. Just as Iphis is being dragged off to her death an angel appears and forbids the sacrifice to proceed: Iphis must dedicate herself to a life of chastity and the service of God. Jephtha and the community thank God for sparing Iphis's life. Storgè and her servants prepare for Iphis to leave. lphis and Hamor say a final goodbye to each other. Everyone tries their best to rejoice at the happy and strange end to their troubles, and the peace which Jephtha's military leadership has secured.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Almost three hours of superb-sounding music...

This recording is in many ways a real treasure. Its chief value is that it vividly captures a wonderful performance of Handel’s final oratorio, giving the listener a fine impression of the venue, the medieval Maulbronn monastery in southern Germany. The opening notes of the thrillingly dramatic overture grab the listener’s interest and the well-chosen soloists make a vivid impression.

The story involves the military leader, Jephtha (tenor), who is asked by his brother, Zebul (baritone) to lead the Israelites against their oppressors, the Ammonites. Jephtha vows that, if successful, he will sacrifice the first person he sees after the battle. This turns out to be his daughter, Iphis (soprano). His wife, Storgè (mezzo-soprano) and Iphis’s fiancé Hamor (counter-tenor), are suitably horrified, as are the onlooking Israelites. An angel (soprano) transmutes Iphis's sentence to life as a virgin; hallelujahs are sung.

Benjamin Hulett is outstanding as Jephtha who at first is exuberant when facing his military task, then anguished and horrified at the results of his vow. His accompagnato “Deeper, and deeper still” would be worthy of a musical dramatization of King Lear. The other main role is that of Iphis, sung by American soprano Kirsten Blaise; she also must express a wide range of emotions and carries it off extremely well. Simon Bailey is rich-voiced and stalwart as Zebul, and Annelie Sophie Müller as Storgè is blessed with a voice that has a rosy bloom about it. David Allsopp gets off to an uncertain start as Hamor but in the end rises to full worthy participation in his duet with Iphis, plus a quartet and quintet with the other principals.

The 39-member choir and 26-member orchestra provide exactly the right sound for this great work. The orchestra use specially reconstructed period instruments tuned to the historically accurate a=415 Hz. Jürgen Budday’s tempi are well-judged throughout. Some might find the acoustic to be overly resonant, but I find it helps bring to life a performance I wish I had been able to attend. But there are almost three hours of superb-sounding music on just two CDs.

Still the stated aim of K&K is to capture an outstanding performance in which “the performers, audience, opus and room enter into an intimate dialogue that is...unique and unrepeatable”. This they have accomplished.

© 2014 ConcertoNet.com, Michael Johnson

Mozart: Piano Concerto No. 17 in G Major, K.453

Track

Album Cover
EUR 3,80
Wolfgang Amadeus Mozart (1756-1791):
Piano Concerto No. 17

in G Major, K. 453

Christoph Soldan ~ Concert Grand Piano
Cappella Istropolitana
Conductor: Pawel Przytocki

A live recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

DDD · Total Length: 28 Min. 05 Sec.
Digital Music Album [here: MP3/320kBit/sec.] · 3 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Wolfgang Amadeus Mozart

T

he Piano Concerto No. 17 in G major, KV. 453, by Wolfgang Amadeus Mozart, was written in 1784. The work is orchestrated for solo piano, flute, two oboes, two bassoons, two horns, and strings. As is typical with concerti, it is in three movements: Allegro, Andante and Allegretto - Presto. According to the date that the composer himself noted on the score, the concerto was completed on April 12, 1784. The date of the premiere is uncertain. In one view, the work is said to have been premiered by Mozart's student Barbara Ployer on June 13, 1784, at a concert to which Mozart had invited Giovanni Paisiello to hear both her and his new compositions, including also his recently written Quintet in E flat for Piano and Winds. Afterwards, Ployer was joined by Mozart in a performance of the Sonata for Two Pianos, K. 448. Another possibility, advanced by Lorenz, is that Mozart did not wait over two months to premiere the work, but performed it in his concert with Regina Strinasacchi on 29 April 1784 at the Kärntnertortheater. As a general consensus for researchers, it can be said with relative certainty that the work premiered during the mid-to-late spring of 1784, following its completion.

From Wikipedia, the free encyclopedia

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

***** Stunning acoustics

This monastery is world famous. Spectacular decay, luminous sound, superb performances... Try this series and see what you think.

