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Jonas Iten Concert Spirituel Six Sonatas for Cello and Basso continuo by Jean-Baptiste Barrière G010001744281D Jean-Baptiste Barrière ( 1707 – 1747 ) Sonata No. 6 in C major ( Book 4 ) Sonata No. 2 in A major ( Book 4 ) ( C -Dur, do majeur ) ( A-Dur, la majeur ) 1 Allegro 03: 45 12 Allegro 04 : 40 2 Largo 03: 31 13 Adagio 03: 57 3 Allegro 03: 29 14 Aria 02: 42 Sonata No. 4 in E major ( Book 2 ) Sonata No. 6 in G major ( Book 3 ) ( E -Dur, mi majeur ) ( G -Dur, sol majeur ) 4 Gratioso 02 : 53 15 Largo 04 :17 5 Allegro 01: 59 16 Allegro 02 :16 6 Adagio 04 : 03 17 Adagio 02 : 42 7 Aria, Gratioso 02 : 47 18 Aria, Gratioso, Variatione 02 : 57 Sonata No. 2 in F sharp minor ( Book 2 ) Sonata No. 3 in C major ( Book 3 ) ( Fis-moll, fa dièse mineur ) ( C -Dur, do majeur ) 8 Adagio 02 : 30 19 Adagio – Allegro 03: 20 9 Allegro 02 : 09 20 Adagio 04 :14 10 Largo 03: 55 21 Allegro 01: 55 11 Giga 02 : 24 Violoncello solo : old french masterinstrument, middle of the 19 th century Violoncello continuo : Barak Norman, 1725 Jonas Iten, cello Viola da Gamba I : François Bodart, 1992 after Barbey Rosario Conte, theorbo Viola da Gamba II : François Bodart, 2007 after Barak Norman Naoki Kitaya, harpsichord Harpsichord : Christian Fuchs, 2008 after Johannes Ruckers ( « grand ravalement » ) Rainer Zipperling, baroque cello and viola da gamba Baroque guitar : Marcus Wesche, 2005 after Matteo Sellas Ghislaine Wauters, viola da gamba ( tracks 6 and 7 ) Theorbo : Lourdes Uncilla Moreno, 2000 San Lorenzo de el Escorial Pitch : 392 Hertz Total time : 65 : 26 3 Naoki Kitaya Rosario Conte Rainer Zipperling Jonas Iten Jean-Baptiste Barrière (1707 – 1747) Jonas Iten Jean Baptiste Barrière, who died at the age of 40 in Paris, was one of the most famous It is remarkable that a successful and seasoned concert cellist should start anew in order cellists of the 18 th century. His legacy includes four books of sonatas for Cello and Basso to widen his musical horizons. For this reason Jonas Iten has come to see me on numerous Continuo, one book of sonatas for “Pardessus de viole” and a fi nal book, which com - occasions as a colleague in order to discuss some peculiarities of 18 th century music prises sonatas and solo pieces for harpsichord. The date of these works can only be from the perspective of a baroque cellist. Among other things, this dialogue has led to his approximated : Books 1 and 2 between 1733 –1735 ; Book 3 in 1739 ; Books 4 – 6 after 1740. using gut strings for this recording. This fact is worthy of great respect as the diffi culties inherent in using this material are not to be underestimated. The use of gut strings as well His rise as a musician, including membership of the “Académie Royale” in Paris in 1730 as the continuo part being performed on violas da gamba, contributes to the warm and and the opera in 1731, is all the more astonishing in view of his humble origins ( his father homo geneous sound achieved in this recording. was a cobbler in Bordeaux ). The contemporary music writer Fétis mentions the three years Barrière spent in Italy, where he is supposed to have studied with Francesco Alborea Rainer Zipperling ( 1691 –1739 ). Italy was then considered the stronghold of cello playing, whereas musical life in France was dominated by the viola da gamba. The personal possessions left behind after his death give us a clue to the modest life he led : besides numerous instruments and bows and scores, he left some jewellery, clothing, two paintings and two music stands. It is noteworthy that there were also several “Pardessus” among his instruments, which suggest that he could play the viola da gamba. There are some defi nite gamba elements to be found in his sonatas. The sonata in F sharp minor in the second book is a good example, as many passages in this work can only be played with gamba fi ngering. More- over, several sonatas require the use of the thumb. It is not just this richness of invention which makes Barrière a visionary and virtuoso player. Contemporary reports also bear testimony to his glorious reputation : In a “concert spirituel” he is reported to have played with “grande précision”( 8 September 1738, Mercure de France ). Pierre-Louis Daquin de Château-Lyon praised him as follows : “Le fameux Barrière, mort depuis peu, possedoit tout ce que l’on peut désirer . il n’y avoit guère d’exécution comme la sienne”. In this re- cording, the continuo instrumentation varies and all the string instruments have gut strings in order to create the most authentic character for the different movements. 