• CPO5552692 Katalognummer
  • 761203526925 EAN
  • CD Format
  • 2019 Utgivelsesår

Hell, Michael (harpsichord)

Froihofer, Lucia | Hell, Michael

Froihofer, Lucia (violin)

Wagenseil, Georg Christoph | Casteli | Steinbacher, Johann Michael | Scheibl, Johann Adam | Anonymous

Neue Hofkapelle Graz



Scheibl, Johann Adam: Cembalokonzert C-Dur
Wagenseil, Georg Christoph: Cembalokonzerte F-Dur & g-moll
Steinbacher, Johann Michael: Cembalokonzert a-moll; Pastorella G-Dur; Prelude a-moll
Casteli: Cembalokonzert G-Dur
Anonymus: Cembalokonzert C-Dur


The term used to describe the epoch in which the works brought together on
this CD were composed is a matter of dispute. Did it come before the period
of Viennese classicism, which means that it represents »pre-Classicism«? Or
is it part of this period, that is, »Early Classicism«? The Austrian
musicologist Rudolf Flotzinger came up with a pithy formulation for this
phase of music history, terming it »the epoch between the epochs,« which
means that it is no longer Baroque and not yet Classicism. During this
period, in the middle of the eighteenth century and in the age of Empress
Maria Theresa, the genres of instrumental ensemble music continuing even
today to dominate the concert repertoire were developed – including the
»clavier concerto,« which was performed in equal measure on the organ, on
the harpsichord, and later on the pianoforte. The designation »clavier«
current at that time merely generally referred to an instrument with claves
(keys). A collection of clavier concertos extant in the Studies Library in
Ptuj (Pettau), Slovenia, preserves the compositions recorded here in
manuscript form. The harpsichordist Michael Hell, along with the Neue
Hofkapelle Graz, led by him and Lucia Froihofer, performs these exciting
works. Two highly outstanding instruments were available to Michael Hell
for this recording: the harpsichord built by Johann Leydecker in Vienna in
1755, now freshly restored, and its copy built by Martin Pühringer in 2017.
These instruments enable listeners to become acquainted with two
instruments forming a perfect match for this repertoire: on an extremely
well-preserved original instrument and on a copy that in its way is tonally
just as suitable – after all, even during the time of its composition the
music was performed on new instruments. The Ptuj collection shows how
fragile and incomplete our knowledge of the musical practice from »the
epoch between the epochs« really is. The transmitted manuscripts, above all
the extant concertos by Wagenseil, document the variety of performance
options, broad compositional palette, and widespread dissemination of music
for keyboard instruments. Our picture of this epoch would be quite
different if the manuscripts had been burnt in the local tile oven!


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