'John K.' on Amazon.com

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PUCCINI: Messa Di Gloria

Track

view cover
EUR 6,65
Giacomo Puccini (1858-1924):
Messa di Gloria

Performed by Willi Stein (Tenor),
Thomas Pfeiffer (Baritone),
the Maulbronn Cantor Choir (Kantorei Maulbronn)
and members of the SWR-Symphony-Orchestra
Baden-Baden & Freiburg
Conductor: Jürgen Budday

A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn monastery

HD Recording · DDD · Total playing time: c. 48 Minutes
Digital Album [here: MP3] · 5 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance

I

magine you are living in 19th century Italy, you're 22 years old and studying music at the Conservatory in Lucca. In just a few weeks you will submit your first big musical composition to the Conservatory's Board of Directors: your final year project for your degree, the highlight of your young life... As I see it, Giacomo Puccini's "Messa di Gloria" represents a high point in his creative work - because can you really say this is "only" one of his early works? True, you sense the brilliance, the rapture and, indeed, a little of the lack of respect typical of youth - but in actual fact, this composition is simply too beautiful for a mass back in those days. It reflects the young artist's total passion and dedication. Unlike many people who see the "Gloria" as the climax of this composition, I personally feel that the real climax is the "Agnus Dei". And the fact that it reappears later - and almost unchanged - in the opera "Manon Lescaut" is surely no coincidence.

Josef-Stefan Kindler

A

lthough music scholars have been aware of the "Messa di Gloria" by Giacomo Puccini (1858-1924) for a considerable time, the piece only began to appear in concert programmes relatively recently. The score was in fact not published until 1951. Since then the work has been known generally as the "Messa di Gloria". It was first performed on July 12th,1880 at the Festival of San Paolino, the patron saint of bells, who is particularly revered in this part of Tuscany. This public performance brought the young composer general recognition. Puccini incorporated two other pieces of church music into the score of the Messa - a motet and a Credo that he had composed for the same festival in 1878. The entire composition had originally been conceived as a large choral work, but the final version is for two solo voices, a four-part choir and a large orchestra.
The Messa is thus the first comprehensive work by Puccini to follow the solid musical traditions of his family and deliberately use the "modern" methods of expression in vogue at the time. Puccini used his expertise in festive choral music and in adhering to the strictest conventions of counterpoint, and combined it with his own personal concept of a style for church and an innate feeling for melody that was present in him from the start. There is also a certain style to the sound that foreshadows the extraordinary mastery of orchestration apparent in his late works. Puccini was particularly fond of this early composition, proof that he attached particular importance to it. Echoes of the "Messa" reappear later in Puccini's operas, particularly in "Edgar" and "Manon Lescaut". In fact, the "Madrigale" in Act 2 of Manon contains almost the entire "Agnus Dei", with only very few structural changes. Bearing all this in mind, it is no wonder that Puccini's Messa is so highly appreciated today.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Cistercian Chants · Vespera de Beata Maria Virgine

Track

Cover
EUR 12,60
Ensemble Vox Nostra
Vespera de Beata Maria Virgine

Gregorian & Cistercian Chants
A Vespers of the Cistercian Order in the 13th century
with works by Monastery Maulbronn, Cistercian nuns of the monastery Las Huelgas
and Cistercian Antiphonary from Morimondo

Vox Nostra Ensemble: Winnie Brückner (Soprano), Philipp Cieslewicz (Countertenor),
Christoph Burmester (Tenor), Werner Blau (Bass), Burkard Wehner (Tenor & Music Director)
A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: c. 63 Minutes
Digital Album · 14 Tracks

MP3

MP3 Album

256 kBit/sec.

