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Jürgen Sonnentheil, Das Neu-Eröffnete Orchestre, canto tanto - Valentin Rathgeber: Augsburgisches Tafel-Confect (2005)

Posted By: ArlegZ
Jürgen Sonnentheil, Das Neu-Eröffnete Orchestre, canto tanto - Valentin Rathgeber: Augsburgisches Tafel-Confect (2005)

Jürgen Sonnentheil, Das Neu-Eröffnete Orchestre, canto tanto - Valentin Rathgeber: Augsburgisches Tafel-Confect (2005)
EAC | FLAC | Image (Cue & Log) ~ 415 Mb | Total time: 77:42 | Scans included
Classical | Label: CPO | 999 995-2 | Recorded: 2003

Valentin Rathgeber was a very successful composer in Germany in the first half on the 18th century. He was born in Fulda and studied theology in Würzburg where he also became a schoolmaster and an organist. In 1707 he entered the monastery at Banz as a chamber musician, and there he was ordained in 1711. In the same year he was appointed choirmaster, a post he held until his death. As a composer he concentrated on writing sacred music for churches which couldn't afford professional singers and players. His music is melodious and technically not very demanding. This was the main reason it became very popular throughout Germany.

Jürgen Sonnentheil, Das Neu-Eröffnete Orchestra - Jan Dismas Zelenka: Complete Orchestral Works (2001)

Posted By: ArlegZ
Jürgen Sonnentheil, Das Neu-Eröffnete Orchestra - Jan Dismas Zelenka: Complete Orchestral Works (2001)

Jürgen Sonnentheil, Das Neu-Eröffnete Orchestra - Jan Dismas Zelenka: Complete Orchestral Works (2001)
EAC | FLAC | Image (Cue & Log) ~ 896 Mb | Total time: 177:49 | Scans included
Classical | Label: CPO | # 999 897-2 | Recorded: 1996, 1998, 1999

We badly need a complete set of Zelenka's orchestra works, as Arkiv's edition has long vanished into the remainder bins, and this one (previously issued as three separate CDs) fits the bill nicely. Although the players use "authentic instruments", their sound is comparatively warm and gentle, though this doesn't mean that they don't handle with aplomb the insanely virtuosic horn parts in the Capriccios, or the bubbling wind writing in the Concerto. The inclusion of the overture from Melodrama de S. Wenceslao makes an interesting bonus, with its fascinating opposition of simultaneous duple and triple rhythms.