Johannette Zomer

Soprano

Johannette Zomer

The Dutch soprano, Johannette Zomer, began her studies at the Sweelinck Conservatory Amsterdam in 1990 with Charles van Tassel, after having worked as a microbiology analyst for several years. In June 1997 she was awarded her Performance Diploma.

Johannette Zomer regularly gives recitals with pianist Bart van de Roer and forte-piano specialist Arthur Schoonderwoerd and is also a member of several Early Music groups; a.o. Compania Vocale, with whom she sang at the Ambraser Schlosskonzerte in Innsbruck and at the "Oude Muziek Festival Utrecht" during the summer of 1997.

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Vivaldi & Bach: Magnificats and Concerti

Vivaldi & Bach: Magnificats and Concerti


Bach, J S:

Keyboard Concerto No. 1 in D minor, BWV1052

Pierre Hantaï (harpsichord)

Magnificat in D major, BWV243

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya

Magnificat in D major, BWV243

bonus DVD

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya

Keyboard Concerto No. 1 in D minor, BWV1052

bonus DVD

Pierre Hantaï (harpsichord)

Vivaldi:

Concerto, Op. 3 No. 2 'Con due Violini e Violoncello obligato', RV 578

Manfredo Kraemer, Pablo Valetti (violins)

Magnificat in G minor, RV610

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya

Magnificat in G minor, RV610

bonus DVD

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya


JS Bach and Vivaldi’s' Magnificat's: desert island repertoire to illustrate the splendour of the orchestra Le Concert des Nations and choir of La Capella Reial de Catalunya. Jordi Savall offers a vivid and striking performance of these two masterpieces, recorded live at the Royal Chapel in Versailles in 2013. Each of them is introduced by a concerto by the same composer in the same tonality.

The superlative performance of Pierre Hantaï in the Concerto BWV1052 is another jewel to the crown of this album.

“it’s a win-win situation with this disc in terms of programming. The young singers are quite fine, and Savall leads a quality performance.” Audiophile Audition, 6th February 2015

“To watch as well as hear two outstanding Baroque Magnificats is a thrilling experience. Jordi Savall's forces are in fine form, his soloists matched yet distinctively characterised...Savall paces the Magnificats to sustain the continuity of the text, despite the musical independence of each verse...the overall exuberance, technicaly control and commitment of the whole ensemble are infectious from the start.” BBC Music Magazine, March 2015 ****

“with performers of this calibre…the performances were always going to be impressive. All fans of Savall will want the set.” Early Music Review, February 2015

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Eyck: Pleasure garden

Eyck: Pleasure garden


Johannette Zomer (soprano), Mathieu Dupouis (harp, virginal), Giovanna Pessi (harp) & Luis Beduschi (conductor & recorder)

Consort de Violes

When you pick up a modern edition of Jacob van Eyck’s Der Fluyten Lust-hof, a work from the mid-17th century, you see a blizzard of notes for solo recorder, going on for hundreds of pages, divided among what, for most of us, are a slew of incomprehensible Dutch titles. When you hear Van Eyck’s music live or recorded, that is usually what you hear too: several minutes of solo recorder, accelerating relentlessly. Frans Bruggen’s brilliant 1960s performances of a half-dozen greatest hits set the pattern for a generation, then Marion Verbruggen, now…

“'Pleasure Garden' is unashamedly to promote the recorder virtuosity of the Brazilian player Luis Beduschi...Beduschi's playing is indeed impressive, particularly in his ability to play unbelievably fast without any sign of struggle or unclarity.” Gramophone Magazine, November 2011

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Bach, J S: Mass in B minor, BWV232

Bach, J S: Mass in B minor, BWV232

Recorded live Warsaw (Lutoslawski Radio Studio), March 2009


Dorothee Mields, Johannette Zomer (sopranos), Patrick van Goethem (alto), Jan Kobow (tenor) & Peter Kooij (bass)

Cappella Amsterdam & Orchestra of the 18th Century, Frans Brüggen (direction)