Previews

Performer(s)
Vox Nostra

V

ox Nostra is a vocal ensemble based in Berlin, Germany, founded in 1999 by Burkard Wehner. Specialized in the performance of medieval music the main focus of the group is the interpretation of the earliest surviving compositions from the cultural centers of Europe. Sung from manuscripts originating in monasteries, cathedrals, and courts, this music is an acoustical insight into the archaic sound world of the Middle Ages.
The members of Vox Nostra have pursued extensive scholarship in the fields of musicology, medieval paleography, and theology. The music of Vox Nostra combines expressive musicality and academic curiosity. The repertoire includes Gregorian and pre-Gregorian chant and the specific liturgical music of the different medieval orders like Cistercians, Dominicans, Carthusians and Franciscans dating from the 10th to the 14th century. Furthermore Vox Nostra sings early polyphony from the 12th to the 14th century and the richly polyphonic compositions of the Renaissance. A special feature of the ensemble is the practice of singing scores researched from original manuscripts. The musical interpretation made by Vox Nostra has specific consequences on the old forms of notation, such as neumatic notation of the chorale, the modal notation of the Notre-Dame organa, and mensural notation. In order to give these features the emphasis they deserve, ensemble Vox Nostra favours a slow, flowing style of performance in an appropriately restrained tempo.
The vocal sound which results is rich in overtones, and fills the entire space; it allows the archaic and pure intervals of this music to be fully appreciated, and ensures that the complex weaving of the individual voices is clearly audible. In addition to the original manuscripts, research and this interpretation of the music from the 12th-16th centuries also provides new information the regarding tempo, ornamen­tation and the practice of solo performance of the chants. The unique acoustical situation of each concert location influences concert presentations, as well as the choreography of singers, hence time in each venue to work how the singers can move between various points in the room to integrate the acoustic properties of each site into the score.
Copyright by Josef-Stefan Kindler, www.kuk-art.com
The leader of the Ensemble, Burkard Wehner, was born in Steinach an der Saale /Unterfranken. Study of German and Theology at the Julius-Maximilian University Würzburg. Study of "Medieval and Renaissance Vocal Music", and musicology at the Brabant Conservatory in Tilburg, Holland. International master classes with Andrea von Ramm, Jill Feldman, Marcel Pérès and Pedro Memelsdorff. Soloist at many international festivals in Poland, Holland, Austria, France, and Germany. Musical advisor to many medieval ensembles. Extensive musicological activity in the research of medieval source material. Instructor in the field of music sociology at the Humboldt University, Berlin. Teaches workshops and seminars on the interpretati­on and performance practice of medieval vocal music. Director of the Baroque opera Zenobia from Tommaso Albioni (1694) for the Syrian National Opera Damascus / Cultural Capital Damascus 2008. Member of the advisory board for the exhibition „The Council of Constance 1414-1418" in Constance from April to September 2014. Lives and works in Berlin.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

This is an absolutely beautiful performance

This is an absolutely beautiful performance. It is crisp it is authentic. The recording captures the ambiance of the Monastery. Vox Nostra is tops in my list. If your looking for Gregorian chant crab this before it ascends to heaven.

'Maggie' on Amazon.com

Johannes Brahms · A German Requiem

Cover
EUR 22,00
CD
Johannes Brahms (1833-1897):
A German Requiem

Ein deutsches Requiem, Op. 45

The "London Version" (sung in German)
for 2 soloists, choir and four-hand piano,
arranged by the composer, performed by

Heidi Elisabeth Meier (Soprano), Josef Wagner (Baritone),
Piano Duo GrauSchumacher (Andreas Grau & Götz Schumacher),
Maulbronn Chamber Choir (Maulbronner Kammerchor)
Conductor: Jürgen Budday

A live recording from the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: c. 70 Minutes


Previews

Art Movie(s)

Work(s) & Performance
Johannes Brahms

O

n Good Friday, April the 10th, 1868, the world premiere of the Requiem in a six movements version was given in Bremen, Germany. Brahms himself conducted the Choral Society of Bremen, having carefully been prepared by Karl Martin Reinthaler to perfom the new release. Friends of Brahms from all over Germany were attending this occasion. Clara Schumann noted in her diary: '... This requiem deeply moved me like no other sacred music... As I saw Johannes standing there with the baton in his hand, I always had to think of my dear Robert's prophecy - let him just take the magic wand, and let him operate with an orchestra and a choir - that is fulfilling today. The baton really transformed into a magic wand and vanquished Everybody, even his most determined enemies. This was such blissfulness for me, I haven't felt so delighted in years. After the performance was a supper at the Rathskeller, where everybody jubliated - it was a celebration of music.'
After the performance in Bremen, Brahms returned to Hamburg, where he finished the work by the addition of the movement. 'You now have sadness' that was finished in the autograph of the particell with 'Hamburg May 68'. In 1869 eventually, the complete opus was performed at the 18th of February in Leipzig under the direction of Karl Reinecke. Eduard Bernsdorf, the critic of the journal 'Signals of the musical world', who ten years earlier had called the piano concerto in d-minor a piece of 'bleakly waste and drought', nowhad no choice but to acknowledge in his critique on February the 22th, 1869: '... you so have to number the questionable work of Brahms among the most important doings having been accomplished by our younger and youngest generation of composers, as well as you have to designate it the most important of the Brahmsian creations. Above all, an aspiration for the Grand and Noble does announce itself here and, coherring, the complete negation of the Ordinary and Banal...'
Johannes Brahms himself produced a four-handed version of his German Requiem for piano that was publicized first in London in 1871. The publication of simplified musical versions for piano duo was common in the 19th century, being in some respects the precursor of acoustical recording because it allowed musical amateurs to experience great works outside the concert hall by their own performance on the piano. Brahms worked on this version himself, i.a. out of the conviction that if it really had to happen, he would be the best candidate for this duty.
All in all, he considered this work as unworthy, but necessary, thus he refused noting his name as arranger on the front page, and as it happened anyhow, he ordered the exemples already printed to be recollected and added with new front pages not naming him as arranger any longer. In a letter Brahms stated ironically: 'I dedicated myself to the noble occupation of rendering my immortal creation enjoyable also for the four-handed soul. Now it can't decline.'.
Even if it obviously didn't answered the Maestro's basic idea, the piano version gives considerably more room for dynamics and therefore serves the tension of the work. Prior condition is a choir and a conductor that see an opportunity and even are challengend by the minimalism of the instrumentation in filling these deep moments with all the tension human voice is capable of. The vocal performance is enriched by the convertion of the piano version by Brahms himself, because he in person decided on the atmospheric form of his presentation. It is quite exciting to hear the chamber choir merge into word and work and having the courage of dedicating itself to the Requiem's spirit.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

