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C.P.E. BACH // 'Empfindsam' by New Collegium & Claudio Ribeiro

C.P.E. BACH // 'Empfindsam' by New Collegium & Claudio Ribeiro

Release date → May 2020 Stream//Download//Buy → Empfindsamer Stil or Empfindsamkeit developed in Germany by the middle of the 18th century with the main goal of expressing emotions in order to move the spectator. Carl Philipp Emanuel Bach, Johann Sebastian’s second son, was the composer who best represented the style’s ideals. Christoph Friedrich Nicolai, a contemporary critic, aptly described the merit of Bach’s ingenious originality: “Anyone who would wish to see such a truly original composer as our Bach freely go his own way, untrammelled by custom or fashion, will find his heart’s desire in these splendid, unique symphonies.” These qualities probably explain why his symphonies kept being played up to modern days. Emanuel Bach goes into the deepest of his sentimental expression, with delicate harmonies and well-designed melodic lines alternating with tortuous melodic leaps, painful harmonic progressions and outstanding cantabile writing. Tempests of notes and harmonies supported by temperamental accompaniments from the strings are followed by the most sublime cantabiles, passages in an almost galant style, with short and simple melodic motifs. Striking harmonies and dissonant leaps are combined with sudden fermatas to create the dramatic instability typical of Sturm und Drang. A veritable musical fireworks in a captivating rendering by New Collegium! FACEBOOK→ TWITTER → INSTAGRAM → YOUTUBE → WEBSITE → #ClassicalMusic #OuthereMusic #CPEBach
NEW COLLEGIUM: Telemann the Chameleon - NEW CD RELEASE

NEW COLLEGIUM: Telemann the Chameleon - NEW CD RELEASE

New Collegium has a new CD, with a special selection of chamber music by Telemann! Released in the Spring of 2019 by RAMÉE/Outhere Music, 'Chamaleon' was awarded a Diapason d'Or (July 2019). No 18th century composer was so adept at so many musical styles as Georg Philipp Telemann. Telemann's versatility and inventiveness kept his musical style avant-garde during his entire life. He was not only praised by his contemporaries but was highly respected by the next generation: his fame was immense. Over the last 15 years of playing together, we were struck again and again by Telemann’s ability to expertly compose in such a variety of styles. That’s why we chose to make this CD, to show Telemann the chameleon, the breadth of his musical palette, and to make the listener wonder: is this truly a collection of music by just one composer, not six? Some of the pieces will undoubtedly sound familiar; others, such as the Italianate Trio for violin and cello obbligato, or the pastoral Trio for two violins in scordatura, will surely be delightful, new surprises for many. And, as the centerpiece of the recording, we have created our own suite of movements from Telemann’s highly respected publication 'Der getreue Music-Meister'. Effectively a world premiere! Inês d’Avena, recorder Sara DeCorso, baroque violin Antina Hugosson, baroque violin John Ma, baroque viola Rebecca Rosen, baroque cello Claudio Ribeiro, harpsichord and artistic direction Rainer Arndt, tonmeister #newCDinthemaking

​’Certainement la plus belle satisfaction musicale du festival. Le rebond rythmique impulsé par les attaques sèches virevolte à travers tout l’ensemble en un élan véritablement symphonique, mettant en valeur un Vivaldi tour à tour enjoué, extraverti et optimiste.’ – ConcertoNet


‘The sheer inventiveness of Telemann’s writing, and his ability to absorb the technical and musical aspects of each instrument, was very evident. I was impressed with their sense of rhetorical freedom.’Andrew Benson Wilson


‘The bassoon part of Vivaldi’s remarkable Chamber Concerto in G for recorder, oboe, bassoon and basso continuo is massively demanding, and was despatched with real aplomb by Tomasz Wesolowski. Ensemble work was particularly fine in the finale. It was balanced by the lighter D major Chamber Concerto for recorder, violin, oboe and bassoon (superb virtuoso violin playing by Sara DeCorso). Finally, the deliciously carefree “La Pastorella” Chamber Concerto from Vivaldi. The recorder/bassoon interactions (d’Avena and Wesolowski) brought particular joy.’Seen and Heard International

‘La précision des échanges entre les vents […] et le basson très inspiré de Tomasz Wesolowski, auquel répond le violoncelle très émouvant de Rebecca Rosen. Le largo du Concerto en ré majeur de Vivaldi donne lieu à une brillante démonstration de cordes grattées par la violoniste Sara DeCorso.’ – Baroquiades

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