20 years after the Orchestra of the 18th Century’s first engagement on tour with Bach’s Mass in B minor, a work which has for so long captivated the inquiring mind and interpretative insight of Frans Brüggen, a new tour was conceived through which to provide a fresh view of the piece. Setting down a recorded view during tours has always been key to this orchestra’s musical expression and last year the opportunity was taken at an exciting concert in the Polish capital of Warsaw: a city and a country with whom director and orchestra have long and treasured memories. Accompanying the CD set is a booklet essay from David Vickers which provides a scholarly and eminently-readable account of the social as well as the musical background to the composition of the individual parts of a piece whose unity has provided the world with one of its greatest works of musical art. This new recording is more than a 20th anniversary celebration, reflecting as it does Frans Brüggen’s lifelong desire to understand and project the work of J.S. Bach.

“Please don’t even consider hesitating, not even for an iota of a scintilla of a fraction of a millisecond, to question the financial wisdom of acquiring another recording of the B minor Mass. Just go and buy this one.” Early Music Today, June/August 2010 *****

“The 'Gloria' dances, 'Cum Sancto Spiritu' is equally lithe and the semiquavers in 'Et resurrexit' are fluent and exact...The Orchestra of the Age of Enlightenment is superb: its many virtues include precise articulation from the strings and some knockout trumpet playing.” Gramophone Magazine, July 2010

“The performance...carried me away from the first — the sweet sound of the baroque oboes, the strength and eloquence of the choir...There is nothing minimalist about Brüggen’s approach. The work is paced with a convincing naturalness; the trumpets are exhilarating and the soloists are all excellent.” Sunday Times, 6th June 2010

“Soprano soloists Dorothee Mields and Johannette Zomer deliver exquisitely detailed duets, while the orchestral performance is beyond reproach, most particularly the cellos and basses. From the first Credo onwards, the choral performance is revitalised, with a sparkling reading of the Et resurrexit and a glorious Sanctus.” The Independent, 9th May 2010

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Cavalli: Ercole Amante

Cavalli: Ercole Amante


Luca Pisaroni (Ercole), Veronica Cangemi (Iole), Anna Bonitatibus (Giunone), Jeremy Ovenden (Hyllo), Anna Maria Panzarella (Deianira), Marlin Miller (Licco), Umberto Chiummo (Nettuno/Tevere/Spirit of Eutyro), Wilke te Brummelstroete (Bellezza/Venere), Johannette Zomer (Cinzia/Parsitea/Spirit of Clerica), Mark Tucker (Mercurio/Spirit of Laomedonte) & Tim Mead (Paggio/Spirit of Bussiride)

Concerto Köln & Chorus of De Nederlandse Opera, Ivor Bolton (conductor) & David Alden (stage director)

This hilarious contemporary version of Francesco Cavalli’s baroque opera Hercules in Love was commissioned on occasion of the marriage of Louis XIV, the Sun King, to Maria Theresa of Spain. The original production took two years to complete and was at the time the greatest show ever performed in Europe. Directed by David Alden, this surreal production is a triumph of commedia buffa resplendent with decorative and symbolic elements, and complemented by Constance Hoffman’s exceptional costumes. Led by Ivor Bolton, a master of baroque music, the chorus of De Nederlandse Opera and Concerto Köln give a sublime performance. With Luca Pisaroni’s (Ercole) singing being heroic and melodious in turn, and Veronica Cangemi as a splendid Iole, this is an outstanding production by the DNO. Filmed in High Definition and surround sound.

Extra features:

Illustrated synopsis.

Cast gallery.

Behind the scenes with Johanette Zomer.

Behind the scenes with Luca Pisaroni.

The making of Ercole Amante.