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Review

A reference recording

Interpretation: ***** (5 out of 5)

Recording Quality: ***** (5 out of 5)

Status: Reference Recording

KULIMU - German Magazine for art, music and literature

Review

Magnificently performed and recorded...

Fine Reduction and Fine Performance
Brahms' own piano reduction of his Requiem. It works wonderfully in this format and this recording is magnificently performed and recorded. This will not replace the orchestra version (and certainly was not meant to) but it allows one to hear the work in a new way...

Bachjscpe on Amazon.com

Review

***** Certainly Five Stars!

Item getting today, 04/13/17. A very interesting interpretation of the famous Brahms German Requiem for piano duo, choir and soloists; the London version, in contrary to the later full orchestral, choir and soloists version. This chamber version makes this work more a delightful and receptable one during this Passion Time.

J. P. M. Smit on Amazon.com, April 13, 2017

SCHUMANN: Carnaval for Piano, Op. 9 "Little Scenes on Four Notes"

Track

Cover
EUR 12,35
Robert Schumann (1810-1856):
Carnaval for Piano, Op. 9

"Little Scenes on Four Notes"

Performed by Rolf Plagge (Piano)

A live recording from the German
UNESCO World Heritage Site Maulbronn Monastery
Concert Grand Piano: C-227 by Steinway & Sons

DDD · Duration: 31 Min. 35 Sec.
Digital Music Album [here: MP3/320kBit/sec.] · 12 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Robert Schumann

C

arnaval, Op. 9, is a work by Robert Schumann for piano solo, written in 1834-1835, and subtitled "Scènes mignonnes sur quatre notes" (Little Scenes on Four Notes). It consists of 21 short pieces representing masked revelers at Carnival, a festival before Lent. Schumann gives musical expression to himself, his friends and colleagues, and characters from improvised Italian comedy (commedia dell'arte). He dedicated the work to the violinist Karol Lipinski. Carnaval had its origin in a set of variations on a "Sehnsuchtswalzer" by Franz Schubert, whose music Schumann had only discovered in 1827. The catalyst for writing the variations may have been a work for piano and orchestra by Schumann's close friend Ludwig Schuncke, a set of variations on the same Schubert theme. Schumann felt that Schuncke's heroic treatment was an inappropriate reflection of the tender nature of the Schubert piece, so he set out to approach his variations in a more intimate way, and worked on them in 1833 and 1834. The work was never completed, however, and Schuncke died in December 1834, but Schumann did re-use the opening 24 measures for the opening of Carnaval. Pianist Andreas Boyde has since reconstructed the original set of variations from Schumann's manuscript (published by Hofmeister Musikverlag), premiered this reconstruction in New York and recorded it for Athene Records...

