THE GODFATHER INTRODUCTION THE GODFATHER MASTERS OF THE GERMAN AND ITALIAN BAROQUE The musical world of eighteenth-century Europe Telemann controversially declared in his 1718 was a small one. Despite the problems presented autobiography that his concertos ‘mostly smell Concerto for 3 trumpets, timpani, 2 oboes, Concerto for violin, bassoon, strings & continuo in B flat by contemporary standards of transport, it of France’; he complained that the form as a bassoon, strings & continuo in D, TWV 54 D3 Giuseppe Antonio Brescianello (c.1690-1758) was quite normal for composers in one part of whole generally contained ‘many difficulties Georg Philipp Telemann (1681-1767) 8 Allegro [4.04] Europe to be entirely au fait with what was and awkward leaps…little harmony and even 1 Intrada-Grave [2.43] 9 Adagio [5.07] happening elsewhere. This is borne out by poorer melody’. There can be little doubt that 2 Allegro [2.54] 0 Allegro [2.55] the closeness of three German composers: these scathing remarks were directed principally 3 Largo [2.31] 4 Vivace [3.08] Concerto movement for violin & strings in B flat, RV 745 Telemann, godfather to C.P.E. Bach; Pisendel; at certain celebrated Italian composers; the Antonio Vivaldi (1678-1741) and J.S. Bach, who admired both his compatriots irony is that Telemann’s concertos imitate the Concerto movement for violin, strings & continuo q Allegro [3.52] and composed some astoundingly difficult Italian style so well, fused as they are with in a, Jung - music for the violinist Pisendel. German and French elements in the manner Concerto for strings & continuo in A, RV 158 Johann Georg Pisendel (1687-1755) of his famous ‘mixed taste’. His 1740 Antonio Vivaldi 5 Allegro [4.18] This programme celebrates their music as autobiography indicates a change of heart w Allegro molto [2.40] well as the music of those who contributed to asserting that of all the national styles, he had Concerto movement for 2 oboes, bassoon, e Andante molto [2.15] their musical heritage. Included alongside the absorbed that of Italy the last; his eventual strings & continuo in E flat, Jung II, 1 r Allegro [3.34] German triumvirate are works by Vivaldi who acceptance of the Italian style led to many Johann Georg Pisendel physically helped with the composition of such works being performed at his public 6 Allegro [6.13] Concerto for violin, 2 oboes, bassoon, 3 trumpets, timpani, strings & continuo in D, FaWV LD3 Pisendel’s a minor concerto movement, Fasch concerts, and for concertos by Vivaldi, Albinoni Concerto movement for violin, 3 trumpets, timpani, Johann Friedrich Fasch (1688-1758) who was a great friend of Pisendel and Telemann, and Tessarini being included as entr’acte 2 oboes, bassoon, strings & continuo in D, BWV 1045 t Allegro [3.55] and Brescianello, an Italian who helped in the entertainments between the acts of his comic Johann Sebastian Bach (1685-1750) y Andante [2.15] dissemination of Italian instrumental music opera Pimpinone in Hamburg, 1725. 7 Allegro [6.31] u Allegro [5.13] throughout the German-speaking lands and whose concertos were played in Dresden Telemann probably started composing concertos Total timings: [66.09] by Pisendel. during his period at Eisenach, where he was in the employ of Duke Johann-Wilhelm of Saxe- LA SERENISSIMA Eisenach. It is also during this period that he ADRIAN CHANDLER DIRECTOR / VIOLIN initially met Johann Sebastian Bach (whose www.signumrecords.com - 3 - brother Johann Bernhard Bach was both town Johann Georg Pisendel, for whom Telemann double violin concerto. Additionally, the concluding work’s proposed compositional date of 1743. It organist and court harpsichordist); Telemann composed an ode when news reached him of bariolage passage possesses parallels in is not unreasonable to suppose that Bach may and Bach got along so well that Telemann his friend’s death. terms of technique, key and harmonic structure have penned this single-movement work for was named godfather to Carl Philipp Emanuel with an episode towards the end of Bach’s the Dresden court (where such works appear Bach in 1714. Pisendel had studied the violin with Torelli violin concerto in a minor (BWV 1041). Given to have been popular) before recycling the whilst he was a chorister at the court of Ansbach. the quality of Pisendel’s music, it is unfortunate material in an introductory sinfonia to a lost Telemann soon grew dissatisfied with life at the On leaving Ansbach, Pisendel journeyed to the that he produced so little; most of his cantata (the alternative title of Sinfonia appears Eisenach court and in 1712, he took a pay-cut University of Leipzig (where Telemann also surviving oeuvre features the solo violin; the squeezed into the space between the original and moved to Frankfurt where he assumed the studied) stopping off en route in Weimar where concerto movement for 2 oboes, bassoon and title and the first stave of the manuscript). post of city director of music as well as that of he met Bach. He then proceeded to the court strings is unique. Kapellmeister at the Barfüsserkirche. It was of Dresden in 1712, in whose employ he Another musician in Pisendel’s circle – and who here that he re-instated the collegium musicum remained for the rest of his life. It was whilst Due to the aforementioned correspondences also had Vivaldian connections – was Johann of the Frauenstein society, an association of accompanying the electoral prince on one of between the works of Bach and Pisendel, it Friedrich Fasch, who spent most of his career patricians and bourgeoisie that presented his many tours that he met and befriended seems logical to assume that Bach saw the at the court of Anhalt-Zerbst (where he became weekly concerts. This provided a platform for Vivaldi. Pisendel spent nine months studying manuscript of his friend’s violin concerto acquainted with Princess Sophie Friederike Telemann to present numerous compositions with Vivaldi in Venice in 1716, before returning movement before composing his own violin Auguste von Anhalt-Zerbst-Dornburg, who later such as the large concerto in D (TWV 54 D3) to continue his studies in 1717. In addition concertos. It has long been supposed that became known as Catherine the Great). Fasch which was composed in about 1716, around to violin lessons, Pisendel also studied Bach composed his unaccompanied works for had attended the famous Leipzig Thomasschule the same time that it also appeared as the composition with Vivaldi as proven by the violin with Pisendel in mind; the gargantuan where Bach was to become kantor in 1723 (after sinfonia to his serenata Deutschland grünt und concerto movement for violin in a minor; this nature of these pieces certainly matches the both Telemann and Christoph Graupner had blüht im Friede (TWV 12 1c). manuscript shows several corrections in Herculean technique possessed by Pisendel. declined the post). Much of his career from Vivaldi’s hand. Vivaldi may have set this piece Indeed, it is conceivable that Pisendel’s playing 1708 until 1721 was spent either in Leipzig or Telemann came into contact with a wealth of as a compositional exercise for Pisendel as it style contributed towards anything of virtuosity travelling throughout Germany, but in 1721, Italian music through the dissemination of borrows material from the second and sixth that Bach composed for the violin, such as he moved to Prague to become Componist to manuscripts and available publications. He concertos of Vivaldi’s ground-breaking L’estro the concerto movement in D (BWV 1045); it is Count Wenzel von Morzin who granted Vivaldi knew many Italian musicians and composers armonico (Opus 3). It also provides links hard to imagine anyone other than Pisendel the title of Maestro di Musica in Italia; it was who plied their trade north of the Alps, but with Bach’s concertos: there is a striking playing this work. Bach was frequently in the virtuoso bassoonist of Morzin’s famous perhaps the most influential figure in this resemblance between the ritornello of Pisendel’s contact with the court at Dresden and made a orchestra, Antonin Reichenauer, for whom Vivaldi respect was his lifelong friend, the violinist work and that of the first movement of Bach’s visit there in 1741, shortly in advance of the penned most of his bassoon concertos.

