Alexandra Sostmann – Grenzgänge: Frescobaldi To Pärt (2021) [FLAC, 24bit, 48 kHz]

Alexandra Sostmann - Grenzgänge: Frescobaldi To Pärt (2021) [FLAC, 24bit, 48 kHz] Download

Artist: Alexandra Sostmann
Album: Grenzgänge: Frescobaldi To Pärt
Genre: Classical
Release Date: 2021
Audio Format: FLAC (tracks) 24bit, 48 kHz
Duration: 01:09:25
Total Tracks: 13
Total Size: 543 MB


1. Alexandra Sostmann – Respighi: Passacaglia per organo (after Girolamo Frescobaldi) (07:16)
2. Alexandra Sostmann – Frescobaldi: Canzona Prima (Arr. by Samuil Feinberg) (00:46)
3. Alexandra Sostmann – Ligeti: Musica Ricercata: 11, Omaggio A Girolamo Frescobaldi (03:56)
4. Alexandra Sostmann – Froberger: Ricercar in D Minor, FbWV 411 (04:08)
5. Alexandra Sostmann – Froberger: Capriccio in G Minor, FbWv 508 (03:57)
6. Alexandra Sostmann – Frescobaldi: Capriccio Pastorale (Arr. by Samuil Feinberg) (01:10)
7. Alexandra Sostmann – Böhm: Ach, wie nichtig, ach wie flüchtig (07:39)
8. Alexandra Sostmann – Pärt: Variationen zur Gesundung von Arinuschka (04:40)
9. Alexandra Sostmann – Bach: Nun komm, der Heiden Heiland (Arr. by Samuil Feinberg) (03:56)
10. Alexandra Sostmann – Pachelbel: Ciacona in F Minor (08:56)
11. Alexandra Sostmann – Bach: Concerto in D Minor (after Alessandro Marcello), BWV 974: II. Adagio (04:09)
12. Alexandra Sostmann – Bach: Fantasia super “Christ lag in Todesbanden”, BWV 695 (02:39)
13. Alexandra Sostmann – Bach: Partita No. 2 in D Minor for Violin, BWV 1004: II, Chaconne (Arr. for Piano Left Hand by Johannes Brahms) (16:07)

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“Grenzgang – Crossing borders: Wandering between different worlds – In this music, border crossings become audible to me: from baroque to contemporary music, from music to religion, from the secular to the divine. That is why it is also about life and death, resurrection, enlightenment and remembrance – as in Bach’s Chaconne in memory of his first wife Maria Barbara Bach”.

With these words, pianist Alexandra Sostmann describes her album “Grenzg”ange,” which was co-produced with Bayerischer Runfunk.

Already in the very first piece of the album, the melody advances upward with triumphant gesture, supported by several octaves from the depths of the concert grand. But already in the next moment the majestic gesture fades. The music turns to the reflective, a dab of minor colors the end of the phrase. Nothing remains as it is, for example in the Passacaglia for organ by Girolamo Frescobaldi, which Ottorino Respighi arranged for piano in 1917. About three hundred years separate the two composers – and several epochs of music history. While the baroque original sways in a triple rhythm, Respighi’s interpretation impresses with late romantic force. Music is change. Every arrangement adds a perspective to the view of a work. This recording traces the developments that clavier music – keyboard instruments were commonly called “clavier” in the Baroque period – has taken over the past four centuries: through arrangements, through altered instrumentation, or interpretations based on new listening experiences. A fascinating musical journey from the beginnings of music for keyboard instruments to the composers of our day.

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