From Wikipedia, the free encyclopedia

Performer(s)
Rolf Plagge

I

n July 1990 Rolf Plagge became the first German pianist ever to win a prize in the prestigious Moscow Tchaikovsky Competition. He had already been awarded numerous prizes in national and international competitions in Vienna, Bratislava, Montevideo, Bonn, and several times in Italy. In 1987 he won the 3rd prize in the esteemed 'Reine Elisabeth' Competition in Brussels and has since been a frequent performer in Belgium. Rolf Plagge is regularly performing in many European countries, including Russia, as well as in the US and Latin America, Japan, South Korea, South East Asia, Australia. Apart from giving solo performances with various German orchestras (State Symphony Orchestra of Thuringia, Bochum Symphonic Orchestra, Bremen Philharmonic, Munich Chamber Orchestra, Rheinische Philharmonie, Staatsphilharmonie Rheinland-Pfalz etc.) as well as with international orchestras, including Baltic Philharmonic, Filharmonia Narodowa Warschau, Orchestre National de France; Polish Chamber Philharmonic, Salt Lake City Symphony Orchestra, Israel Sinfonietta, Orchstre National de Belgique etc.
Plagge was born in 1959 in Westerstede, North Germany, where he received his first piano lessons at home. By 1969 he was studying at the Bremen Conservatory with Prof. Peter-Jürgen Hofer. After winning several prizes and scholarships he continued his studies with various famous teachers: in Freiburg with Vitaly Margulis, in Vienna with Paul Badura-Skoda, at the Juilliard School in New York with Gyorgy Sandor and finally in Hannover with Karlheinz Kämmerling. Since 1991 he is holding a teaching position as professor at the University of Music "Mozarteum" in Salzburg, also giving piano masterclasses in Europe and many other countries, including US, South America, Japan, Korea, Australia.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

View more releases:

Digital Music Albums:

Online-Musik-Alben:

Performers, Series & Composers:

Künstler, Reihen & Komponisten:

Periods, Specials & Formats:

Epochen, Specials & Formate:

Release Type: Work Albums

Mozart: Piano Concerto No. 21 in C Major, K. 467 "Elvira Madigan"

Track

Cover
EUR 3,80
Wolfgang Amadeus Mozart (1756-1791):
Piano Concerto No. 21 in C Major, K. 467

"Elvira Madigan Concerto"

Performed by Christoph Soldan (Concert Grand Piano)
and the Silesian Philharmonic Orchestra
Conductor: Pawel Przytocki

A live recording from the church of the German UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Total Length: 26 Min. 42 Sec.
Digital Album · 3 Tracks · incl. Digital Booklet

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance

T

he Piano Concerto No. 21 in C major, K. 467, was completed on 9 March 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.
The concerto has three movements:
I. Allegro maestoso - In common time. The tempo marking is in Mozart's catalog of his own works, but not in the autograph manuscript.
II. Andante in F major - In both the autograph score and in his personal catalog, Mozart notated the meter as alla breve.
III. Allegro vivace assai
The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key. A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme, which can also be heard in Mozart's Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart's original has been lost.
The famous Andante, in the subdominant key of F major, is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. Then it modulates to G minor, then B-flat major, then F minor, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in the relative key of F major's parallel key, A-flat major. Over the course of this final section, the music makes its way back to the tonic keys of F minor and then F major and a short coda concludes the movement.
The final rondo movement begins with the full orchestra espousing a joyous "jumping" theme. After a short cadenza, the piano joins in and further elaborates. A "call and response" style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.
Cultural references:
The opening of the second movement in Mozart's handwriting.
The second movement was featured in the 1967 Swedish film "Elvira Madigan". As a result, the piece has become widely known as the "Elvira Madigan concerto".
Neil Diamond's 1972 song "Song Sung Blue" was based on a theme from the andante movement of the concerto.
An excerpt from the second movement was also featured in the James Bond film The Spy Who Loved Me, as Atlantis rises from the sea.
An electronic arrangement of the concerto's first movement was used as the main theme of the TV series Whiz Kids.
The second movement is also used in "Annie's Love Song" and "Music Monsters" from the children's program, Little Einsteins. The Second Movement was also used in the episode "Sleepy Time" of the children's show SpongeBob SquarePants while the titular character explores his pet snail Gary's dream.