6 English 7 Jonas Iten, cello Rosario Conte, lute Jonas Iten was born into a family of musicians in 1972 in Zug. He received his fi rst cello Rosario Conte was born 1966 in Taranto ( Italy ). He studied the guitar, the lute, the theorbo lessons from his uncle, Luciano Pezzani, solo cellist at the opera in Zurich. He matriculated and Basso continuo with Mario d’Agosto, Terrell Stone and Franco Pavan. He obtained his from school in 1991, obtained his teacher’s diploma and “Konzertreife” with distinction guitar diploma in 1991 and his lute diploma in 2002, both of them at the conservatory at the conservatory of Winterthur with Markus Stocker. He was awarded his Soloist’s diploma in Bari and both with distinction. He participated in several master classes, among others with Stanislav Apolin and Marek Jerie in Lucerne in 1997. Subsequently he took part in with Rolf Lieslevand and Hopkinson Smith. From 2002 to 2004 he studied with Hopkinson masterclasses with Arto Noras, Markus Nyikos, Antonio Meneses and William Pleeth, who Smith at he “Schola Cantorum Basiliensis” in Basel. He performs regularly as a soloist gave him private tuition in London from 1994 to 1998. He undertook further studies with and chamber musician at important festivals in Switzerland and abroad. As continuo accom- Aida Stucki Piraccini and Johann Sonnleitner, from whom he received new ideas on the panist he plays with orchestras such as “La Confraternita de’ Musici”, “Accademia Bizan- interpretation of the music by J. S. Bach. Since November 2007, he has studied with Rainer tina”, “Kammerorchester Basel barock” and “Freiburger Barockorchester”. He has played Zipperling, from whom he has learnt a great deal about baroque interpretation on the with soloists and conductors such as Stefano Montanari, Giuliano Carmignola, Ottavio cello. He was a prize-winner at the Rahn-Competition in Zurich, twice winner of the suppor- Dantone, Cecilia Bartoli, Guido Balestracci and Thomas Hengelbrock. He has made ting scholarship of the canton of Zug, multiple prize winner of the Migros-Genossenschafts- recordings for “Logos”, “Salento altra Musica”, “Tactus”, “Sony Classical” and “Deutsche bund and the Ernst Göhner Foundation as well as the Kiefer Hablitzel Foundation. Harmonia Mundi”. Rosario Conte teaches the lute at the conservatory in Bari. Jonas Iten performs frequently in Switzerland and abroad. He has been fi rst cellist in various orchestras, including the “Camerata Zürich” since 1995 and the “Festival Strings Lucerne” since 2001. As a chamber musician, he played as a member of the Swiss Octet, which has Naoki Kitaya, harpsichord become more and more popular thanks to its adaptions of original Swiss folk music. He has performed as a soloist with the “Luzerner Sinfonieorchester”, the “Orchestra della Svizzera Naoki Kitaya has been praised by the press for his passionate playing, his technical skill, Italiana”, the “Camerata Zürich” and with the “Festival Strings Lucerne”, including a his sound palette and his improvisational fl air. He performs as a soloist and frequently tour in South America and a performance at the Lucerne Festival at the KKL. His debut solo collaborates with artists like Cecilia Bartoli, Giuliano Carmignola, Albrecht Meyer, Stefano CD, “Bach and Barrière”, has enabled him to enjoy a more active solo career. Jonas Iten Montanari and Maurice Steger. Naoki Kitaya is sought after for his continuo perform- is also a keen teacher, giving classes in cello and chamber music at the music school in Zug. ances in various baroque ensembles and opera productions. Japanese born Naoki Kitaya His career has been documented by a fi lm made by Swiss National TV, radio recordings has performed on European platforms since his youth. After three years of teaching the and on CD and DVD. For further information please see www.jonas-iten.ch continuo at the Zurich Conservatory of Music, Naoki Kitaya works as a free lance musician in Zurich. Beside his love for baroque music, Naoki Kitaya also favours the classical period, Jazz, Pop, traditional Asian and South American music. Naoki Kitaya has composed commissioned works for ensembles and orchestras of all kind. Naoki Kitaya’s solo CDs with works by Louis Couperin and Johann Sebastian Bach, as well as his many CD recordings with duo partner Maurice Steger, have received great acclaim from the press and have won several awards. 8 9 Ghislaine Wauters, viola da gamba Ghislaine Wauters, born in Leuven, Belgium, grew up in a musical family. After high school graduation she studied the viola da gamba with Wieland Kuijken at the conservatory of Brussels and went on to study the baroque violin with her brother Sigiswald at the con- servatory of Den Haag. As a member of the renowned ensembles “La Petite Bande”, “Collegium Vocale” and “Chapelle Royale” she fi nally specialised in the early baroque rep- ertoire. Thus she mainly played with ensembles like “Musica Fiata Köln”, “Ricercar” and the “Rosenmüller-Ensemble”.

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