Region code All regions

Video codec: AVC/MPEG-4

Disc size: BD50

Picture format 1080i High Definition / 16:9 Sound format 5.0 DTS Surround

Menu language EN

Subtitles EN/FR/DE/ES/IT/NL

“This is a ravishing production in every department - scenery, stage effects, costumes, dancing, acting and music. Luca Pisaroni is an assured and vigorous Hercules...but it is Cavalli's women who steal the show...this is an enterprising, entertaining and enlightening offering from Amsterdam.” BBC Music Magazine, August 2010 ****

“The production, like the piece, is moving, funny and literally action-packed. Alden knows well when to fill or empty his stage....Bolton leads his large authentic-instrument forces with gusto...Hugely recommended.” Gramophone Magazine

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L’Esprit Galant

L’Esprit Galant


Boesset, A:

Noires forêts

Que servent tes conseils

Me veux-tu voir mourir

Camus, S:

Forêts solitaires

Ah! Fuyons ce dangereux séjour

Laissez durer la nuit

Qu’une longue tiédeur ennuie

Amour, cruel Amour

Charpentier, M-A:

Ah! Laissez-moi rêver H. 441

Celle qui fait tout mon tourment…

Ah! Qu'on est malheureux, H. 443

Ruisseau qui nourrit dans ce bois

Chaconne "sans frayeur…"

Gaultier, E:

L'Immortelle

Hotman:

Sarabande

Pièces de théorbe in D minor

Lambert, M:

Vous éprouver toujours sévère

Ombre de mon amant

Il n’est point d’amour sans peine

Rochers, vous êtes sourds

Vos mépris chaque jour

Pinel:

Préludes

Visée:

Prélude

Masquerade

Chaconne et rondeau


Johannette Zomer (soprano) & Fred Jacobs (french theorbo)

“Fred Jacobs is both expert as accompanist and as soloist in his various solos, notably a fine chaconne by Robert de Visée. Johannette Zomer is adept in dealing with the vocal ornament needed to leaven repetition and, in this sympathetic recorded ambience, often charms.” BBC Music Magazine, February 2008 ***

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Vivaldi: Laudate!

Vivaldi: Laudate!


Vivaldi:

Introduzione al Dixit Dominus, RV 635 'Ascende laeta'

Juditha Triumphans, RV644

Laudate pueri, RV600

O qui coeli terraeque serenitas, RV631

Sinfonia in B minor, RV169 'Al Santo Sepolcro'

Sinfonia in D major, RV125


Johannette Zomer (soprano)

Tulipa Consort

"For the first CD by the Tulipa Consort I have chosen sacred music by Antonio Vivaldi. The idea occured to me several years ago when I sang his Laudate pueri in Montreal with the cellist Jaap ter Linden. I was moved and impressed by the diversity of this work. Vivaldi is too often associated only with the Four Seasons and the Gloria, while there is so much more. This soon became apparent when I began to compile a programme around Laudate pueri: the somewhat slower pieces in particular, such as the second movement of Laudate pueri, ‘Sit nomen Domine’ and the second aria from RV 631 ‘Rosa quae moritur’, proved to possess great depth and beauty. And we simply had to include the lively ‘Ascende Laeta’, which bubbles and foams with joy. I hope you will enjoy listening to this repertoire just as much as we, the Tulipa Consort, have enjoyed performing it." Johannette Zomer

The Dutch soprano Johannette Zomer began her studies at the Sweelinck Conservatorium Amsterdam in 1990 with Charles van Tassel, after having worked as a microbiology analyst for several years. In June 1997 she was awarded her Performance Diploma. Since then she has received coaching by Diane Forlano (London), Claudia Visca (Wuppertal) and Marlena Malas (New York). Her repertoire ranges from medieval music through all music of the baroque and classical eras, including opera, but also Lieder, French Romanticism and Contemporary music. Johannette’s concert appearances are also many and various.

Several years ago Johannette Zomer founded her own ensemble, the Tulipa Consort: “Working with my own ensemble has given me artistic freedom from the very beginning, for by selecting my own repertoire and musicians I feel entirely at home in the music, which greatly benefits the performance.”