From Wikipedia, the Free Encyklopedia

Performer(s)

T

he German press describes the pianist Christoph Soldan as an artist personality who works with the spiritual intensity and soulful dimension of a piece of music, rather than giving a purely technical virtuoso performance. This challenge to music and to himself is rarely seen today. Soldan studied under Professors Eliza Hansen and Christoph Eschenbach at the Hamburg Musikhochschule. His break-through to active international concert playing came in a tour with Leonard Bernstein in summer 1989. Of Christoph Soldan, the world- famous director said, "I am impressed by the soulful size of this young musician." Since then, Soldan has played in numerous tours with renowned orchestras across Europe and abroad. A particularly close co-operation binds him to the polish conductor Pawel Przytocki. A tour of piano evenings took place in Mexico and other countries in Central America in October 1997. In August 1998 he debuted in Salzburg and in the Chamber Music Hall of the Berlin Philharmonic, and in May 1999 in the Leipzig Gewandhaus. In March 2000, there were three piano evenings in Japan. So far, there have been radio and television productions with the Hessische Rundfunk, Frankfurt, Deutschlandfunk, SWR, ORF and ZDF. The Bayerische Rundfunk broadcasted his piano evening in the Munich Residenz in October 1998 and his concert in the Bad Brückenau music festival live in 1999. Radio Bremen braodcasted his recital in Bremen in august 2002. In spring 2001 Christoph Soldan participated the Prague Spring Festival accompanied by the slovakian chamberorchestra "Cappella Istropolitana". Two recitals in Hamburg and Berlin were followed by a live - recording of two Mozart piano concertos in the medieval monastery of Maulbronn in september 2002. In the 2003/2004 season, Christoph Soldan will be guesting with various programmes in Germany, Austria, Switzerland, Slovakia, France and the USA. In January 2004 a concert-tour to South Africa will follow.
Christoph Soldan combines a long-standing cooperation with the Polish conductor Pawel Przytocki. Przytocki works since 1999 as a constant guest conductor of the radio symphony orchestra Krakau and perfomed with the Budapest Concert Orchestra, the Orchestra Sinfonica de Xalapa in Mexico, the Real Philharmonia de Galicia in Spain, the Cappella Istropolitana and the Schlesische Kammerphilharmonie Kattowitz.
The Schlesische Kammerphilharmonie Kattowitz (Silesian Philharmonic Orchestra) was founded in Poland 1945. This chamber-orchestra, which constists of the soloist from the philharmonic orchestra, excists in this form since 1981. The newspapers characterizes this orchestra as "highly accurate, dulcet and full of juvenile spirit". Accordingly the orchestra performed and performs with celebrated artists like Zubin Mehta, Arthur Rubinstein and Krystian Zimerman. This artistical capacity co-operates perfectly with Soldan´s interpretations and the conductor´s concept of Mozart´s works. The result is an new remarkable documentation of an unique and high-contrasted reception of piano-works from the famous maestro, Wolfgang Amadeus Mozart.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

The concert grand piano is incontestably the king of instruments. We could now wax lyrical about its incomparable dynamics and go into its ability to go from the tenderest of sounds in a soft minor key to the magnificent power of a fortissimo, or I could rhapsodise about its impressive size and elegance. But what makes this instrument really fascinating is its individuality, since each one is unique in itself - created by a master. A concert grand has a life all of its own that a virtuoso can really "get into" and hence bring the work of the composer to life. In our Grand Piano Masters Series, we get into the character and soul of the concert grand piano and experience, during the performance itself, the dialogue between the instrument, the virtuoso and the performance space.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

Truly beautiful music

Andy Bickerton on YouTube

Review

Wonderful

Miroslav Pranjic on YouTube

Review

Just soooo wonderful. Thankx a lot!!!

Monika Sigrist on YouTube

ROSETTI: Symphony in G Minor

Track

Cover
EUR 4,75
Antonio Rosetti (1750-1792):
Symphony in G Minor, A 42

performed by the
Wuerttemberg Chamber Orchestra
Conductor: Jörg Faerber

A concert recording from the church of the German
UNESCO World Heritage Site Maulbronn Monastery

HD Recording · DDD · Duration: 16 Min. 35 Sec.
Digital Album · 4 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance
Antonio Rosetti