- 4 - - 5 - Given the reverence in which Vivaldi was held in Whilst the influence of the Italian style on soloist who required the work to be tailored to his to this late period is the Concerto ripieno in Morzin’s establishment, it seems certain that German composers has received much or her particular strengths. Concertos that A (RV 158) which is one of around sixty such Fasch would have encountered many of Vivaldi’s musicological discussion, little has so far been show such reworkings include the concerto in e works that were composed for strings and concertos there, possibly including Le Quattro written on the impact that the German style minor (RV 281) and the concerto in B flat continuo without soloist. This piece shows Vivaldi Stagioni which was already in the repertoire of had on the Italians. The Italians were not (RV 365). To these may be added the concerto moving towards the classical style with its Morzin’s orchestra before its publication and immune to German tastes, as chamber works movement in B flat (RV 745) which probably embryonic use of sonata form. dedication (to Morzin) in 1725. It is therefore by Telemann in the hand of Giovanni Battista served as a replacement to a concerto finale; unsurprising that much of Fasch’s solo violin Vivaldi (Antonio’s father) show; further the use of bariolage and upbow staccato are © Adrian Chandler, April 2019 music bears a distinctively Vivaldian touch. evidence can be found in the music of the typical of his late concertos. Also belonging This would have been particularly welcomed by Munich-based Evaristo Felice Dall’Abaco and Bach (who is known to have possessed Giuseppe Antonio Brescianello, who worked instrumental music by Fasch) and Pisendel, alongside Dall’Abaco in Munich before taking who received regular instalments of music from a post at the Württemberg court in Stuttgart. Fasch for the Dresden court; Pisendel sent Brescianello is almost the only Italian to have manuscripts by return in way of recompense. composed orchestral suites (a form in which The present concerto is one of two surviving Telemann and Fasch excelled); he also concertos that share a similar scoring; whilst composed concertos such as that for violin we can’t be certain that this work was one and bassoon, predominantly Italian in their of those sent to Dresden, a fragment of its sibling outlook, yet fused with a German harmonic twist. currently resides amongst the archives of the Dresden court orchestra. Despite this more cosmopolitan approach favoured by some Italians, there was still a large Sadly, only around thirty per cent of Fasch’s demand for Vivaldi’s concertos, particularly output has survived, as is shown by an inventory amongst the European virtuosi. Along with of court musical sources compiled in 1743; Tartini, Vivaldi stood at the forefront of advances Fasch is the composer who appears most in violin technique with many of his violin frequently, followed by Vivaldi, and then by concertos demanding technical wizardry from Telemann – Fasch’s idol – in third place. the soloist. Occasionally, Vivaldi would find himself adapting a concerto for a different

