Cuando se recuerda la música de clavecín del período barroco, las 24 preludios y fugas de J.S. Bach o las Piezas de clavecín de Couperin son quizás las opciones más inmediatas. Sin embargo, la música de Christoph Nichelmann (quien se dice que estudió con Bach) es igualmente inspirada, y este lanzamiento es el primer paso hacia una grabación más sustancial de su obra. De hecho, es la primera grabación dedicada exclusivamente a su producción. Uno de un gran número de compositores cuyas músicas se desvanecieron en el olvido después de su muerte, Nichelmann finalmente está atrayendo la atención académica que se merece, en gran parte gracias a la moda actual de descubrir y promover repertorios menos conocidos. Esta grabación reúne los dos conjuntos de seis sonatas de la mitad de la vida de Nichelmann, impresas en 1745, y que representan las únicas dos colecciones sobrevivientes de su música. El estilo de sus composiciones es intrigante y ecléctico: por un lado todavía podemos escuchar el legado de la música barroca, y por el otro el desarrollo de un lenguaje más sensible y expresivo, aunque no es del todo el puente hacia el clasicismo que escuchamos en la música del hijo de Bach, Carl Philipp Emanuel.
https://dvdstorespain.es/es/musica/107287-nichelmann-harpsichord-sonatas-cd-de-audio-michele-benuzzi-and-nichelmann-5028421948096.html107287NICHELMANN: Harpsichord Sonatas [CD de audio] Michele Benuzzi and Nichelmann<div id="productDescription" class="a-section a-spacing-small"> <!-- show up to 2 reviews by default --><br /><p> <span>When calling to mind harpsichord music of the Baroque period, the 24 Preludes and Fugues of J.S. Bach or the Pièces de clavecin by Couperin are perhaps the most immediately obvious choices. However, the music of Christoph Nichelmann (who is said to have studied with Bach) is equally inspired, and this release is the first step towards a more substantial recording of his oeuvre indeed, it is the first recording solely dedicated to his output. One of a large number of composers whose music faded into obscurity after their death, Nichelmann is at last attracting the scholarly attention he deserves, largely thanks to today's vogue for discovering and promoting lesserknown repertoire.<br />This recording brings together the two sets of six sonatas from the middle of Nichelmanns life, printed in 1745, and which represent the only two surviving collections of his music. The style of his compositions is intriguing and eclectic: on the one hand we can still hear the heritage of Baroque music, and on the other the development of a more sensitive and expressive language although not quite the bridge to the Classicism which we hear in the music of Bachs son, Carl Philipp Emanuel.</span> </p> </div><div id="lista_canciones"> <h4>Lista de temas</h4><div id="music-tracks" class="a-section a-spacing-small"> <h4> Disco: 1 </h4> <div class="a-row"> <div class="a-column a-span3"> <table class="a-bordered a-spacing-none"><tr><td>1</td> <td>1. Moderato</td> </tr><tr><td>2</td> <td>2. Largo</td> </tr><tr><td>3</td> <td>3. Allegro</td> </tr><tr><td>4</td> <td>1. Allegretto</td> </tr><tr><td>5</td> <td>2. Mesto</td> </tr><tr><td>6</td> <td>3. Allegro</td> </tr><tr><td>7</td> <td>1. Un Poco Allegro</td> </tr><tr><td>8</td> <td>2. Andantino</td> </tr><tr><td>9</td> <td>3. Presto</td> </tr><tr><td>10</td> <td>1. Allegretto</td> </tr><tr><td>11</td> <td>2. Largo</td> </tr><tr><td>12</td> <td>3. Vivace</td> </tr><tr><td>13</td> <td>1. Un Poco Allegro</td> </tr><tr><td>14</td> <td>2. Andante</td> </tr><tr><td>15</td> <td>3. Presto</td> </tr><tr><td>16</td> <td>1. Allegro</td> </tr><tr><td>17</td> <td>2. Adagio</td> </tr><tr><td>18</td> <td>3. Presto</td> </tr></table></div> </div> <h4> Disco: 2 </h4> <div class="a-row"> <div class="a-column a-span3"> <table class="a-bordered a-spacing-none"><tr><td>1</td> <td>1. Allegretto</td> </tr><tr><td>2</td> <td>2. Largo</td> </tr><tr><td>3</td> <td>3. Presto</td> </tr><tr><td>4</td> <td>1. Un Poco Allegro</td> </tr><tr><td>5</td> <td>2. Andante</td> </tr><tr><td>6</td> <td>3. Vivace</td> </tr><tr><td>7</td> <td>1. Allegro</td> </tr><tr><td>8</td> <td>2. Largo</td> </tr><tr><td>9</td> <td>3. Allegretto</td> </tr><tr><td>10</td> <td>1. Allegro</td> </tr><tr><td>11</td> <td>2. Adagio</td> </tr><tr><td>12</td> <td>3. Allegro</td> </tr><tr><td>13</td> <td>1. Allegro</td> </tr><tr><td>14</td> <td>2. Andante</td> </tr><tr><td>15</td> <td>3. Allegro</td> </tr><tr><td>16</td> <td>1. Allegro</td> </tr><tr><td>17</td> <td>2. Andante</td> </tr><tr><td>18</td> <td>3. Presto</td> </tr></table></div> </div> </div></div>https://dvdstorespain.es/614446-home_default/nichelmann-harpsichord-sonatas-cd-de-audio-michele-benuzzi-and-nichelmann.jpg9.0083instockBrilliant Classics9.00839.0083002023-04-06T01:30:13+0200/Música/Nuevos
When calling to mind harpsichord music of the Baroque period, the 24 Preludes and Fugues of J.S. Bach or the Pièces de clavecin by Couperin are perhaps the most immediately obvious choices. However, the music of Christoph Nichelmann (who is said to have studied with Bach) is equally inspired, and this release is the first step towards a more substantial recording of his oeuvre indeed, it is the first recording solely dedicated to his output. One of a large number of composers whose music faded into obscurity after their death, Nichelmann is at last attracting the scholarly attention he deserves, largely thanks to today's vogue for discovering and promoting lesserknown repertoire. This recording brings together the two sets of six sonatas from the middle of Nichelmanns life, printed in 1745, and which represent the only two surviving collections of his music. The style of his compositions is intriguing and eclectic: on the one hand we can still hear the heritage of Baroque music, and on the other the development of a more sensitive and expressive language although not quite the bridge to the Classicism which we hear in the music of Bachs son, Carl Philipp Emanuel.