musicRisonanze for viola da gamba

ABEL J.S. BACH MARTÍNEZ GIL ROWE SCHENCK

Ibrahim Aziz Risonanze (1685–1750) Rebecca ROWE (1970–)

Cello Suite No. 2 in D minor, BWV 1008 [20:52] F Journeying (2018) * [2:40] (transcription in E minor by Ibrahim Aziz)

1 I. Prélude [3:46] Johann SCHENCK (1660–1712)

2 II. Allemande [3:53] Sonata (V) in D minor * [16:15]

3 III. Courante [2:16] (codex 16598, Österreichische Nationalbibliothek, Wien)

4 IV. Sarabande [4:35] G I. Adagio – II. Allegro [3:13]

5 V. Menuet I and II [3:15] H III. Allemand(e) [3:47]

6 VI. Gigue [2:54] I IV. Courant(e) [2:07]

J V. Giga [1:59]

Carlos MARTÍNEZ GIL (1959–) K VI. Aria [2:42]

Suite Estiu (Summer Suite) (2016) * [11:20] L VII. Aria burlesca [2:13]

7 I. Mirada: Adagio [1:54]

8 II. Resonancias: Allegro con brio [1:37] Total Timing: [63:31]

9 III. Roces: Andante tranquillo [2:34]

A IV. Aromas: Tempo di passacaglia [3:02] Première recording *

B V. Sazón: Presto [2:03] Recorded at the Church of the Ascension, Plumstead, , 29 and 31 May 2018 Carl Friedrich ABEL (1723–1787) Produced by Tom Hammond [ ] 3 unaccompanied pieces 12:26 Engineered by John Croft C (Arpeggio) in D minor, WK 205 [1:47] 24bit, 96kHz hi-resolution recording and mastering D (Allegro) in D minor, WK 208 [5:57]

E (Adagio) in D major, WK 187 [4:42]

̶ 2 ̶ Risonanze J.S. BACH • MARTÍNEZ GIL • ABEL • ROWE • SCHENCK

What is it about the viola da gamba (also known as the ) prefer to draw in attentive ears. And this is due partly to the that so attracts musicians, composers, players and audiences construction of the instrument – it is a much simpler soundbox in the past and present? I think it is the unique quality of the than its extroverted counterpart, with more strings (up to sound, the plangent tones of its middle voice, its silvery and seven) and a flatter bridge on the belly, and a back which vibrant high notes, the depth of its bass and the human-like is flat unlike the curved, carved shell of the . Its bow is quality so eloquently described in 1636 by the polymath Marin played with a technique that discourages sharp attacks on the Mersenne: ‘Certainly if the instruments are judged according strings, but instead draws out and threads together each note to their ability to imitate the human voice and, if among all like beautiful pearls on a maiden’s neck, glowing with a silky the artifices, those that one values the most are the ones that halo. The quality I am referring to is not volume but resonance most closely imitate nature, it seems that one cannot deny the – a ringing quality of sound through which enduring images, laurels to the viol, as it imitates the voice in all its modulations, memories and emotions are evoked. and even in its most significant expressions of joy and sorrow.’ So I present to you a programme of pieces that have conjured As I grew to know the instrument more and more during up these different images as I played and learnt them. Images my performing career – and it is yet an unending journey – and memories from travels far and wide, of happy and sad one aspect of its character stood out among the others. It emotions, of arid sun-drenched fields, misty skies and forlorn is the quality that enables its voice to be heard over other larks over the horizon. Of solitary walks on the beach, summer instruments, that gives it its soul and substance, that allows picnics, fond welcomes and future farewells. I hope these it to stand its ground when most of the other instruments pieces – and the resonance built into the beautiful instrument strive for strength and power, for unlike its cousins the violin they are played on – will conjure up similar images for you too: and cello, the viola da gamba does not excel in projection. happy and sad, wistful and doleful, strange and beautiful. Instead of delivering volumes of sound across a hall,

̶ 3 ̶ ̶ ̶ 3 ̶ Johann Sebastian Bach: Cello Suite No. 2 in D minor, BWV 1008 (transcr. Ibrahim Aziz) The great Johann Sebastian Bach wrote six unaccompanied suites for the cello, and three sonatas with harpsichord for the viola da gamba. How different these pieces are! I think that Bach, being the great sensitive musician that he was, was acutely aware of the intrinsic qualities of each instrument and therefore crafted the compositions to suit them. A particular key on the cello has a different colour on the gamba because of how differently the two instruments resonate. In transcribing the second cello suite for the viol I was aiming for a key that preserves the feel and resonance of the original in D minor on the cello. Being a player of both instruments I was deeply conscious of not losing the depth, colour and meaning of the music through a direct transcription in the same key. The second suite, though perhaps not as involved as the other minor key suite in C minor, is in my view the more profound of the two, which quality can be heard especially in the Prélude and in the Sarabande.

