Jordi Savall live concert: Luces Y Sombras Del Siglo De Oro

Luces Y Sombras Del Siglo De Oro en tiempos de Carlos V y Felipe II (1516 – 1598)

La Capella Reial de Catalunya:
– Montserrat Figueras, Maite Arruabarrena, Elisabetta Tiso (Sopranos)
– Carlos Mena, Paolo Costa (Contratenores)
– Lluís Vilamajó, Francesc Garrigosa (Tenores)
– Daniele Carnovich (Bajo)

Hespérion XX:
– Jordi Savall, Sergi Casademunt, Sophie Watillon (Violas de gamba)
– Lorenz Dufschmid (Violón)
– Jean-Pierre Canihac (Cornetto)
– Béatrice Delpierre (Chirimía)
– Daniel Lasalle (Sacabuche)
– Josep Borràs (Bajón)
– Xavier Díaz-Latorre, Edin Karamazov (Vihuelas y Tiorbas)
– Pedro Estevan (Percusión)

C.P.E. Bach: Magnificat (live @ Neubaukirche, Würzburg, Germany 2014)

(00:11) Magnificat anima mea Dominum —– Coro
(03:31) Quia respexit humilitatem —– Aria (soprano)
(09:32) Quia fecit mihi magna —– Aria (tenor)
(14:00) Et misericordia eius —– Coro
(18:37) Fecit potentiam in bracchio suo —– Aria (bass)
(23:09) Deposuit potentes de sede —– Duett (alto, tenor)
(30:04) Suscepit Israel puerum suum —– Aria (alto)
(35:03) Gloria Patri et Filio —– Coro
(37:06) Sicut erat in principio —– Coro

Monteverdichor Würzburg
Monteverdi Ensemble
Matthias Beckert, direction

Georg Philipp Telemann: Ino

“Georg Philipp Telemann, (born March 14, 1681, Magdeburg, Brandenburg [Germany]—died June 25, 1767, Hamburg), German composer of the late Baroque period, who wrote both sacred and secular music but was most admired for his church compositions, which ranged from small cantatas to large-scale works for soloists, chorus, and orchestra.

Telemann was the son of a Protestant minister and was given a good general education but never actually received music lessons. Though he showed great musical gifts at an early age, he was discouraged by his family from becoming a professional musician, at that time neither an attractive nor a remunerative occupation. By self-teaching, however, he acquired great facility in composing and in playing such diverse musical instruments as the violin, recorder, oboe, viola da gamba, chalumeau, and clavier. In 1701 he enrolled at the University of Leipzig as a law student, but musical activities soon prevailed and were to engross him for the rest of his life.

Leipzig became the stepping-stone for Telemann’s musical career. The municipal authorities there realized that, apart from his musical gifts, the young firebrand possessed extraordinary energy, diligence, and a talent for organization. They commissioned him to assist the organist of the Thomaskirche, Johann Kuhnau, by composing church cantatas for alternate Sundays, and also gave him a position as organist at the university chapel, Neuenkirche. Telemann reorganized the collegium musicum, the student musical society, into an efficient amateur orchestra that gave public concerts (then a novelty) and became director of the Leipzig Opera, for which he also composed. Telemann’s next positions were at two princely courts: first as kapellmeister (conductor of the court orchestra) in Sorau (now Żary, Poland; 1705–08), then as concertmaster (first violinist) and later kapellmeister in Eisenach (1708–12). By playing, conducting, studying, and composing he gained the musical knowledge, practical experience, and facility in composing that were to be vital when he assumed the musical directorship of Frankfurt am Main (1712–21) and Hamburg (1721–67). In Frankfurt he was musical director of two churches and in charge of the town’s official music. As in Leipzig, he reorganized the students’ collegium musicum and gave public concerts with the group. In Frankfurt Telemann started publishing music that made him famous not only in Germany but also abroad. As musical director of Hamburg, one of the outstanding musical positions of the time, he supplied the five main churches with music, was in charge of the Hamburg Opera, and served as cantor at Hamburg’s renowned humanistic school, the Johanneum, where he also was an instructor in music. In Hamburg, too, he directed a collegium musicum and presented public concerts. In 1729 he refused a call to organize a German orchestra at the Russian court. He had also declined an offer in 1722 from municipal authorities in Leipzig to succeed Kuhnau as organist of the Thomaskirche. This proffered position, which had been promised him 17 years earlier by authorities in the event of Kuhnau’s death, manifested the high esteem in which even the young Telemann was held. (Following Telemann’s refusal, the position fell (SIC…) to Johann Sebastian Bach.) In addition to all his activities in Hamburg, he also supplied (by contract) the courts of Eisenach and Bayreuth, as well as the town of Frankfurt, with music and continued to publish his compositions.