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Bach: Complete Edition, Vol. 2/10

Bach: Complete Edition, Vol. 2/10


Bach, J S:

Sonatas for Violin & Harpsichord Nos. 1-6, BWV1014-1019

Luis-Otavio Santos (violin), Pieter-Jan Belder (harpsichord)

Minuet in F major, BWV Anh. 113

Pieter-Jan Belder (harpsichord)

Minuet in G major, BWV Anh. 114

Pieter-Jan Belder (harpsichord)

Minuet in G minor, BWV Anh. 115

Pieter-Jan Belder (harpsichord)

Rondo in B Major, BWV Anh. 183

Pieter-Jan Belder (harpsichord)

Minuet in G major, BWV Anh. 116

Pieter-Jan Belder (harpsichord)

Polonaise in F major, BWV Anh. 117a

Pieter-Jan Belder (harpsichord)

Menuett in B flat major, BWV Anh. 118

Pieter-Jan Belder (harpsichord)

Polonaise in G minor, BWV Anh. 119

Pieter-Jan Belder (harpsichord)

Chorale Prelude BWV691 'Wer nun den lieben Gott lässt walten'

Pieter-Jan Belder (harpsichord)

Gib dich zufrieden, BWV510

Pieter-Jan Belder (harpsichord)

Gib dich zufrieden, BWV511

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Gib dich zufrieden, BWV512

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Menuett in A minor, BWV Anh. 120

Pieter-Jan Belder (harpsichord)

Menuett in C minor, BWV Anh. 121

Pieter-Jan Belder (harpsichord)

March in D major, BWV Anh. 122

Pieter-Jan Belder (harpsichord)

Polonaise in G minor, BWV Anh. 123

Pieter-Jan Belder (harpsichord)

March, BWV Anh. 124

Pieter-Jan Belder (harpsichord)

Polonaise in G minor, BWV Anh. 125

Pieter-Jan Belder (harpsichord)

So oft ich meine Tobackspfeife, BWV515a

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Menuet Fait Par M. Bohm

Pieter-Jan Belder (harpsichord)

Solo per il Cembalo in E flat major, BWV Anh. 129

Pieter-Jan Belder (harpsichord)

Polonaise in G major, BWV Anh. 130

Pieter-Jan Belder (harpsichord)

Prelude & Fugue Book 1 No. 1 in C major, BWV846: Prelude

Pieter-Jan Belder (harpsichord)

Unbezeichneter Satz in F major, BWV Anh. 131

Pieter-Jan Belder (harpsichord)

Warum betrübst du dich, BWV516

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Schaffs mit mir, Gott, BWV514

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Minuet in D minor BWV Anh 132

Pieter-Jan Belder (harpsichord)

Willst du mein Herz mir schenken, BWV518

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Dir, dir, Jehova, will ich singen, BWV299

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Wie wohl ist mir, o Freund der Seelen, BWV517

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Gedenke doch, mein Geist, BWV509

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)

O Ewigkeit, du Donnerwort, BWV513

Johannette Zomer (soprano), Pieter-Jan Belder (organ)

Violin Sonata in E minor, BWV1023

Valerio Losito (violin), Federico del Sordo (harpsichord)

Violin Sonata in G major, BWV1021

Valerio Losito (violin), Federico del Sordo (harpsichord)

Trio Sonata in G major, BWV1039

Quadrilfoglio Ensemble

Trio Sonata in G major, BWV1038

Bach Ensemble

The Well-Tempered Clavier, Books 1 & 2

Pieter-Jan Belder (harpsichord)

Partitas Nos. 1-6, BWV825-830

Pieter-Jan Belder (harpsichord)

Keyboard Sonata in A minor (after Reincken), BWV965

Christiane Wuyts (harpsichord)

Fugue in D minor, BWV948

Christiane Wuyts (harpsichord)

Suite in F minor, BWV823

Christiane Wuyts (harpsichord)

Fantasia in A minor, BWV922

Christiane Wuyts (harpsichord)

Prelude & Partita del tuono terzo in F major, BWV833

Christiane Wuyts (harpsichord)

Fugue in B flat major, BWV954

Christiane Wuyts (harpsichord)

Fantasia in G minor, BWV917 'duobus subjectis'

Christiane Wuyts (harpsichord)

Keyboard Sonata in D major, BWV963

Christiane Wuyts (harpsichord)

Fugue in A minor, BWV947

Christiane Wuyts (harpsichord)