- 6 - - 7 - PERFORMERS Inga Maria Klaucke bassoon [tracks 7, t-y] James O’Toole viola Laurent Verjat, France, 2012, after Eichentopf Eric Mawby, UK, 2012, after Guarneri La Serenissima Adrian Chandler director Adrian Chandler violin & director Thomas Kirby viola Rowland Ross, UK, 1981, after Amati Bernd Hiller, Germany, 2006 Simon Munday trumpet Barlow & Martin, UK, 2016, after JC Kodisch c1700 Oliver Cave violin I Vladimir Waltham continuo cello Martin Hilsden, UK, 1985, after anonymous c1650 Nicola Gagliano, Italy, c1770 on loan from the Matthew Wells trumpet Jumpstart Jr. Foundation Barlow & Martin, UK, 2016, after JC Kodisch c1700 Agata Daraskaite violin I Anon, c1780 Carina Drury cello Paul Sharp trumpet Maker unknown, Italy, c1850 Matthew Parker, UK, 2014, after Leonhard Ehe II Guy Button violin I c1710 Joannes Jais, Germany, c1750 Carina Cosgrave double bass Maker unknown, Germany, c1870 Tommy Foster timpani Camilla Scarlett violin II Lefima & Aehnelt, Germany, 2006, after Leipzig 1739 Rowland Ross, UK, 1996, after Amati Lynda Sayce theorbo & baroque guitar Theorbo in A by David Van Edwards, Norwich, 2007, Rachel Chaplin oboe Simon Kodurand violin II after Matteo Buchenberg, Rome 1614 Wolfgang Kube, Germany, 2018, after Anciuti Christopher Rowe, UK, 1993, after Guarneri del Gesu Baroque guitar in E by Ivo Magherini, Bremen, 2002, after Giovanni Tesler, Ancona 1620 Mark Baigent oboe Claudia Norz violin II Wolfgang Kube, Germany, 2018, after Anciuti Georg Aman, Germany, 18th century Giulia Nuti harpsichord Malcolm Greenhalgh, UK, 1989, after Grimaldi c1680 Peter Whelan bassoon [tracks 6, 8-0, u] Ellen Bundy violin II Peter de Koningh, The Netherlands, 2007, after Kloz family, Mittenwald, c1780 anonymous Venetian model Elitsa Bogdanova viola Andrew Watts bassoon [tracks 1-4] Jan Pawlikowski, Poland, 2012, after Amati Paul Hailperin, Germany, early 18th century, after M Deper