A master of the principal styles of his time—German, Italian, and French—he could write with ease and fluency in any of them and often absorbed influences of Polish and English music. He composed equally as well for the church as for opera and concerts. His music was natural in melody, bold in harmonies, buoyant in rhythm, and beautifully orchestrated. Profound or witty, serious or light, it never lacked quality or variety. Telemann’s printed compositions number more than 50 opuses, among them (counting each as one item) the famous collection Musique de table (published in 1733; containing three orchestral suites, three concerti, three quartets, three trios, and three sonatas); the first music periodical, Der getreue Music-Meister (1728–29; containing 70 compositions); Der harmonische Gottesdienst (1725–26; 72 church cantatas); and 36 fantasias for harpsichord.

Except for a brief journey to France (1737–38), where he was enthusiastically received, Telemann never left Germany. He married twice and had eight sons and three daughters. His first wife died young in childbirth; his second wife absconded with a Swedish officer, leaving Telemann with a debt of 3,000 taler. Apart from being a prolific composer, he was also a keen writer; his two autobiographies of 1718 and 1739 are comparatively well documented. He published a long poem after his first wife’s death, and many words in his vocal compositions came from his own pen. Especially noteworthy are Telemann’s many prefaces to collections of his music, which contain a great amount of practical advice on how his compositions (as well as those of his contemporaries) should be performed. A friend of Bach and Handel, he was godfather to Bach’s son Carl Philipp Emanuel, who succeeded as musical director of Hamburg after Telemann’s death at the age of 86.

In the eyes of his 18th-century contemporaries, Georg Philipp Telemann was the greatest living composer. The dreaded critic Johann Mattheson wrote of him that “Corelli and Lully may be justly honoured but Telemann is above all praise.” Through his public concerts Telemann introduced to the general public music previously reserved for the court, the aristocracy, or a limited number of burghers. His enormous output of publications provided instrumental and vocal material for Protestant churches throughout Germany, for orchestras, and for a great variety of amateur and professional musicians.

The multiplicity of Telemann’s activities and the great number of his compositions are remarkable, indeed. In his lifetime he was most admired for his church compositions. These vary from small cantatas, suitable for domestic use or for use in churches with limited means, to large-scale works for soloists, chorus, and orchestra. His secular vocal music also has a wide range, from simple strophic songs to the dramatic cantata Ino, written at the age of 84. Of his operas the comic ones were the most successful, particularly Pimpinone. His orchestral works consist of suites (called ouvertures), concerti grossi and concerti. His chamber works are remarkable for their quantity, the great variety of instrumental combinations, and the expert writing for each instrument.

After Telemann’s death, the new music styles of Haydn and Mozart obliterated the older ones. And in the 19th century, when the works of Bach and Handel were reappraised, Telemann’s reputation was reduced to that of a prolific but superficial scribbler. In the 20th century, however, a historically and aesthetically more correct opinion has been formed, largely through studies by Max Schneider and Romain Rolland. New editions of his work have appeared, especially since the 1930s, and the interest of players, conductors, and publishers has increased.”

