Elfa Rún Kristinsdóttir, Sabine Erdmann, Magnus Andersson - Baroque Violin Sonatas (2020) [Hi-Res]
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BAND/ARTIST: Elfa Rún Kristinsdóttir, Sabine Erdmann, Magnus Andersson
- Title: Sabine Erdmann, Magnus Andersson - Baroque Violin Sonatas
- Year Of Release: 2020
- Label: Solaire Records
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 192.0kHz +Booklet
- Total Time: 01:01:36
- Total Size: 424 mb / 1.07 gb
- WebSite: Album Preview
Tracklist
01. Sonata in D Minor
02. Sonata II in D Dorian, C 139: I. —
03. Sonata II in D Dorian, C 139: II. Aria
04. Sonata II in D Dorian, C 139: III. Finale
05. Sonata Tertia in G Minor
06. Sonata VI in C Minor, C 143: I. —
08. Sonata VI in C Minor, C 143: III. Scordatura
09. Sonata in VI in C Minor, C 143: IV. Scordatura. Gavotte
10. Sonata VI in C Minor, C 143: V. Scordatura. Adagio - Allegro - Adagio
11. Sonata for Violin and Basso Continuo in A Minor
12. Sonata V in E Minor, C 142: I. —
13. Sonata V in E Minor, C 142: II. Allegro
14. Sonata V in E Minor, C 142: III. Aria. Variatio
15. Sonata for Violin and Basso Continuo in D Minor
16. Sonata IV in D Major: I. Passacaille
17. Sonata IV in D Major: II. Sarabande
18. Sonata IV in D Major: III. Gigue
19. Sonata IV in D Major: IV. Adagio
20. Sonata IV in D Major: V. Allegro
21. Digital Booklet - Baroque Violin Sonatas
Sabine Erdmann may be a harpsichordist. But she’s also in love with her organ. So, she instantly caught fire when two friends suggested she should record a CD on it with music from the time of Heinrich Biber. There was no deeper concept, no precise plan. But with just two phone calls, Sabine had set up a trio of musicians from Berlin’s dynamic historically informed practise scene. Immediately, they began searching for rewarding and surprising repertoire.
Swedish theorbist Magnus Andersson dove deep into the archive of early music in Uppsala. Icelandic violinist Elfa Rún Kristinsdóttir suggested the D minor sonata by Böddecker, one of the baroque’s long lost masterpieces. Quickly, they arrived at a fascinating and surprising body of work. Their selection wasn’t just inspired by a deep theoretical understanding – but mainly by their hands-on experiences as in-demand live performers.
The recording sessions provided plenty of opportunities for Erdmann’s chest organ to shine. The instrument, given to her as a loan, was designed according to her personal specifications by renowned organ builder Karl Friedrich Wieneke. In a smaller space, its warm tone fuses perfectly with a chambermusic ensemble. In a church, on the other hand, its raw power is capable of unleashing a veritable sonic storm.
It almost goes without saying that standard repertoire was off the table from the beginning. But so was recording obscure pieces for obscurity’s sake. In a way, the absence of a concept turned into the album’s true concept: This project was to be about the music – and nothing else.
01. Sonata in D Minor
02. Sonata II in D Dorian, C 139: I. —
03. Sonata II in D Dorian, C 139: II. Aria
04. Sonata II in D Dorian, C 139: III. Finale
05. Sonata Tertia in G Minor
06. Sonata VI in C Minor, C 143: I. —
08. Sonata VI in C Minor, C 143: III. Scordatura
09. Sonata in VI in C Minor, C 143: IV. Scordatura. Gavotte
10. Sonata VI in C Minor, C 143: V. Scordatura. Adagio - Allegro - Adagio
11. Sonata for Violin and Basso Continuo in A Minor
12. Sonata V in E Minor, C 142: I. —
13. Sonata V in E Minor, C 142: II. Allegro
14. Sonata V in E Minor, C 142: III. Aria. Variatio
15. Sonata for Violin and Basso Continuo in D Minor
16. Sonata IV in D Major: I. Passacaille
17. Sonata IV in D Major: II. Sarabande
18. Sonata IV in D Major: III. Gigue
19. Sonata IV in D Major: IV. Adagio
20. Sonata IV in D Major: V. Allegro
21. Digital Booklet - Baroque Violin Sonatas
Sabine Erdmann may be a harpsichordist. But she’s also in love with her organ. So, she instantly caught fire when two friends suggested she should record a CD on it with music from the time of Heinrich Biber. There was no deeper concept, no precise plan. But with just two phone calls, Sabine had set up a trio of musicians from Berlin’s dynamic historically informed practise scene. Immediately, they began searching for rewarding and surprising repertoire.
Swedish theorbist Magnus Andersson dove deep into the archive of early music in Uppsala. Icelandic violinist Elfa Rún Kristinsdóttir suggested the D minor sonata by Böddecker, one of the baroque’s long lost masterpieces. Quickly, they arrived at a fascinating and surprising body of work. Their selection wasn’t just inspired by a deep theoretical understanding – but mainly by their hands-on experiences as in-demand live performers.
The recording sessions provided plenty of opportunities for Erdmann’s chest organ to shine. The instrument, given to her as a loan, was designed according to her personal specifications by renowned organ builder Karl Friedrich Wieneke. In a smaller space, its warm tone fuses perfectly with a chambermusic ensemble. In a church, on the other hand, its raw power is capable of unleashing a veritable sonic storm.
It almost goes without saying that standard repertoire was off the table from the beginning. But so was recording obscure pieces for obscurity’s sake. In a way, the absence of a concept turned into the album’s true concept: This project was to be about the music – and nothing else.
Year 2020 | Classical | FLAC / APE | HD & Vinyl
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