When he was a boy, Kodaly taught himselfwith virtually no professional guidance-to play the piano, the violin and the cello, partly in order to take part in domestic music-making (his father, a station master employed by the Hungarian state railways, was an amateur violinist, his mother sang and played the piano), and his chamber music for strings all dates from relatively early in his working life, between 1905 and 1918. It includes three major works that feature the cello in a virtuoso capacity: the Sonata for cello and piano, Op. 4(1909-10), the Duo for violin and cello, Op. 7 (1914) and the Sonata for solo cello, Op. 8 (1915).
The harpsichordist Francesco Corti learned his craft at an early age, won the Bach Prize in Leipzig in 2006, and now plays in the most famous ensembles and gives concerts of his own. Corti’s Bach forms a synthesis of structural awareness and balletic grace and has wonderful surprises in store even for the most seasoned connoisseur.
This is an enjoyable, somehow spontaneous recording of several of Bach's works for a pair of harpsichords, with the great Japanese Bach conductor Masaaki Suzuki joined by his son Masato. The high spirits of the elder Suzuki here could be chalked up to any combination of several factors. One might be freedom from the rigors of his complete Bach cantata cycle, just recently completed when this album appeared in 2014.
Though these works were written originally for the barock transverse flute, exept BWV 997 that was written probably for the lute, they are played here on the barock recorder. The result, at least to my taste, is more convincing and exhilarating than any performance of these works on the transvers flute that i ever heard.
After its successes in the field of German Baroque religious music, here VOX LUMINIS proposes the first complete recording of the motets by Johann Sebastian Bach's ancestors. These motets, most of which are written for double choir, blend the old tradition inherited from the polyphony of the Renaissance with expressive work inspired by the fashions of the madrigal. The chorale melodies that are quite frequently associated with these motets contribute this colour typical of the Lutheran liturgical repertoire.