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Bart Van Reyn, Il Gardellino – C.P.E. Bach: Die Auferstehung und Himmelfahrt Jesu, H. 777 (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:14 minutes | 1,34 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Passacaille
Radical, daring and extremely refined: that’s how Carl Philipp Emanuel Bach saw his new path for the Oratorio, after his father’s Passions had marked the climax of the baroque era. Encouraged by his godfather Telemann and liberated from the yoke of the capricious Frederick of Prussia, he found himself in Hamburg with an audience hungry for new music. And he brought them his oratorios, no longer in churches but in concert halls, where he demanded the listener’s undivided attention for sudden changes of mood and colour.
Die Auferstehung und Himmelfahrt Jesu did indeed leave its traces: both Haydn and Beethoven showed great interest after a series of three performances conducted by Mozart in Vienna. Not only did it pave the way for Haydn’s oratorios, but there are also clear influences on the Pamina arias in Die Zauberflöte written a few years later. Carl Philipp Emanuel Bach wrote to his publisher Breitkopf, “I think this is the best work I have ever written”.
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![Bart Van Reyn, Lucas Blondeel, Le Concert d'Anvers - Haydn: Piano Concerto in D major, Symphonies Nos. 80 & 81 (2019) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/08/23/u2ur2dio0w45b_600.jpg?resize=500%2C500&ssl=1)
Bart Van Reyn, Lucas Blondeel, Le Concert d’Anvers – Haydn: Piano Concerto in D major, Symphonies Nos. 80 & 81 (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:52 minutes | 1,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Fuga Libera
Bart Van Reyn and Le Concert d’Anvers delve into two of Joseph Haydn’s lesser–known symphonies. Dating from the autumn of 1784, when Haydn was nearing the end of his employment at the Esterházy court, both seem to anticipate the Paris symphonies that would shortly follow. Having been largely overlooked by historically informed performance specialists, Van Reyn’s reading highlights the pair’s mutual sense of artistic ambition, drawing out their concise but powerful musical drama. These are accompanied with Haydn’s effervescent Piano Concerto in D major, featuring Belgian fortepianist Lucas Blondeel. Blondeel demonstrates his clear affinity with Haydn’s solo writing, rendering a performance that captures the concerto’s elegance while always sparkling with its composer’s characteristic wit. – Fuga Libera
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