Belgian period instrument orchestra La Petite Bande takes its name and constitution from Lully's own orchestra at the court of Louis XIV. It was founded in 1972 by violinist and conductor Sigiswald Kuijken in order to record Lully's Le bourgeois gentilhomme with Gustav Leonhardt for Deutsche Harmonia Mundi. Although it had only been put together for a few recordings, it soon established a reputation as a leader in the performance of French Baroque music. La Petite Bande began giving regular concerts and appearing at festivals throughout the world. The orchestra's repertoire expanded to include music by Bach, Handel, Gluck, Haydn, and Mozart.
"First integral of the cantatas of Bach on period instruments. In memory of Gustav Leonhardt."
October 21, 2012 marks Sir Georg Solti's centenary and Decca is celebrating this with several important reissues.
Sir Georg was an exclusive Decca artist for 50 years.
In 1947 he signed his first contract with Decca - as a pianist and that same year he made his first record as a conductor (with the Zurich Tonhalle in Beethovens Egmont Overture). His last public concerts took place just a few weeks before his death in 1997 and were with the Zurich Tonhalle.
First things first: if you're seeing a picture of this disc on the site of an online retailer, be aware that it contains the Mass in C minor, K. 427, not the "Mass in C," promised by the cover, which would more likely be the "Coronation" Mass in C major, K. 337. It is always a shame when designers are given power of diktat over content editors. The so-called "Great" Mass in C minor is one of Mozart's most ambitious and most problematical works. There was no known immediate stimulus for its composition. Did Mozart begin writing it out of one of his rare religious impulses, on the occasion of his marriage to his bride Constanze? Out of his growing devotion to Freemasonry? Was it his first major exercise in applying the lessons in Bach-style counterpoint he had been receiving at the intellectual salons of the Baron van Swieten in Vienna? Or was it meant as a showpiece for singer Constanze with its killer soprano arias? It was all of these things and none of them, for Mozart never finished the mass.
Beethoven called Mozart's Requiem "wild and terrible", and that's what we get in Harnoncourt's new recording. Ominous dread hangs from every note of the dark opening measures, the Rex tremendae and Confutatis are driven with terrifying strength, and the supplications of the Lacrimosa, with their weeping stabbings of the orchestra, are freighted with emotional power. The Tuba mirum duet of bass soloist and trombone has a beauty almost never achieved in other readings. Nor does Harnoncourt overstep the stylistic boundaries of this classical-era work; rather, the intensity is heightened for being in the idiom of its time.