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Audio CD, December 4, 2006
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Product Details

1. Adagio, opus 11 by Samuel Barber
2. Holberg suite, opus 40 by Edvard Grieg -Prelude
3. Holberg suite - Sarabande
4. Holberg suite - Gavotte
5. Holberg suite - Andante Religioso
6. Holberg suite - Rigaudon
7. Cantata #82 Ich Habe Genug by J. S. Bach - Aria
8. Cantata #82 - Recitativo
9. Cantata #82 - Aria
10. Cantata #82 - Recitativo
11. Cantata #82 - Aria - Vivace
12. Motet Siget dem herrn ein neues Lied by Bach

Editorial Reviews

Product Description

A full hour of wonderful classical music arranged for horn ensemble Adagio, opus 11 by Samuel Barber Holberg suite, opus 40 by Edvard Grieg Cantata #82 Ich Habe Genug by J. S. Bach Motet Siget dem herrn ein neues Lied" by J. S. Bach Performed in up to nine multi track by horn soloist Richard Burdick "After my success with the Bach Easter Oratorio(CD15), I have found that working on multi track recordings like these hones my skills faster than anything I have done in my musical career. I chose these works because of the fine musicality of the compositions. To my great pleasure, I recently learned that the Bach Motet is the first work by Bach that Mozart heard. The Bach Motet was the first thing that I recorded for this CD (Early June 2006). After completing the rest of the music, I rerecorded this work. It'll be a while before I'll want to work on such a high piece again. The Barber starts purposely wobbly and a little out of tune, but it's definitely a favorite the way it builds and builds like no other piece I know. The first movement of the Holberg Suite may be my finest single movement recorded so far. Overall this work is a great work to bring us through time back to the Bach. Cantata #82 "Ich habe Genug" is one of the most sensitive and expressive works I know. To be able to play the entire piece as I have done is simply an amazing experience. I have learned from this project somthing about the depth of tonal contrast one can make with one instrument. When I had all the accompianment parts recorded and then went back to record the bass solo with the fullest bass sound I could, I had no idea I could do this. Never before has any composition inspired me to make such a sound quailty, nor has a conductor or any other music professional ever suggested this potential to me. Almost inverse to the Cantata is the Motet, still with the depth of emotion that I find in Bach, but this time in a bright uplifing composition. A flashy ending for a CD that took me four mont


Mozart knew Bach more by hearsay than from his works; at any rate he was quite ignorant of his motets, which had never been printed. Scarcely had the choir sung a few bars when he started up; a few bars more, and he called out: What is that? And now his whole soul seemed to be in his ears. When the performance was over, he called out joyfully, That is indeed something from which we can learn! He was told that this school, at which Sebastian Bach had been cantor, possessed a complete collection of his motets, and treasured them as sacred relics. That s right! that s fine! he said. Let me see them. As there were no scores of these works, he got them to bring him the separate parts; and now it was a joy to the silent observers to see how eagerly Mozart distributed the parts around him, in both hands, on his knees, on the nearest chairs, and, forgetting everything else, did not rise until he had carefully read through everything that was there of Bach s. He begged and obtained a copy for himself, which he valued very highly. --Albert Schweitzer

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