Fugue in A minor, BWV958

Christiane Wuyts (harpsichord)

Prelude in B Minor BWV923

Christiane Wuyts (harpsichord)

Fugue in B minor on a theme by Albinoni, BWV951

Christiane Wuyts (harpsichord)

Suite in G minor, BWV822

Christiane Wuyts (harpsichord)

Keyboard Sonata in C major, BWV966

Christiane Wuyts (harpsichord)

Capriccio in E major, BWV993

Christiane Wuyts (harpsichord)

Lute Suite No. 1 in E minor, BWV996

Christiane Wuyts (harpsichord)

Fugue in C major, BWV946

Christiane Wuyts (harpsichord)

Keyboard Sonata in A minor, BWV967

Christiane Wuyts (harpsichord)

Fugue in A major, BWV949

Christiane Wuyts (harpsichord)

Fugue in A minor, BWV959

Christiane Wuyts (harpsichord)

Concerto and Fugue in C minor, BWV909

Christiane Wuyts (harpsichord)

Suite in A major, BWV832

Christiane Wuyts (harpsichord)

Aria Variata in A minor, BWV989 ‘alla Maniera Italiana'

Christiane Wuyts (harpsichord)

Suite in B flat major, BWV821

Christiane Wuyts (harpsichord)

Fugue in B flat major, BWV955

Christiane Wuyts (harpsichord)

Overture (Suite) in F major, BWV820

Christiane Wuyts (harpsichord)

Fugue in A major on a theme by Albinoni, BWV950

Christiane Wuyts (harpsichord)

Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992

Christiane Wuyts (harpsichord)

Italian Concerto, BWV971

Pieter-Jan Belder (harpsichord)

French Overture in B minor, BWV831

Pieter-Jan Belder (harpsichord)

Chromatic Fantasia & Fugue in D minor, BWV903

Pieter-Jan Belder (harpsichord)

Goldberg Variations, BWV988

Pieter-Jan Belder (harpsichord)

English Suites Nos. 1-6, BWV806-811

Bob van Asperen (harpsichord)

Musette in D major, BWV Anh. 126

Pieter-Jan Belder (harpsichord)

Polonaise in D minor, BWV Anh. 128

Pieter-Jan Belder (harpsichord)

Bist du bei mir, BWV508

Johanette Zomer (soprano), Pieter-Jan Belder (harpsichord)

Goldberg Variations, BWV988: Aria

Pieter-Jan Belder (harpsichord)

Cantata BWV82 'Ich habe genug': aria 'Ich habe genug, ich habe den Heiland'

Johannette Zomer (soprano), Pieter-Jan Belder (harpsichord)


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Mozart: Piano Concerto No. 5

Mozart: Piano Concerto No. 5

versions for harpsichord 1773 & fortepiano 1782


Mozart:

Piano Concerto No. 5 in D major, K175

Arthur Schoonderwoerd (harpsichord 1773)

Ah, lo previdi... Ah, l'invola agl'occhi miei, K272

Johannette Zomer (soprano)

Piano Concerto No. 5 in D major, K175

Arthur Schoonderwoerd (piano 1782)


Cristofori

With his recording of two different versions of the Piano Concerto, K175, Arthur Schooderwoerd, one of the most sought-after interpreters on the fortepiano, presents the third part of his complete recording of Mozart's Piano Concertos on ACCENT. The early version of 1773 is Mozart's first piano concerto. In 1782 he revised the concerto, adapting it to the changed prevailing taste by replacing the original final movement with a Viennese rondo (K382). Arthur Schoonderwoerd also takes into account the advance in instrument building with his juxtaposition of these two versions: he uses a harpsichord for the early Salzburg version but plays the later Vienna version on a fortepiano.

As in the two previous recordings, Schoonderwoerd and his ensemble Cristofori have set themselves the objective of liberating Mozart's works from the sound ideals of the 19th and 20th centuries. The string parts in the orchestra have just one player each, resulting in a very slender and transparent sound that supports but never covers up the solo instrument.

