![King Crimson - Larks’ Tongues in Aspic (40th Anniversary Edition) (1973/2023) [High Fidelity Pure Audio Blu-Ray Disc]](https://imghd.xyz/images/2024/05/12/138741_front.md.jpg)
Bettina Pahn – Jobst vom Brandt: German Songs of the Renaissance (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:01 minutes | 1,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © haenssler CLASSIC
With this CD we present a composer who is almost completely unknown. An astonishing admission, because his work is well documented in Georg Forster’s songbooks and his compositions have also been published in print. Georg Forster himself held vom Brandt in high esteem, so much so that he dedicated the third volume of his “Teutschen Liedlein” to him. This dedication emphasises Forster’s high regard for v om Brandt, but he also made dedications to other composers. Forster dedicated Volume II to his former fellow student Eck, Volume IV to Stephan Zirler, and Volume V to Dietrich Schwarz von Haselbach, with whom he had been associated since his Heidelberg days. While on the one hand friendship was important to him, he did not lose sight of quality when he wrote that he had “picked out the loveliest and worst from all of them”. Forster’s collection is aimed at the “friend and lover of noble music”, not at the professional musician. Hence the focus on the fact that he had selected not only the “loveliest” but also the “worst” (in the sense of plain or simple). It seemed remarkable that vom Brandt composed during the day, for composing was not his main occupation.
Read more![Bettina Pahn, Christine Schornsheim - O, wie Beseligend (2022) [Official Digital Download 24bit/44,1kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/10/07/t8etrraki3ika_600.jpg?resize=500%2C500&ssl=1)
Bettina Pahn, Christine Schornsheim – O, wie Beseligend (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:01:05 minutes | 534 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © haenssler CLASSIC
While Robert is committed to bringing his wife’s works into print, Felix Mendelssohn writes to his mother: “Fanny has neither the desire nor the profession to be an author … – she is too much of a woman for that, as it is right.” As a result, his sister Fanny Hensel remains trapped in the domestic context as a composer. In the bourgeois culture of the 19th century, as a non-professional musician, she is credited with the piano piece and the song, even if she certainly explored her limits with the composition of choral and orchestral values for family celebrations. Both composers, both the professional musician Clara Schumann and Fanny Hensel, imprisoned in bourgeois conventions, corresponded primarily as interpreters of the works of other, usually male composers, entirely to the image of women of their time.
(more…)