There is no doubt that Filippo Gorini is one of the great thinkers of our time, and his performance of Bach’s Die Kunst der Fuge (The Art of Fugue) is not just a release: it is
a whole project. Bach’s unfinished masterpiece (BWV 1080) is of unspecified instrumentation, and there are many different attempts to realise it. It dates from Bach’s last decade, and comprises 14 Fugues and four Canons; the final Fugue, incomplete, is left hanging in the air, unforgettably. Gorini has spoken about letting that ending surprise him every time, even in the recording studio. Such a compositional exploration was unparalleled at the time. Bach’s writing in this piec is the absolute distillation of his contrapuntal thinking. Not a single note is wasted; the piece requires supreme concentration from its performer. Gorini is fascinated by the dialogue between the voices in contrapuntal music, a fascination that shines through every note. The performance is peaceful, and extremely profound; what Gorini himself refers to as a “timeless beauty”.
Mezzo-soprano Sophie Koch and baritone Thomas Hampson are the stars of this year’s traditional Advent concert in the historic Frauenkirche in Dresden. Conductor Christian Thielemann heads this particularly lavish program with the Staatskapelle Dresden in the famous Baroque church. Together with the State Opera Chorus, and in a setting of resplendent beauty, they perform inspiring and festive works such as arias from Bach’s Mass in B minor and his Christmas Oratorio. The festive Advent concerts have become an institution since the year 2000. The TV broadcast of the concert is watched by almost two million viewers in Germany alone.
When Anna Netrebko sings one of the most beautiful sacred works of the 18th century, Giovanni Battista Pergolesi’s “Stabat mater”, many music lovers will see this as the highlight of the “Pergolesi year”. Her appearance together with contralto Marianna Pizzolato and with Bertrand de Billy at the head of the Sächsische Staatskapelle in Dresden’s exuberantly Baroque Frauenkirche radiates “nothing less than bewitching depth and beauty” (Morgenpost). In addition to the Pergolesi, the concert features an excerpt from Joseph Haydn’s “Sieben letzte Worte des Erlösers am Kreuze” as well as Johann Sebastian Bach’s “Erbarme Dich”.
In only a few years, trumpeter Alison Balsom has shot forward to the topmost ranks of today’s instrumental soloists, reaching untold popularity for her playing – and for the trumpet. At the latest since her appearance in a live international broadcast of the ‘Last Night of the Proms,’ she has become one of the best-known UK artists of today, with sales of her CDs topping the charts. At the center of the documentary are two performances. One is a public performance of Haydn’s celebrated Trumpet Concerto in E flat major with the Konzerthausorchester Berlin under the Chinese conductor Xian Zhang, recorded in the classicistic hall of the Konzerthaus Berlin. The other is a ‘private’ recording of Bach’s Concerto in D major BWV 972 and Gigue BWV 1008, Debussy’s ‘Syrinx’, and George Thalben-Ball’s Elegy for trumpet and organ, performed with organist David Goode at Berlin’s historic Sophienkirche.
“Hallmarks of this chamber ensemble are its youthful liveliness and enthusiastic commitment to expressing the composer’s intentions as vividly as possible” wrote the leading German daily Frankfurter Allgemeine Zeitung about the “Bayerische Kammerphilharmonie”. Founded in 1990, this ensemble consists of young musicians who devote themselves above all to non-repertoire works, contemporary music and imaginative musical projects. This special concert recorded at the Mozartwoche 2000 reflects the ensemble’s interest in showcasing not only the talent of gifted young soloists, but also the rare and unique instruments on which they are playing. Under the distinguished American conductor Philip Greenberg, the ensemble performs J.S. Bach’s Concerto for three violins and orchestra with Dmitri Makhtin, Igor Malinovsky and the widely noted young French violinist and winner of the “European Cultural Award” David Grimal as soloists on priceless violins dating from the early 18th century. Grimal plays the Antonio Stradivari “ex Roederer”, Cremona, 1710; Makhtin the Giuseppe Guarneri del Gesù, “Lord Coke”, Cremona, 1744; Malinovsky the Carlo Bergonzi, Cremona, 1732.