- 8 - - 9 - LA SERENISSIMA and the musicologist Michael Talbot which La Serenissima has appeared at many of the The entire repertoire of La Serenissima is edited was a first in modern times. The record spent UK’s leading festivals including Bath, Beverley, by director Adrian Chandler from manuscript or La Serenissima was formed in 1994 for a several weeks in the UK Specialist Classical Buxton, Cheltenham, Lichfield, South Bank, contemporary printed sources, a testament to performance of Antonio Vivaldi’s La Sena Chart, featured as ‘Editor’s Choice’ Gramophone Spitalfields, Swansea and York Early Music its commitment and passion for rare and festeggiante and has now firmly established Magazine, ‘Concerto Choice’ BBC Music festivals, and venues including St George’s exciting Italian music; a feat which makes it itself as one of the leading exponents of the Magazine, voted ‘Classical Album of the Year’ Bristol, Snape Maltings, Cadogan Hall, St John’s unique amongst its peers. music of eighteenth-century Venice and by the Irish Times and ranked in the Top 3 Smith Square and Wigmore Hall. The group has connected composers. Picks of Radio 3’s ‘Building a Library – The also performed in Belgium, Estonia, France, La Serenissima is privileged to have the Four Seasons’ from a catalogue of albums Germany, Ireland, Israel, Italy, Malta, Mexico support of its Honorary Patron, His Excellency Since its first CD release in 2003, La Serenissima dating back to the 1940s. The ensemble’s and Spain to great acclaim. A long-standing The Italian Ambassador to the UK. Follow has been universally applauded by publications 2018 release Vivaldi x2 was a disc of affiliation with Martin Randall Travel has enabled La Serenissima on Twitter @LaSerenissimaUK including BBC Music Magazine, Diapason, double concertos for pairs of horns and La Serenissima to perform numerous bespoke and on Facebook; visit the website Gramophone Magazine, The Guardian, The oboes, and violin and cello, which achieved programmes at music festivals throughout Europe. www.laserenissima.co.uk for up-to-date news. Sunday Times, Fanfare Magazine, American wide recognition: ‘They really put the rock into Record Guide, The Strad, La Stampa and baroque!’ John Suchet, Classic FM July 2018. Goldberg Magazine. Its records have been nominated for Gramophone Awards (on multiple The ensemble prides itself on bringing seldom- occasions), included in an elite Forbes List heard works to the concert platform, including and featured on a hit American television Vivaldi’s operas Ottone in villa, Giustino, soundtrack. In 2010 the group’s release Vivaldi: Tito Manlio, La Fida Ninfa, Catone in Utica, The French Connection was awarded the L’Olimpiade and Teuzzone, and it has recently Gramophone Award for Baroque Instrumental given the UK premieres of Brescianello’s and their 2017 release The Italian Job repeated opera pastorale Tisbe and Caldara’s Lucio this success. La Serenissima celebrated its Papirio Dittatore for the Buxton International 21st birthday in 2015 by recording Vivaldi’s Festival. A host of instrumental rarities feature The Four Seasons (Manchester version) in the touring repertoire, many of which have alongside works for violino in tromba marina: been committed to disc. a reconstruction project undertaken by