F

rancesco Antonio Rosetti (c. 1750 - 30 June 1792, born Franz Anton Rösler, changed to Italianate form by 1773) was a classical era composer and double bass player, and was a contemporary of Haydn and Mozart. The occasional disambiguation with a supposed, but non-existent, "Antonio Rosetti born 1744 in Milan", is due to an error by Ernst Ludwig Gerber in a later edition of his Tonkünstler-Lexikon having mistaken Rosetti for an Italian in the first edition of his own Lexikon, and therefore including Rosetti twice - once as an Italian, once as a German-Czech. Rosetti was born about 1750 in Litoměřice, a town in Northern Bohemia. He is believed to have received early musical training from the Jesuits in Prague. In 1773 Rosetti left his native country and found employment in the Hofkapelle of Prince Kraft Ernst of Oettingen-Wallerstein whom he served for sixteen years, becoming Kapellmeister in 1785. In July 1789 Rosetti left Wallerstein to accept the post of Kapellmeister to the Duke Friedrich Franz I of Mecklenburg-Schwerin in Ludwigslust where he died in service of the duke on 30 June 1792 at the age of 42 years. In 1777, he married Rosina Neher, with whom he had three daughters. In late 1781 he was granted leave to spend 5 months in Paris. Many of the finest ensembles in the city performed his works. Rosetti arranged for his music to be published, including a set of six symphonies published in 1782. He returned to his post, assured of recognition as an accomplished composer. Rosetti wrote over 400 compositions, primarily instrumental music including many symphonies and concertos which were widely published. Rosetti also composed a significant number of vocal and choral works, particularly in the last few years of his life. Among these are German oratorios including Der sterbende Jesu and Jesus in Gethsemane (1790) and a German Hallelujah. The English music historian Charles Burney included Rosetti among the most popular composers of the period in his work A General History of Music. Rosetti is perhaps best known today for his horn concertos, which Mozart scholar H. C. Robbins Landon suggests (in The Mozart Companion) may have been a model for Mozart's four horn concertos. Rosetti is also known for writing a Requiem (1776) which was performed at a memorial for Mozart in December 1791. Attributing some music to Rosetti is difficult because several other composers with similar names worked at the same time, including Franciscus Xaverius Antonius Rössler.

From Wikipedia, the Free Encyklopedia

Performer(s)

T

he Wuerttemberg Chamber Orchestra Heilbronn (Württembergisches Kammerorchester Heilbronn) has been together since 1960. Performances range from Baroque works, classical (also in symphonic cast), string compositions of the Romanesque period and early modernity, as well as avant-garde works. The orchestra plays at all relevant concert halls around the globe on large tours or at individual concerts with soloists such as Anne-Sophie Mutter, Maurice André, Alfred Brendel, James Galway, Viktoria Mullova, Frank Peter Zimmermann, Thomas Quasthoff, Martha Argerich and Sharon Kam. In addition, the orchestra places special emphasis on co-operation with fresh young soloists.

J

örg Faerber, Head Conductor of the Wuerttemberg Chamber Orchestra Heilbronn, was born in Stuttgart where he later received his degree in conducting at the state conservatory (Staatliche Hochschule für Musik). After an eight-year career as a theatre bandmaster and composer for opera and movie, he founded the Wuerttemberg Chamber Orchestra Heilbronn in 1961, which, under his direction, grew to become one of Europe's leading chamber orchestras. He is regarded as one of the most renowned conductors of his time. In 1984 Jörg Faerber was awarded the German Federal Cross of Merit, and, in 1986, the academic title of Professor.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Review

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Mozart: Violin Concerto No. 5 in A Major, K. 219 "Turkish"

Track

Cover
EUR 4,75
Wolfgang Amadeus Mozart (1756-1791):
Violin Concerto No. 5

in A Major, K. 219 · "The Turkish Concerto"

Performed by Linus Roth (Violin, Stradivari Dancla)
and the Wuerttemberg Chamber Orchestra
Conductor: Jörg Faerber

HD Recording · DDD · Duration: 28 Min. 7 Sec.
Digital Album · 3 Tracks

MP3

MP3 Album

320 kBit/sec.

Work(s) & Performance

W

hen a renowned and internationally experienced orchestra such as the Wuerttemberg Chamber Orchestra Heilbronn gives the stage to a young virtuoso like Linus Roth, a classical atmosphere is created where the suspense between the audience and artists reaches a boiling point and decisively influences the style of playing. Professor Jörg Faerber staged a concert with precisely all these factors, in which the orchestra offers probably the best fundament for a young virtuoso with its perfect playing. Faerber impressively sets the intensity of the performance in tantalising contrast to the soloists' sheer feeling for Mozart.

