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IRISH BAROQUE ORCHESTRA Monica Huggett IRISH BAROQUE ORCHESTRA IRISH BAROQUE ORCHESTRA monica huggett IRISH BAROQUE ORCHESTRA Monica Huggett director and violin Johann Friedrich Fasch (1688–1758) Concerto for Flute and Oboe in B minor, FaWV L:h1 1. Allegro ............................................................................................ 2:16 2. Largo ............................................................................................... 1:29 3. Allegro ............................................................................................ 2:34 Georg Philipp Telemann (1681–1767) Concerto for two Violins and Bassoon in D major, TWV 53:D4 4. Andante ......................................................................................... 2:53 5. [Allegro] ......................................................................................... 4:10 6. Adagio ............................................................................................ 2:30 7. Allegro assai ................................................................................. 3:13 Johann David Heinichen (1683–1729) Concerto for Oboe in G minor, S. 237 8. Allegro ............................................................................................ 4:31 9. [Largo] Pizzicato ....................................................................... 2:02 10. Vivace .............................................................................................. 2:47 2 Antonio Vivaldi (1678–1741) Concerto for two Cellos in G minor, RV 531 11. Allegro ............................................................................................ 3:34 12. Largo ............................................................................................... 4:17 13. Allegro ............................................................................................ 3:23 Fasch Concerto for two Oboes da caccia, two Violas, two Bassoons and Continuo in G major, FaWV L:G11 14. Un poco allegro ........................................................................ 2:14 15. [Andante] ...................................................................................... 1:25 16. Allegro ............................................................................................ 2:34 17. Menuets I & II ............................................................................. 3:21 Christoph Graupner (1683–1760) Concerto for Bassoon in C major, GWV 301 18. Vivace .............................................................................................. 3:34 19. Largo e giusto ............................................................................ 3:22 20. Allegro ............................................................................................ 3:45 Graupner Concerto for Flute d’amore, Oboe d’amore and Viola d’amore in G major, GWV 333 21. [Largo] ............................................................................................ 2:49 22. Allegro ............................................................................................ 4:41 23. [Adagio] ......................................................................................... 2:03 24. Allegro ............................................................................................ 4:13 Total Running Time: 73 minutes 3 Recorded at St. Peter’s Church, Drogheda, Ireland, 27–30 September 2015 Produced and recorded by Philip Hobbs Post-production by Julia Thomas Cover image by Andrew McDonough Cover image designed by Gareth Jones Design by gmtoucari.com 4 A NOTE FROM MONICA The idea for this Concerti Bizarri programme has been floating around in my head for a few years now, from when I put together a programme of mixed instrumental concertos combined with a suite by Georg Philipp Telemann called La Bizarre. I like the idea because it gives the Irish Baroque Orchestra the opportunity to use many of its orchestral players as soloists. The IBO is crammed full of wonderful musicians and they can fully inhabit the role of soloist in every way: technically, musically and charismatically. The IBO really has some of the greatest players around today. In the last two centuries we have become accustomed to soloists coming from outside the orchestra. There are legendary violin soloists such as Joseph Joachim, Fritz Kreisler and Jascha Heifetz. James Galway has had an enormous career as a flute soloist; at the present time, Yo-Yo Ma or Lang Lang can fill a hall virtually anywhere in the world. In the eighteenth century most soloists came from the orchestra in which they regularly played. The principal orchestral players would be expected to get up and play a solo and would relish the challenge. Five of the concertos are for multiple instruments, a genre which – Beethoven’s Triple and Brahms’ Double aside – more or less disappeared in the nineteenth century. These pieces look backwards to the concerti grossi of Arcangelo Corelli, but the texture is much more interesting because of the use of unusual instruments in unique combinations. One of the most beautiful amalgamations is Christoph Graupner’s Triple Concerto for flute d’amore, oboe d’amore and viola d’amore, which produces an exquisite blend of colours. 5 Alongside the Double Cello Concerto by Antonio Vivaldi, the flavour of the other concertos could be described as ‘Vivaldi in German style’. There are many themes and passages which could come from a Vivaldi concerto, but the structure is more complicated, and there are more changes of character within a single movement as there were more references to Polish, gypsy and folk elements in eighteenth-century German music. Telemann was a master at incorporating gypsy elements into his compositions, but in fact almost all of these concertos have gypsy episodes. All of the composers on this recording were born in the 1680s (well, Vivaldi was born in 1678), but some lived longer than others. Johann Friedrich Fasch was the youngest and his Concerto for two oboes da caccia, two violas, two bassoons and continuo in G major, which is actually a septet, had already left the Baroque era behind. This is rococo, and you can hear pre-echoes of Mozart. What I love about this music is the sheer beauty of the sound world, all the luscious colours and deep sonorities: it’s the audio equivalent of eating the best chocolate mousse! © Monica Huggett, 2016 6 It’s a joy to step out from the world of basslines and have the soloist spotlight shone upon us for this most fascinating of double concertos. Sarah McMahon and Jonathan Byers 7 CONCERTI BIZARRI Johann Friedrich Fasch was as important a composer as Johann Sebastian Bach in his day, maybe more so as he is an important link between the Baroque and the Classical styles. One of his teachers was Christoph Graupner and he was a good friend of Georg Philipp Telemann. When the three of them, in turn, withdrew their job applications for Kantor of Leipzig’s Thomasschule, it was Bach who was appointed: ‘Since the best could not be obtained, a mediocre candidate would have to be accepted.’ Fasch had studied at the Thomasschule and it was in Leipzig where he got to know Antonio Vivaldi’s concerto writing. In 1722 he was appointed Kapellmeister at Zerbst where he remained for the rest of his life, writing church cantatas and music for court occasions. His music was widely performed, reaching Vienna and Prague. Many of his concertos, noted for their great originality, were performed by Johann Georg Pisendel, the Kapellmeister at the Hofkapelle in Dresden. Fasch was a prolific composer. Johann David Heinichen performed some of his liturgical music in the Dresden court chapel and Telemann performed a cycle of his cantatas in Hamburg in 1733. Much of the instrumental music survives, but many of Fasch’s vocal works (9 cantata cycles, at least 14 masses and 4 operas) appear to be lost. The three movement pattern of the Concerto for flute and oboe in B minor follows the regular Italian concerto example, well known from so many of Vivaldi’s concertos. The ritornello sections (recurring refrains) of the outer movements contrast with independent episodes for the soloists. Those lively movements in duple time enfold the short F sharp minor slow movement which allows the oboist to gather his breath. 8 Telemann was probably the most famous and one of the most prolific composers of his time. He was an astute businessman, overseeing the publication of many of his and other composers’ works. From 1721 until his death, he was Kantor of Hamburg’s Johanneum Lateinschule and musical director of the city’s five main churches. In the following decades his music was all too often dismissed as merely fashionable and somehow of a lesser standard when compared to Bach’s. In truth they’re quite different: chalk and cheese. Telemann rarely used the three-movement Italian concerto form and the Concerto for two violins and bassoon in D major, a four-movement work (each movement in D major), is certainly representative of his favoured approach. A lilting first movement introduces the duetting violins and the prominent repeated notes and scales of the accompanying bassoon. Very soon the roles are reversed and this introductory movement gives way to a lively and well developed fugal movement (with no tempo marking in the surviving manuscript score). The ‘Adagio’ moves gently, caressingly, with lovely transparent textures, while the bassoon is permitted only one real solo moment towards its close. The good-natured finale then marches along with confidence, filled with imitation and some lovely textures for low violin and bassoon.
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