— Walter G. Bergmann

Rebel, Telemann, Gluck: Les Élémens, Sonata in E-, Alessandro

“…Rebel was a contemporary of Couperin and a pupil of Lully, and it was for a revival of the latter’s opera, Cadmus et Hermione that Les Elemens was staged as an afterpiece. Les Elemens is a symphonie de danse or choreographed suite with vivid programmatic content. That much is startlingly evident in the very first bars of the opening section, a representation of Chaos in which all the notes of the harmonic scale are united in a single cluster of sound. Reinhard Goebel and his Cologne Musica Antiqua have always revelled in this kind of extrovert gesture and from the moment of their premier coup d’archet, of which these musicians have so often proved latter-day masters, the listener is captivated by Rebel’s often astonishing charivari. The remainder of the suite is harmonically plain sailing though, again, Rebel proves himself well up to maintaining a lively musical interest. Each element has its own distinguishing features, Earth recognizable by its tied bass notes, Water by athletic passagework on the flutes, Air by reiterated piccolo trills, and Fire by sparkling upper string passagework.

What a contrast exists between the alluring superficial charm of Rebel’s suite and the Telemann sonata which follows. For though the idiom retains a distinctly French bias, the spirit of the piece has a seriousness of purpose which deeply penetrates the elegant rococo veneer of his trios and quartets. E minor was a rewarding key for Telemann and so it proves here in some beautifully sustained writing for violin, oboe, two violas and cello with bassoon, violone and harpsichord. This is the work’s first appearance on disc, though I first heard it some five years ago when Goebel brought it to London’s Lufthansa Baroque Festival. Goebel has greatly refined his performance in the meantime.

Lastly, in a particularly attractive mixed programme, comes ballet music by Gluck. Alessandro or Les amours d’Alexandre et de Roxane was first performed in Vienna in 1764 but has evident French connections and affinities. The music is delightful and was completely new to me. Its eight movements are effectively varied and deftly orchestrated, with some characteristic Gluckian sounds among the horns and bassoons. By far the most substantial movement is the concluding Chaconne, an impressive piece of writing with commanding interventions by trumpets and drums.

Altogether, this is a most appealing release, well equipped to suit a wide variety of tastes. Excellent recorded sound and a typically animated essay by Goebel merely added to my enjoyment…”

— Nicholas Anderson, Gramophone [12/1995]

Johann Joseph Fux: Kaiserrequiem (Live @ Festival Oude Muziek Utrecht 2014)

Vox Luminis:
Zsuzsi Tóth, Sara Jäggi, Elke Janssens, Maria Bernius – soprano
Barnabás Heygi, Jan Kullmann – alto
Olivier Berten, Robert Buckland – tenor
Matthias Lutze, Lionel Meunier – bass

Scorpio Collectief:
Veronika Skuplik, Stefano Rossi – violin
Johannes Frisch – tenor violin
Josue Melendez, Frithjof Smith – cornett, cornett muto
Simen van Mechelen, Claire McIntyre – trombone
Carles Cristobal – bassoon
Matthias Müller – violin
Kris Verhelst – organ

Antonio Bertali: Missa Redemptoris (Live @ Festival Oude Muziek Utrecht 2014)

La Dolcezza:
Maria Cristina Kiehr, Magdalene Harer – soprano
David Munderloh, Daniel Auchincloss – contratenor
Charles Daniels, Jan Van Eslacker – tenor
Wolf Matthias Friedrich, Harry van der Kamp – bass

Concerto Palatino:
Veronika Skuplik, Cahterine Aglibut, Dagmar Valentova – violin
Franciska Anna Hajdu, Florian Schulte – tenor violin
Doron David Sherwin – cornett
Simen van Mechelen, Charles Toet, Claire McIntyre, Joost Swinkels, Adam Woolf – trombone
Matthias Müller – viola da gamba
Marcin Szelest – organ

Bruce Dickey – cornett and conductor