Wolfgang Amadeus Mozart

T

he Violin Concerto No. 5 in A major, K. 219, often referred to by the nickname "The Turkish", was written by Wolfgang Amadeus Mozart in 1775, premiering during the Christmas season that year in Salzburg. It follows the typical fast-slow-fast musical structure.
Mozart composed the majority of his concertos for string instruments from 1773 to 1779, but it is unknown for whom, or for what occasion, he wrote them. Similarly, the dating of these works is unclear. Analysis of the handwriting, papers and watermarks has proved that all five violin concertos were re-dated several times. The year of composition of the fifth concerto "1775" was scratched out and replaced by "1780", and later changed again to "1775". Mozart would not use the key of A major for a concerto again until the Piano Concerto No. 12 (K. 414). The autograph score is preserved in the Library of Congress, Washington D.C.
The movements are as follows:
I. Allegro aperto – Adagio – Allegro aperto
II. Adagio (E major)
III. Rondeau – Tempo di minuetto
The aperto marking on the first movement is rare in Mozart's instrumental music (two of his piano concerti, Piano Concerto No. 6 in B♭ Major and Piano Concerto No. 8 in C Major, have this marking, as does his Oboe Concerto in C Major), but appears much more frequently in his operas. It implies that the piece should be played in a broader, more majestic way than might be indicated simply by allegro. The first movement opens with the orchestra playing the main theme, a typical Mozartian tune. The solo violin comes in with a short but sweet dolce adagio passage in A major with a simple accompaniment by the orchestra. (This is the only instance in Mozart's concerto repertoire in which an adagio interlude of this sort occurs at the first soloist entry of the concerto.) It then transitions back to the main theme with the solo violin playing a different melody on top of the orchestra. The first movement is 10–11 minutes long.
The rondo Finale is based on a minuet theme which recurs several times. In the middle of the movement the meter changes from 3/4 to 2/4 and a section of "Turkish music" is played. This is characterised by the shift to A minor (from the original A major), and by the use of grotesque elements, such as unison chromatic crescendos, repetition of very short musical elements and col legno playing in the cellos and double basses. This section gave the concerto the nickname "The Turkish Concerto". The famous Rondo alla Turca from Mozart's piano sonata in A major features the same key and similar elements.
Mozart later composed the Adagio in E major for Violin and Orchestra, K. 261, as a substitute slow movement for this concerto.
The entire piece is about 28 minutes long.

From Wikipedia, the Free Encyclopedia

Performer(s)

B

orn in 1977 in Ravensburg, Linus Roth was accepted to Prof. Nicolas Chumachenco's class at the Freiburg Conservatory at the age of 12. He continued with his studies in 1993 under the wing of Zakhar Bron at the Luebeck conservatory, where he passed his artistic final exams in 1998/99. Roth is the recipient of numerous national and international violin competition awards such as the "Wieniawski-Lipinski Competition" held in Lublin, and the "International Violin Competition Novosibirsk" where he received an honourable award for the best Bach interpretation. In 2006 Linus Roth received the "Echo Classik" of the German Phonoacademy as "Best Newcomer". He plays a violin "Dancla" by Antonio Stradivari, built in the year 1703.

"His stylistic knowledge is highly developed
and his open, charismatic personality convinces me
every time I hear him."

(Prof. Anne-Sophie Mutter)

T

he Wuerttemberg Chamber Orchestra Heilbronn (Württembergisches Kammerorchester Heilbronn) has been together since 1960. Performances range from Baroque works, classical (also in symphonic cast), string compositions of the Romanesque period and early modernity, as well as avant-garde works. The orchestra plays at all relevant concert halls around the globe on large tours or at individual concerts with soloists such as Anne-Sophie Mutter, Maurice André, Alfred Brendel, James Galway, Viktoria Mullova, Frank Peter Zimmermann, Thomas Quasthoff, Martha Argerich and Sharon Kam. In addition, the orchestra places special emphasis on co-operation with fresh young soloists.

J

örg Faerber, Head Conductor of the Wuerttemberg Chamber Orchestra Heilbronn, was born in Stuttgart where he later received his degree in conducting at the state conservatory (Staatliche Hochschule für Musik). After an eight-year career as a theatre bandmaster and composer for opera and movie, he founded the Wuerttemberg Chamber Orchestra Heilbronn in 1961, which, under his direction, grew to become one of Europe's leading chamber orchestras. He is regarded as one of the most renowned conductors of his time. In 1984 Jörg Faerber was awarded the German Federal Cross of Merit, and, in 1986, the academic title of Professor.

Series & Edition

P

ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

The concerts at the UNESCO World Heritage Maulbronn Monastery supply the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site, providing exquisite performances of secular and sacred music, documented by us in our Maulbronn Monastery Edition.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

No. 71

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From Birth to Eternity

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From Birth to Eternity

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