This recording is completed by the concert aria 'A lo previdi' (K272) for soprano and orchestra, sung by Johannette Zomer.

“these are not your standard Mozart concerto performances … cautiously recommended” International Record Review, April 2014

Accent Schooderwoerd Mozart Piano Concertos - ACC24289

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Mozart: Il re pastore, K208

Mozart: Il re pastore, K208


Johannette Zomer (Aminta), Francine Van Der Heijden (Elisa), Marcel Reijans (Agenore), Alexei Grigorev (Alessandro), Claudia Patacca (Tamiri) & Michael Borgstede (harpsichord)

Musica ad Rhenum, Jed Wentz

In addition to his mastery of instrumental and sacred works, Wolfgang Amadeus Mozart is one of the most celebrated operatic writers in music history. In Il rè pastore, a relatively early opera from the then nineteen‐year‐old composer, we see the beginnings of genius in a man who was later to become a true master of the genre.

Il rè pastore was commissioned in 1775 for the visit of Austria’s Archduke Maximilian Franz to Salzburg. Written in just six weeks, the opera is based on a libretto by Pietro Metastasio in which Alexander the Great (Alessandro) discovers that young shepherd Aminta is the rightful heir to the throne, taking it upon himself to restore the boy to power. Regardless of the composer’s youth, several moments in the opera show hints of the more mature Mozart, including the aria ‘L’amerò sarò costante’ in which rippling strings and lush orchestration are combined with a poignant, yearning vocal line. Another highlight is the glorious ensemble finale of Act II, a feature that would become a vital characteristic of Mozart’s later operas.

Musica ad Rhenum has earned a special place in the early music world, with critics describing the ensemble’s performances as ‘cutting‐edge’ and ‘exhilarating’. The group are joined by a fantastic set of vocal soloists, with Johanette Zomer assuming the role of Aminta and Alexei Gregoriev playing Alexander the Great.

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Gershwin Album

Gershwin Album


Gershwin:

Things Are Looking Up

arr.Jetse Bremer

I Can't Be Bothered Now

arr. Jetse Bremer

Stiff Upper Lip

arr. Jetse Bremer

Sing of Spring

arr. Jetse Bremer

The Jolly Tar and the Milkmaid

arr. Jetse Bremer

A Foggy Day (In London Town)

arr. Jetse Bremer

Nice Work If You Can Get It

arr. Jetse Bremer

Rhapsody in Blue

arr. Johan van der Linden

They Can't Take That Away From Me

arr. Jetse Bremer/Pete Harden

Fascinatin' Rhythm

arr. Jetse Bremer/Pete Harden

Summertime (from Porgy and Bess)

arr. Jetse Bremer

My man's gone now (from Porgy and Bess)

arr. Erik-Jan de With

It Ain't Necessarily So (from Porgy and Bess)

arr. Erik-Jan de With

O Lawd, I'm on My Way

arr. Jetse Bremer


Johannette Zomer (soprano) & Michel Ponsioen (percussion)

The Gents & Haags Saxophone Quartet, Béni Csillag

Broadway musicals and jazz belong to the cultural heritage of America. But people thought differently in George Gershwin's day - the 1920s and 30s. Broadway shows were immensely popular, but were rarely considered as art. Jazz was a subculture secretly appreciated by many white Americans, but in the same way as they liked to see wild animals at the circus - at a safe distance. It had yet to be realised that amusement music was a unique and characteristic part of American culture. “American music is not jazz, and jazz is not music”, wrote the influential music critic Paul Rosenfeld in 1929. Precisely what, then, was American music? George Gershwin (1898-1937) was one of the first to show the world. (from: liner notes)

After recordings of English Renaissance and German romantic music, and twentieth- century works from France, The Gents venture across the ocean to the new world, with a CD that takes them to Broadway. Jetse Bremer has specially arranged the last compositions by George Gershwin for this combination of soloist, choir and instruments and the flexibility and homogeneous sound of The Gents matches these songs so well. For the singers of The Gents and soprano Johannette Zomer, with their classical background, this repertoire is a special challenge, raising the question where classical stops or changes into something else....

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