Alexandra Sostmann - Grenzgänge: Frescobaldi To Pärt (2021) [Hi-Res]
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BAND/ARTIST: Alexandra Sostmann
- Title: Grenzgänge: Frescobaldi To Pärt
- Year Of Release: 2021
- Label: Prospero Classical
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:09:28
- Total Size: 219 / 544 mb
- WebSite: Album Preview
Tracklist
01. Passacaglia per organo (after Girolamo Frescobaldi)
02. Canzona Prima (Arr. by Samuil Feinberg)
03. Musica Ricercata: 11, Omaggio A Girolamo Frescobaldi
04. Ricercar in D Minor, FbWV 411
05. Capriccio in G Minor, FbWv 508
06. Capriccio Pastorale (Arr. by Samuil Feinberg)
07. Ach, wie nichtig, ach wie flüchtig
08. Variationen zur Gesundung von Arinuschka
09. Nun komm, der Heiden Heiland (Arr. by Samuil Feinberg)
10. Ciacona in F Minor
11. Concerto in D Minor (after Alessandro Marcello), BWV 974: II. Adagio
12. Fantasia super "Christ lag in Todesbanden", BWV 695
13. Partita No. 2 in D Minor for Violin, BWV 1004: II, Chaconne (Arr. for Piano Left Hand by Johannes Brahms)
![Alexandra Sostmann - Grenzgänge: Frescobaldi To Pärt (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-10/1634255227_alexandra-sostmann-grenzgange-frescobaldi-to-part-2021-back.jpg)
„Grenzgang - Crossing borders: Wandering between different worlds - In this music, border crossings become audible to me: from baroque to contemporary music, from music to religion, from the secular to the divine. That is why it is also about life and death, resurrection, enlightenment and remembrance - as in Bach's Chaconne in memory of his first wife Maria Barbara Bach".
With these words, pianist Alexandra Sostmann describes her album "Grenzgänge," which was co-produced with Bayerischer Runfunk.
Already in the very first piece of the album, the melody advances upward with triumphant gesture, supported by several octaves from the depths of the concert grand. But already in the next moment the majestic gesture fades. The music turns to the reflective, a dab of minor colors the end of the phrase. Nothing remains as it is, for example in the Passacaglia for organ by Girolamo Frescobaldi, which Ottorino Respighi arranged for piano in 1917. About three hundred years separate the two composers - and several epochs of music history. While the baroque original sways in a triple rhythm, Respighi's interpretation impresses with late romantic force. Music is change. Every arrangement adds a perspective to the view of a work. This recording traces the developments that clavier music - keyboard instruments were commonly called "clavier" in the Baroque period - has taken over the past four centuries: through arrangements, through altered instrumentation, or interpretations based on new listening experiences. A fascinating musical journey from the beginnings of music for keyboard instruments to the composers of our day.
01. Passacaglia per organo (after Girolamo Frescobaldi)
02. Canzona Prima (Arr. by Samuil Feinberg)
03. Musica Ricercata: 11, Omaggio A Girolamo Frescobaldi
04. Ricercar in D Minor, FbWV 411
05. Capriccio in G Minor, FbWv 508
06. Capriccio Pastorale (Arr. by Samuil Feinberg)
07. Ach, wie nichtig, ach wie flüchtig
08. Variationen zur Gesundung von Arinuschka
09. Nun komm, der Heiden Heiland (Arr. by Samuil Feinberg)
10. Ciacona in F Minor
11. Concerto in D Minor (after Alessandro Marcello), BWV 974: II. Adagio
12. Fantasia super "Christ lag in Todesbanden", BWV 695
13. Partita No. 2 in D Minor for Violin, BWV 1004: II, Chaconne (Arr. for Piano Left Hand by Johannes Brahms)
„Grenzgang - Crossing borders: Wandering between different worlds - In this music, border crossings become audible to me: from baroque to contemporary music, from music to religion, from the secular to the divine. That is why it is also about life and death, resurrection, enlightenment and remembrance - as in Bach's Chaconne in memory of his first wife Maria Barbara Bach".
With these words, pianist Alexandra Sostmann describes her album "Grenzgänge," which was co-produced with Bayerischer Runfunk.
Already in the very first piece of the album, the melody advances upward with triumphant gesture, supported by several octaves from the depths of the concert grand. But already in the next moment the majestic gesture fades. The music turns to the reflective, a dab of minor colors the end of the phrase. Nothing remains as it is, for example in the Passacaglia for organ by Girolamo Frescobaldi, which Ottorino Respighi arranged for piano in 1917. About three hundred years separate the two composers - and several epochs of music history. While the baroque original sways in a triple rhythm, Respighi's interpretation impresses with late romantic force. Music is change. Every arrangement adds a perspective to the view of a work. This recording traces the developments that clavier music - keyboard instruments were commonly called "clavier" in the Baroque period - has taken over the past four centuries: through arrangements, through altered instrumentation, or interpretations based on new listening experiences. A fascinating musical journey from the beginnings of music for keyboard instruments to the composers of our day.
Year 2021 | Classical | FLAC / APE | HD & Vinyl
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