violinist Adrian Chandler, luthier David Rattray © Eric Richmond

- 10 - - 11 - ADRIAN CHANDLER Adrian’s extensive discography with La regularly with many leading period instrument DIRECTOR / VIOLIN Serenissima, which documents his unique ensembles including English Baroque Soloists, editorial and research activities, features virtuoso Orchestre Révolutionnaire et Romantique, Born on Merseyside in 1974, Adrian Chandler sonatas by Albinoni, Pisendel and Vivaldi, Vivaldi Classical Opera Company, The King’s Consort is recognised internationally as a leading concertos, arias, cantatas and sonatas, three and Orchestra of the Age of Enlightenment, interpreter of Italian baroque music. He was discs charting the development of the North also playing an active role in their education introduced to Vivaldi’s Four Seasons at the Italian violin concerto, and The Four Seasons. and outreach projects. Her own area of age of ten via a broadcast given by Iona French Connection 2 was released in 2011 and musicological interest is the music of Carl Brown and the Academy of St Martin in the was described by one critic as ‘an eye-opening Philipp Emanuel Bach, which was the subject Fields: the experience resulted in a lifetime’s ear-flattering delight from start to finish’. Venice of her doctoral research. dedication to Italian baroque music. While still by Night, Vivaldi: A Tale of Two Seasons and a student at London’s Royal College of Music, Vivaldi x2 have all featured in the Top 10 of the Adrian founded the ensemble La Serenissima UK Classical Charts, with Vivaldi x2 spending which he has subsequently directed in multiple several weeks at No 1. His recordings received programmes at high-profile UK venues (from Gramophone Award nominations in 2008, Bridgewater to Wigmore halls), and internationally 2009 and 2012; the CDs Vivaldi: The French for major festivals (from Belgium to Mexico) Connection and The Italian Job won Gramophone and prestigious concert series (from Denmark Awards in the Baroque Instrumental category to Spain). Adrian has directed seven Vivaldi in 2010 and 2017 respectively. operas for La Serenissima, in Bath, Buxton, © Stephen Page, Fatkoala Images London, Venice and Eilat (Israel), and has Bach and Vivaldi with the Oslo Chamber Music RACHEL CHAPLIN directed UK premieres of Brescianello’s only opera Festival and toured with the Norwegian Wind OBOE Tisbe and Caldara’s masterpiece Lucio Papirio Ensemble. Adrian was awarded a three-year Arts Dittatore for the Buxton International Festival. and Humanities Research Council fellowship Rachel Chaplin received her musical training at Southampton University to research the from Cambridge University, the Royal Academy As guest soloist, Adrian has toured with the development of the North Italian violin concerto of Music and Leipzig Hochschule für Musik, Orchestre National des Pays de la Loire and between 1690 and 1740, and subsequently alongside formative years in the European given performances of Mozart and Beethoven held a two-year post as a Turner Sims Professor Union Youth Orchestra and European Union sonatas in Japan. As guest director, he has played at the University. Baroque Orchestra. She performs and records Rachel Chaplin and Mark Baigent

- 12 - - 13 - MARK BAIGENT Marriage of Figaro and Gluck’s Orfeo et SIMON MUNDAY OBOE Euridice, and made his debut with English TRUMPET Touring Opera. Peter has directed Ensemble Mark specialises in music from baroque to Marsyas in concerts throughout Europe and Simon Munday is a versatile trumpet player, modern using period instruments. He regularly developed an impressive discography with equally at home on modern and baroque records, performs and broadcasts throughout the group; in 2017 its disc of Barsanti was trumpets. He has performed widely as a Europe with leading period instrument Editor’s Choice in Gramophone Magazine, and soloist with Orchestra of the Age of orchestras including Orchestre Révolutionnaire ‘Recording of the Year’ in MusicWeb International. Enlightenment, Academy of Ancient Music, et Romantique, English Baroque Soloists, Les Arts Florissants, Gabrieli Consort, Ex Orchestra of the Age of Enlightenment, The Cathedra and La Serenissima, among others. King’s Consort and Classical Opera. As a Simon is also an avid chamber musician, and chamber musician he has premiered and has performed with Alberti Brass, London Brass recorded new works with his oboe trio Pipers and the Hallé Brass. Simon regularly appears 3, and with his ensemble Charme du Hautbois in the West End, and has been seen on the explores 19th and early 20th century repertoire; big screen as well as on TV. He has enjoyed in 2017 Mark released a CD of chamber music tours with Peter Gabriel and has performed on for oboe by Rutland Boughton. Peter’s latest albums. Simon is a professor at Royal Holloway, University of London. PETER WHELAN

