The Camerata of the 18th Century and its director Konrad Hünteler are committed to the recovery of original sound from the forgotten and not-soforgotten musical past. This long-awaited re-release features a masterpiece and one certainly well worth all the painstaking research that went into it: Bach’s Brandenburg Concertos.
"…Before 1840, there were limited written sources of folk music in Norway. Originally these historical attainments were believed to have a distinct Christian influence. As research continued, there was also mythical and fairy tale connections to the folk music. Overall the purpose of folk music was for entertainment and dancing. Norwegian folk music may be divided into two categories: instrumental and vocal. As a rule instrumental folk music is dance music (slåtter). Norwegian folk dances are social dances and usually performed by couples, although there are a number of solo dances as well, such as the halling. Norway has very little of the ceremonial dance characteristic of other cultures. Dance melodies may be broken down into two types: two-beat and three-beat dances. The former are called halling, gangar or rull, whereas the latter are springar or springleik…"
The pianist on this CD, Yulliana Avdeeva, is the winner of the Chopin piano competition in 2010. Checking the internet, you will find that the decision by the jury was controversial. Her playing was considered not to display the proper Chopin style, and too cool. I wasn't present at the competition, so I cannot write much about this. But having bought this CD, mainly because of use of old instruments, and the direction by the recently deceased icon of old music Frans Brüggen, I must say that I was totally blown away by the playing of Yulianna Avdeeva.
This is a reissue of a disc originally released in the 1990s, performed on period instruments. The difference in pitch with modern instrument recordings is notable and gives a darker feeling to the sound than the brightness one has become accustomed to with the modern flute. In this recording, Konrad Hünteler uses an instrument made by Jacob Denner, which was approximately ten years old when these works were composed. The recording is made using only the natural acoustics of the space with no added technological trickery, and as such, it serves to provide an interesting example of what this music may have sounded like at the time Vivaldi composed it.