Prague-1770 celebrates the compositions of three such Bohemians, Franz Tuma (1704-1774), Josef Myslivecek (1737-1781), and Leopold Kozeluch (1747-1818). While listening to my satellite TV's classical music station I was introduced to the Larghetto movement of Myslivecek's Sinfonia in Es. I enjoyed it so much that I immediately set out to track down a CD recording on the Internet. Subsequent research revealed that my growing admiration for Josef Myslivecek was shared by none less than Mozart himself who after meeting the Czech in Bologna in 1770 exclaimed, "He exudes fire, spirit and life." There is now little doubt that Myslivecek's style influenced Mozart a great deal in opera, symphonies, and violin concertos. Moreover, it is worthy of note that even before 1767 Myslivecek was already writing the earliest examples of the string quintet, a form that Wolfgang made his own only much later.
Renowned for his work in Baroque vocal music, René Jacobs is most frequently credited as a countertenor and as a choral director. He is somewhat less familiar as a conductor of Classical symphonic music, though he has increasingly delved into this repertoire in recordings with one of Europe's best early music groups, the Freiburger Barockorchester.
This second volume of miscellaneous chamber works contains all of the music that is not a formal quartet, quintet, or sextet. In includes the piano trios, the wonderful Terzetto for two violins and viola, works for solo instrument and piano, pieces for piano four-hands, and all of those little, undefinable works, some of which (such as the Bagatelles for two violins, cello, and harmonium) are magnificent.
The Prague Philharmonic choir join over a dozen others who have recorded Rachmaninov’s All-Night Vigil, a work once thought the special property of the Russian choirs who are, of course, prominent in the lists. The Czechs sing it without a cantor, and more as a concert work than some of the others do. Though they take the famous scale in the Nunc dimittis, descending to a profound B flat, in their stride, they are not as sonorous as some others, and their particular contribution is to sing the music lightly and flexibly, with a lively response to the words. They have excellent sopranos, safe in intonation when attacking the exposed high entries in thirds which are a feature of the music, and a good tenor for the three numbers that involve him as a soloist. The Magnificat, with all its tempo changes and shifts of register, is expressively done, as are the light rhythms of ‘Blessed art Thou, O Lord’.
Claudio Giovanni Antonio Monteverdi (15 May 1567 (baptized) – 29 November 1643) was an Italian composer, gambist, singer and Roman Catholic priest.
Monteverdi's work, often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition – the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque. Monteverdi wrote one of the earliest operas, L'Orfeo, an innovative work that is the earliest surviving opera that is still regularly performed. He was recognized as an innovative composer and enjoyed considerable fame in his lifetime.