Carlos Martínez Gil: Suite Estiu (2016) ‘Estiu’, an anagram of ‘suite’, means ‘summer’ in the Catalan Johann Sebastian Bach language. Gil wrote this music in 2016 inspired by baroque (by E. G. Haussmann, 1748) models by composers such as Johann Schenck and Carel Hacquart while recalling the ‘sensations of my summer stay in the north of Spain – Catalonia, Cantabria and Asturias’. The ̶ 4 ̶ movements are an allegory of the five human senses: sight, Rebecca Rowe: Journeying (2018) taste, hearing, touch and smell. Mirada, forming the prelude to My journey with the viola da gamba, an instrument that has the sequence, is a reflection of sight; Resonancias of hearing. fascinated me since my school days, is reflected in Rebecca Roces, meaning ‘brushing lightly’, is related to touch. Aromas, Rowe’s miniature, written for me in 2018. Rowe, herself a a movement built on a repeating bass sequence akin to the gamba player, writes that this music ‘explores the resonances passacaglia, is smell, and Sazón, a lively piquant gigue-like and sonorities capable on the bass viol through various double movement, reflects taste. stopped and spread chords, making use of the rich dissonances of certain intervals, especially seconds. The lyrical style of this (17th-century) bass viol repertoire suits the notion of a

̶ 5 ̶ piece in which we are on some sort of reverie or journey. A perfection.’ (AGeneral History of Music, Vol. 4, Charles Burney, meditation on what it means to move through something; a pub. 1789) place or an emotion. A D minor tonal centre travels a little further, stretching away from ‘home’, eventually widening the Johann Schenck: Sonata (V) in D minor dynamic, melodic and emotional range until it begins to settle, Johann Schenck, though of German origin, was born in finding resolution and perhaps peace?’ Amsterdam where he established himself as a prominent player of the viola da gamba. He then continued his career Carl Friedrich Abel: 3 unaccompanied pieces in Düsseldorf working for one the Electors of the Palatine. Abel made a career as a virtuoso gamba player when the Schenck left a rich legacy for the viola da gamba, writing music popularity of the instrument had already passed its zenith. He for one and two viols as well as unaccompanied solo music. The moved in interesting artistic and literary circles in London and suite recorded here exists in manuscript form only, although Bath, being close to the painter and J.S. much of his music was published and widely distributed across Bach’s youngest son, Johann Christian, and was acquainted Europe in his lifetime. with others including Laurence Sterne and the Mozart family when they visited in the 1760s. Charles Burney Ibrahim Aziz, 2019 wrote of Abel’s performance that it ‘was in every particular complete and perfect. He had a hand which no difficulties could embarrass; a taste the most refined and delicate; and Rebecca Rowe is a composer of orchestral, choral, vocal a judgement so correct and certain as never to let a single and instrumental music. She has composed soundtracks for note escape him without meaning... Yet in nothing was he so animated films and theatre productions, and has worked superior to himself, and to other musicians, as in writing and collaboratively with directors and poets in setting their images playing an Adagio; in which the most pleasing, yet learned and words to music. Commissions, performances and CD modulation; the richest harmony; and the most elegant and recordings have come from artists as diverse as the Dunedin polished melody were all expressed with such feeling, taste, Consort, Cappella Nova, The Hilliard Ensemble, Chroma and science, that no musical production or performance with Ensemble, recorder virtuoso John Turner, contemporary which I was then acquainted seemed to approach nearer ensemble ONE VOICE, and the Allegri . Her work ̶ 6 ̶ ̶ 7 ̶ has been broadcast on BBC Radio Scotland, BBC Radio 3 and and natural historian Sir David Attenborough. He has formed The World Service. Journeying was commissioned by Ibrahim various period instrument groups and, as a member of the Aziz and was inspired by 17th-century lyra viol music and the Chelys Consort of Viols, the Stanesby Players, the London trials and tribulations of life. Abel Quartet and the Rose Consort of Viols, has appeared on For more information, please visit: numerous highly-acclaimed broadcasts and recordings. www.rebecca-rowe.co.uk For more information, please visit: www.ibiaziz.com Born in Toledo, Spain, Carlos Martínez Gil graduated in History of Art from the Universidad Complutense de Madrid All photos taken by Andrew Mason apart from page 4, and Musicology at the Royal Conservatory in Madrid. His PhD which was taken by John Croft in Musicology at the University of Salamanca explored Spanish music of the 18th century as exemplified by the work of Jaime The artist would like to thank the following people for Casellas (1690–1764) and includes a comprehensive study of making this recording possible: the music at the chapel of Toledo Cathedral during this period. U-En Ng, the production team Tom Hammond and the ever- Suite Estiu was inspired by the music and vanitas art of the patient John Croft, Michael Oppenheimer for the use of the Dutch masters. 1712 Barak Norman, and finally Abdul Aziz Mohamad and Ayzan Aziz to whom he dedicates this album. Ibrahim Aziz was born in Kuala Lumpur, Malaysia and has worked and travelled around the world with his viola FHR thanks Ibrahim Aziz and Peter Bromley da gamba. An award-winning student in London – he won the Trinity College of Music’s prestigious Gold Medal in 2005, being the first to do so on a period instrument, and was a finalist in the International Bach-Abel competition in Köthen a few years later – Aziz has since collaborated and performed with many distinguished personalities such as soprano Dame Emma Kirkby, harpsichordist Mahan Esfahani ̶ 8 ̶ FHR EARLY MUSIC RELEASES

BLONDEL THE TELLING ‘Of arms and a woman’ ‘Gardens of Delight’ late medieval wind music Roses, Lilies & Other [FHR69] Flowers in Medieval Song [FHR68]

“…you’ll love this…such an enjoyable listen…excellent “…this CD provides a pleasing and effective introduction booklet notes…an intriguing and rewarding release” to this repertoire.” (Early Music Review) (Andrew McGregor, BBC Radio 3, Record Review)

J.S. BACH J.J. VILSMAYR • PISENDEL ‘The Well-Tempered Clavier’ BIBER Alexandra Papastefanou ‘Six Partitas for Solo Violin’ piano Vaughan Jones violin [FHR65, 4CD] [FHR38, 2CD]

“Musically in the moment and convincing? Absolutely.” “immaculate technical precision and immense musicality… (BBC Music: PERFORMANCE ***** / SOUND ****) of Jones’s playing and you have something of a recording triumph.” (Gramophone, ‘Editor’s Choice’) ̶ 9 ̶