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Royal Recorder Concertos Royal Recorder Concertos Music from the Court of King Frederik IV Bolette Roed ARte dei SuonAtoRi Royal Recorder Concertos CHRISTOPH GRAUPNER Music from the Court of King Frederik IV Concerto in F major GWV 323 (1735-37) 9:02 for recorder, strings and basso continuo Bolette Roed, recorder 13 Allegro 3:32 ARte dei SuonATORi 14 Andante pizzicato ������������������������������������������������������������������������������������������������������������������������1:55 15 Allegro 3:35 CHRISTOPH GRAUPNER (1683-1760) ANONYMOUS (arr. Maciej Prochaska) Ouverture in F major GWV 447 (c. 1740) ��������������������������������������������������������������� 31:03 for recorder, strings and basso continuo “The Princess’s Suite” in D minor for recorder, strings and basso continuo 14:38 From the music collection of Princess Charlotte Amalie, c 1730 1 Ouverture: [] – Allegro ����������������������������������������������������������������������������������������������������������� 7:43 2 La Speranza: Tempo giusto 3:09 16 Ouverture ��������������������������������������������������������������������������������������������������������������������������������������3:26 3 Air en Gavotte ����������������������������������������������������������������������������������������������������������������������������� 5:29 17 Allemanda ��������������������������������������������������������������������������������������������������������������������������������������1:40 4 Menuet ����������������������������������������������������������������������������������������������������������������������������������������� 3:26 18 Courant 1 & 2 3:52 5 Air 6:50 19 Saraband ����������������������������������������������������������������������������������������������������������������������������������������2:03 6 Plaisanterie ��������������������������������������������������������������������������������������������������������������������������������� 4:27 20 Vivace ����������������������������������������������������������������������������������������������������������������������������������������������1:28 21 Folie d’Espagne ����������������������������������������������������������������������������������������������������������������������������2:10 JOHANN AdOLPH SCHEIBE (1708-1776) Concerto a quattro in B flat major ������������������������������������������������������������� 10:28 BONUS TRACK: JOHANN CHRISTIAN SCHICKHARdT (1681-1762) for recorder, strings and basso continuo 22 Più vivace 1:42 7 Allegro 3:37 from Sonata in C minor, op. 8 no. 4, for recorder and basso continuo (c. 1709) 8 Adagio 3:23 Download the complete sonata on dacapo-records.dk 9 Poco allegro 3:28 Total 75:34 JOHANN GOTTLIEB GRAUN (1703-1771) Double Concerto in C major WilG 3 (1760) �� � � � � � � � � � � � � � � � � � � � � � � � � � 8:41 for recorder, violin, strings and basso continuo 10 Allegro 2:28 11 Adagio 3:43 12 Allegro 2:32 Dacapo is supported by the Danish Arts Council Committee for Music A Journey BAck in Time by Bolette Roed Have you ever wondered which music was played on the recorder in Copenhagen at the time when Bach reigned in Leipzig, Telemann in Hamburg, Handel in London, Vivaldi in Venice and Couperin in Paris? The Baroque era was an exciting time and it is fascinating to think about the hustle and bustle that accompanied composers and musicians on their journeys around Europe, and to imagine the events that formed the setting for the music Common to the composers on this CD is the fact that they were either domiciled in Denmark or their music was known and played in Denmark in the first half of the eighteenth century I hope the listener will be taken on a journey back in time – to the Denmark of the Baroque – and that a curiosity has been aroused that will lead to further research in this field I would like to thank Arte dei Suonatori from my heart for their beautiful music- making and for sharing it with me with such generosity Likewise I owe great thanks to Claus Johansen for sharing his in-depth knowledge of this field with me, helping find the music and put it into a historical perspective The works on this release, besides their historical value, have also been selected for their artistic quality, and it is my hope that the listener will enjoy these notes and the works they weave together as much as we have enjoyed creating them BOLETTE ROED 4 5 A musicAl flowering by Jeppe Priess Gersbøll of a fertile musical scene in Denmark with its centre at the court and in the growing bourgeoisie of the capital, in connection with various public assemblées. The official city Many important Baroque composers found their way to Denmark from the beginning of musicians in Copenhagen worked in the growing theatrical life of the city, for example the eighteen century – thanks not least to the music-loving King Frederik IV (1671-1730), at the Grønnegade Theatre, where the music of the age was performed regularly, and who with his journeys to among other countries Italy and France raised the musical just as the situation was abroad, there was much music-making in the many coffee- ambitions of the Danish court In his palaces, mainly Frede riks berg Palace, the King houses and salons of the city kept a small orchestra headed in some periods by the Italian composer and violinist Bartolomeo Bernardi (1670-1732) This ensemble, known as ‘the Court Violins’, the pre- The recorder and the playwright Holberg cursor of the Royal Orchestra, was just one of several elements that profiled musical life Recorders formed a central instrumental group in Danish Baroque music, favoured by in and around Copenhagen in the time of Frederik IV composers, and with performing musicians who created a basis for a concer tante style It was a cosmopolitan age and both in the Royal orchestral concerts and at the spectacu- From the leading composers of the Baroque comes an extensive repertoire involving lar masked balls and court banquets music from abroad was played Music by composers the recorder; and not only original music for recorder; music written for instruments like Lully, Torelli, A Scarlatti and Corelli was performed in a Danish context, and later like the oboe, flute or violin could also be played on the recorder with its registers It was music by Graupner, Telemann and Scheibe The music of the capital was also regu larly customary to use the available melody instruments, just as the compo sers – often for enriched by touring German, French and Italian musicians and singers who stayed for short financial reasons – listed as many instruments as possible on the title pages of the sheet or extended periods in Denmark. The dominant fashion and court culture in the Denmark music, so that even more people would buy and play the music of Absolutism was French-oriented, but the language at the court was primarily German Among the best known lovers of the recorder was no less a figure than the play wright and the kingdom could boast a rich palette of cultural currents In terms of music history we Ludvig Holberg (1684-1754), who throughout his life was greatly preoccupied with music cannot speak of a ‘Danish Baroque style’, but more of the ‘mixed’ styles that comprised the and engaged in critical discussions of music The Danish-Norwegian writer is said to French suite and dance music as well as the Italian style, typified by concertos and sonatas have been highly competent as a recorder player, as well as handling the violin with skill, However, it was not only at the court that Baroque music was played in Copen hagen in and Holberg often displayed his talent at musical gatherings in Copenhagen Towards the 1700s At the amateur level too a rich musical scene unfolded, giving the local com- the end of his life Holberg’s close friends included the German-born composer Johann posers and those visiting from abroad a larger target group, and enthusiastic audiences Adolph Scheibe (1708-1786) – represented on this CD by a recorder concerto Scheibe came to the musical gatherings in the best circles of the city Occasional music was an wrote of Holberg’s great but not uncritical love of music: He demanded that music should integral part of everyday life, where wind ensembles for example accom panied banquets speak to the heart, and he totally despised harmony that only produced a great roaring noise and red-letter days, and in the military the regimental music had both entertainment but was without feeling. In other words, in musical matters too he possessed really good and practical functions On old prints one often sees small scenes invol ving some kind taste and demanded that music should speak not only to his reason, but also to his emotions. of musical performance So while the music
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