Holland Baroque & Jeremias Schwarzer - Sounds & Clouds (Works by Hosokawa & Vivaldi) (2015) [Hi-Res]

Tracklist
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01. Singing Garden in Venice: I. Vorspiel Nacht
02. Flute Concerto No. 2 in G Minor, RV 439 "La Notte": I. Largo
03. Flute Concerto No. 2 in G Minor, RV 439 "La Notte": II. Allegro
04. Flute Concerto No. 2 in G Minor, RV 439 "La Notte": IV. Presto
05. Flute Concerto No. 2 in G Minor, RV 439 "La Notte": V. Largo
06. Flute Concerto No. 2 in G Minor, RV 439 "La Notte": VI. Allegro
07. Singing Garden in Venice: II. Dämmerung
08. Flute Concerto in D Major, RV 428 "Il Gardellino": I. Allegro
09. Flute Concerto in D Major, RV 428 "Il Gardellino": II. Cantabile
10. Flute Concerto in D Major, RV 428 "Il Gardellino": III. Allegro
11. Singing Garden in Venice: III. Das meer vor dem sturm
12. Flute Concerto in F Major, RV 433 "La tempesta di mare": I. Allegro
13. Flute Concerto in F Major, RV 433 "La tempesta di mare": II. Largo
14. Flute Concerto in F Major, RV 433 "La tempesta di mare": III. Presto
15. Singing Garden in Venice: IV. Abenddämmerung
16. Chamber Concerto in G Major, RV 101: I. Allegro
17. Chamber Concerto in G Major, RV 101: II. Largo
18. Chamber Concerto in G Major, RV 101: III. Allegro
19. Singing Garden in Venice: V. Nachspiel. Nacht – Schlaf

After compositions based on Japanese folk music and adaptations of composers such as Bach, Handel and Ives, Toshio Hosokawa - one of today’s leading Japanese composers - has now for the first time written around existing music.

Although the Baroque instruments (particularly the harpsichord and theorbo) formed a new aspect, he was able to build on his experience with traditional Japanese

instruments: “Early western and Japanese music seek the same tonal qualities, mild and strong, light and dark, and so it was not difficult to take this step. What was clear was that I had to go further than mere arrangement, which, by the way, I enjoy doing, for I learn much from original music. I could not touch Vivaldi’s notes, however. And so I entwined elements from his pieces in my prelude, intermezzos and postlude. I dreamed of a spot where the flowers (Vivaldi’s concertos) could blossom at their very finest. My work was that of a gardener, the creation of that musical background, as an exercise in ikebana.”

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