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Biber Muffat - Der Türken Anmarsch (Holloway) torrent


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Download Biber  Muffat - Der Türken Anmarsch (Holloway) torrent




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Torrent Description
John Holloway, violinrnAloysia Assenbaum, organrnLars Ulrik Mortensen, harpsichordrnECM New Series 1837 472432-2 DDD 62:52rnrnrnECM’s newly released compilation of works by Heinrich Biber completes and complements John Holloway’s recording two years ago of the Third, Fourth, Sixth, and Seventh Sonatas from Biber’s 1681 set along with several other, unpublished, sonatas on CD 289 472 084-2, 26:3. Since at that time ECM announced that Holloway had already recorded all eight of the sonatas, it’s fair to assume that he’s playing the Michiel de Hoog copy of a 1649 Nicola Amati that he used in the normally tuned sonatas in that issue.rnrnWhile the collection also includes a sonata from Biber’s Mystery set (the “Crucifixion”) in an adaptation by Andreas Anton Schmelzer (Andrew Manze incorporated the same piece into a Schmelzer collection, Harmonia Mundi HMU 907143, 20:2) that adds an extra movement and transposes the original, which now depicts “Victori der Christen” as well as a sonata by Georg Muffat, the bulk of the program comprises the remaining four sonatas from 1681. These combine glittering virtuosity with powerful expressive catharses; in fact, on their evidence alone, it seems unjust to place Biber far below Paganini (at the Genoese’s best, that is) in fusing manner and matter...Like Andrew Manze in his recent version of the Mystery Sonatas (Harmonia Mundi HMU 907 321.22), Holloway’s sound represents a synthesis of the old and the new. And he plays his sonatas even straighter than Manze did those, remaining close to the printed version, even while adding judicious ornamentation, even, here and there, of the more florid kind. In the company of these oracular utterances, the reworked “Crucifixion” seems especially jubilant, to say nothing of Muffat’s later work.rnrnBiber aficionados simply can’t afford to miss the entire reading of the 1681 sonatas; those who haven’t already acquired the first volume must now obtain both. Recommended with special enthusiasm.rnrn**************************************************************rnrnAn early example of program music can be found in the "Victori der Christen" Sonata by Heinrich Ignaz Franz Biber (1644-1704). In 1683, Turks attacked Vienna, and the sonata\'s several sections depict the Turkish advance, siege, and assault on the city, and the response of Christian forces, leading to the expulsion of the invaders. An imaginative listener might claim to hear not just battle music but also cultural stereotypes in this sonata. However, before making that claim, he or she should know it is unlikely that Biber had any such program in mind when he actually wrote this work. Instead, the "Victori der Christen" (Christian Victory) Sonata appears to have been adapted from Biber\'s music by Johann Heinrich Schmelzer, a Viennese contemporary of the Salzburg-based Biber. (Biber\'s original sonata was part of a series in which Christ\'s passion was represented, but that is a different story.)rnrnUntil recently underrepresented on disc, Biber\'s music is both sensually appealing and historically important. Almost two generations before Vivaldi and Bach, Biber developed the violin as a solo instrument capable of both virtuoso display and emotional expression. An earlier ECM New Series release with the present musicians ("Unam Ceylum"- ECM New Series 1791 472084-2) drew from Biber\'s seminal Sonatae Violino Solo; the present disc includes four more sonatas from that collection, in addition to the one described above. As on the earlier disc, the violin is supported by a basso continuo comprised (unusually) of organ and harpsichord. Even when it is not programmatic, Biber\'s music is vivid and often pictorial. And even though it is virtuosic, it doesn\'t descend into series of busy but meaningless figurations – a trap that composers two centuries later were not always safe from falling into! Suspensions, passing dissonances, and feats of unexpected harmonic trickery add to the emotional intensity, but these sonatas have a fundamental seriousness and structural rigor to them as well. Hearing them is like touring the interior of a sumptuously appointed but strong-lined Gothic cathedral.rnrnGeorg Muffat was Biber\'s contemporary. The sonata offered here was written in Prague in 1677. Similar in style to Biber\'s sonatas, it is remarkable work for a composer who was only 24 at the time.rnrnThis is the third ECM New Series disc for these three musicians, and their second devoted to Biber. Assenbaum recently succumbed to a long illness, and so this CD is something of a memorial to her. She and Mortensen provide Holloway with atmospheric and stylistically informed support. Holloway, playing on either an instrument of Biber\'s time, or on a modern reproduction – ECM\'s booklet does not say – plays with the understated intensity that one expects from any musician recording on this label. Appropriately, an Austrian monastery (St. Gerold) was the site for this 2002 recording.rnrnEAC->FLAC+CUE+LOG+MD5. Scans!

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