BASSOON © Eric Richmond

Irish-born Peter Whelan is an exciting and versatile exponent of historical performance with a remarkable career as a conductor, keyboardist and solo bassoonist. He is Artistic Director of the Irish Baroque Orchestra and founding Artistic Director of Ensemble Marsyas. In 2018 Peter joined Irish National Opera as artistic partner, conducting Mozart’s © Jen Owens

- 14 - - 15 - THANK YOU TRACK SPONSORS

La Serenissima wishes to acknowledge the patronage of His Excellency The Italian Ambassador to the Telemann Concerto in D, TWV 54 D3 1-4 UK, as well as core funding from The Foyle Foundation which has supported the orchestra’s activities during Glenys Phillips [tracks 1-2], South Square Trust 2019. The recording sessions, which took place in February 2019, were made possible by a generous grant [track 3], John & Joanne Hindle [track 4] from Mr and Mrs J A Pye’s Charitable Settlement. Pisendel Concerto movement in a, Jung - 5 Mark West

Pisendel Concerto movement in E flat, Jung II, 16 La Serenissima acknowledges the generous support of its Friends, Patrons, Chair Sponsors and Mary Kane & Tony Loader in loving memory of The Ambassador’s Circle. In particular we wish to thank the following who have contributed specifically to Bridget Kane support the release of this recording: JS Bach Concerto movement in D, BWV 1045 7 Antoine Bommelaer * Tony Loader * Mark West * Big Apple Baroque Nathan Burkey * Ben Mazower * Alison Wilkinson * * Richard Chandler Hilary McGowan Big Apple Baroque Brescianello Concerto in B flat 8-0 Gillian Charlesworth * Glenys Phillips * & four anonymous donors Antoine Bommelaer Simon Edelsten Bill Sellwood * track sponsor John & Joanne Hindle * South Square Trust * Mary Kane * Mark Tousey Vivaldi Concerto movement in B flat, RV 745q Alison Wilkinson The release of this CD has also been supported by a crowdfunding campaign through Global Giving w r www.globalgiving.org : La Serenissima is extremely grateful to the c.100 individual donors who Vivaldi Concerto in A, RV 158 - w contributed to this vital funding initiative. Ben Mazower [track ], Gillian Charlesworth [tracks e-r] If you would like to help bring to life La Serenissima’s next CD recording, please contact Camilla Scarlett, General Manager, [email protected], who would be delighted to give you more information. Fasch Concerto in D, FaWV LD3 t-u La Serenissima | The Old Dairy, Hordley, Wootton, Woodstock, Oxfordshire, OX20 1EP, UK Nathan Burkey [email protected] | www.laserenissima.co.uk registered charity no. 1154940

- 16 - - 17 - Recorded in Cedars Hall, Wells Cathedral School, Wells from 11th to 14th February 2019 Recording Engineer and Producer – Simon Fox-Gál Editing – Jonathan Stokes

Editions: Adrian Chandler Keyboard preparation: Giulia Nuti Temperament: Young (except tracks 6 & 8-0 Vallotti) / Pitch: A = 440 Hz

Cover Image – © Shutterstock Design and Artwork – Woven Design www.wovendesign.co.uk

P 2019 The copyright in this sound recording is owned by La Serenissima © 2019 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex, UB6 7LQ, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 18 - - 19 - ALSO AVAILABLE on signumclassics

A New Venetian Coronation, 1595 CPE Bach: Symphonies Gabrieli Orchestra of the Age of Enlightenment Paul McCreesh conductor Rebecca Miller conductor SIGCD287 SIGCD395

“If possible, it’s even more atmospheric than the original, with “These energetic, committed performances of five symphonies additional pyrotechnics, and the Doge’s jubilatory cornets and dating from between 1757 — when Haydn was first writing in sackbuts are splendidly brazen and carnivalesque. What remains the genre — and 1780 show the period band has lost none of its constant, however, is McCreesh’s abiding passion for the works verve and enthusiasm for this strange, dramatic music from the of his ensemble’s namesakes...full-blooded, evocative music- dawn of the “classical” era.” The Sunday Times making which oozes dedication and enthusiasm.” Presto Gramophone Awards Winner 2013 – Best Early Music Recording

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 -