Johann Sebastian Bach, Heinrich Ignaz Franz Biber, Heinrich Schütz, Henry Purcell, François Couperin, Jean-Philippe Rameau, Johann Jakob Froberger, Georg Friedrich Händel, Johann Christian Bach, Girolamo Frescobaldi, Domenico Scarlatti, Claudio Monteverdi, John Dowland, William Byrd, Thomas Morley, John Bull, Carl Philipp Emanuel Bach, Wilhelm Friedemann Bach, Adam Krieger, Heinrich Albert, Nicolaus Hasse, Alessandro Poglietti, Nicolas de Grigny, Johann Kuhnau, Johann Adam Reincken, Heinrich Scheidemann, Georg Böhm, Francesco Turini, Giulio Caccini, Biagio Marini, Jean-Joseph Cassanéa de Mondonville, William Lawes, John Coprario, Thomas Simpson, Thomas Lupo, Thomas Tomkins, Orlando Gibbons, Giles Farnaby
Frans Brüggen, Leonhardt Consort, Anneke Uittenbosch, Alan Curtis, Bob van Asperen, Max van Egmond, Choir of King’s College, Cambridge, Peter-Christoph Runge, Anner Bylsma, Bert van t'Hoff, Agnes Giebel, Collegium Vocale Gent, René Jacobs, John Elwes, Harry van der Kamp, Nigel Rogers, Sir David Willcocks, Howard Crook, David Wilson-Johnson, Orchestra of the Age of Enlightenment, Frans Vester, Sigiswald Kuijken, Marie Leonhardt, Eduard Müller, Janny van Wering, Melante Amsterdam, Lars Frydén, Marie Luise Gilles, Knabenchor Hannover, Jan Patrick O’Farrell, Jeanette van Wingerden, Dijck Koster, James Bowman, Julia Gooding, Christopher Robson, Michael George, Nelly van der Spek, Marius van Altena, Dmitri Nabokov, Antoinette van den Hombergh, Wim ten Have, Wieland Kuijken
The abundant legacy of Gustav Leonhardt’s recordings for Telefunken’s Das Alte Werk series invites us to follow his trajectory as a performer from the early 1960’s onwards, a time when the new codes of early music had yet to be invented, when their success depended above all on the stren
The abundant legacy of Gustav Leonhardt’s recordings for Telefunken’s Das Alte Werk series invites us to follow his trajectory as a performer from the early 1960’s onwards, a time when the new codes of early music had yet to be invented, when their success depended above all on the strength of conviction of the performer. Leonhardt’s was strengthened by dialogue: with a range of partners whose variety defies all preconceived ideas, with ancient instruments or modern copies of all types, with repertoires as diverse as Byrd, Purcell, Rameau, Johann Sebastian but also Carl Philipp Emanuel
Bach. Not forgetting the 1970 Monteverdi LP, which has never been reissued since. The image of a pope of early music isolated in his tower and frozen in a school style does not last long after listening to this historical sum, extended here by the later series of recordings under the Virgin Veritas flag.