THE ART OF ELEGANT CONVERSATION

Johann Joachim Quantz (1697 - 1773) Sei Duetti

(Berlin, 1759)

ELYSIUM ENSEMBLE

ON PERIOD INSTRUMENTS

Greg Dikmans () Lucinda Moon (violin) (1697-1773) Duetto I in G major 1 Allegro [6:43] 2 Larghetto [2:28] Sei Duetti, Op. 2 (Berlin, 1759) 3 Presto [2:00] Duetto II in A minor 4 Allegro assai [4:18] 5 Andantino [3:53] Elysium Ensemble 6 Presto [2:16] Duetto III in B minor 7 Allegro [3:08] 8 Larghetto, alla Siciliana [4:30] Greg Dikmans flute 9 in Tempo di Minuetto ma Grazioso [4:23] Lucinda Moon violin Duetto IV in C major 10 Allegro [3:50] 11 Affettuoso [3:00] 12 Presto [3:51]

Duetto V in D major 13 Allegro [4:07] 14 Mesto [3:38] 15 Allegro di molto [5:04]

‘Classicism at its most perfectly formed, and most persuasively performed.’ Duetto VI in E minor The Advertiser (Adelaide) 16 Grave [1:36] 17 Allabreve, ma Presto [2:24] ‘Greg Dikmans and Lucinda Moon are ideally matched: their phrasing is energetic but warmly 18 Cantabile [3:16] burnished, they click like fine joinery when playing in harmony, and 19 Piu tosto Vivace —Canone infinito [2:34] present music as if from a single organising mind.’ The Age Total running time [67:07] Introduction to revisit Quantz in the light of many years Another inspiration for our ongoing work Dialogue: The Art of Elegant Conversation of performing experience. Edward R.Reilly are the ideas presented in the following This recording of duets by Johann (the translator of the treatise into English) passage from Quantz and his Versuch: Dialogue: a discussion between two Joachim Quantz is the first of a series to was calling for exactly this sort of study at Three Studies (1971) by Edward R. Reilly: or more people, especially one directed be produced as part of a Music the time his translation was first toward exploration of a particular Performance Research Project. The project published in 1966. Quantz most obviously differed from his subject or resolution of a problem. was initiated in 2010 by the Elysium immediate predecessors in his Ensemble’s principals, Greg Dikmans and Quantz seems to be more often quoted refusal to content himself with Baroque musicians and theorists saw many Lucinda Moon, and is being supported by than truly understood. Barthold Kuijken oversimplified generalizations that parallels between the Greek and Roman the Early Music Studio at the Melbourne in his Introduction to a facsimile edition of ignored the complexity of the process art of rhetoric (oratory) and music. According Conservatorium of Melbourne and by Quantz’s Versuch makes some pertinent of giving life to music in performance. to ancient writers such as Aristotle, Cicero private and corporate sponsors. observations that have inspired us in our work: If we are fully to grasp what he has and Quintilian, orators employed rhetorical to say, we must first understand that means to control and direct the emotions he was the product of a certain time The aim of the project is to identify of their audiences and so persuade and “Quantz says”, “According to Quantz, and place and the advocate of a neglected or newly discovered chamber one should”, “In Quantz one can certain style of performance and move them. It is not surprising, therefore, to music from the Baroque and early-Classical read” — how many times have these composition, but in addition we must find Marin Mersenne in Harmonie periods (1600–1800) with a view to words been uttered by generations of also do him the justice of refusing to universelle (1636) describing musicians bringing it to a wider audience through performing artists, musicologists, teachers compromise his ideals either through as ‘harmonic orators’. historically informed performances and and students? And with what results? Is over-simplification or through the recordings. An important aspect of the the Versuch […] really so important? Is creation of a musical dogma when In his famous treatise on performance project is to dedicate time to experiment Quantz really to be seen as the main none was intended. For beyond the practice, Johann Joachim Quantz stresses with, explore and reflect on the music in authority of his time […] And finally: what details of musical execution, the importance of an understanding of the kind of music do his directions apply to? a way that is not often possible in the Quantz’s work presents us with a art of rhetoric (oratory) in the very hectic life of professional music making. view of the knowledge, sensitivity, first paragraph of Chapter XI — ‘Of Good Whoever wants to go beyond simple and dedication needed to achieve Execution in General in Singing and quotations and catchwords has to musical artistry from which we still In the first year of the project we decided Playing’: ask himself these questions over and have much to learn. to focus on Quantz’s Versuch (1752), his over again. But many answers are Musical execution [the manner of famous treatise on 18th-century possible, since they depend on the level performance] may be compared with performance practice, applying his ideas to of one’s own musical proficiency and the delivery of an orator. The orator his Sei Duetti (1759). This was a treatise we evolution, and on one’s knowledge of the and the musician have, at bottom, historical circumstances. had both studied when we began our the same aim in regard to both the journey into historically informed preparation and the final execution of performance and it was very stimulating their productions, namely to make closely the various musical ideas as they are themselves masters of the hearts of presented and developed. their listeners, to arouse or still their passions, and to transport them Johann Joachim Quantz ( 1697–1773) now to this sentiment, now to that. Thus it is advantageous to both, if each has some knowledge of the Quantz was a performer, composer, duties of the other. teacher, writer on music and instrument maker, and one of the most famous Rhetoric is the art of discourse and musicians of his day. His autobiography, communication, of speaking with elegance published in F.W. Marpurg’s Historisch-kritische and eloquence. According to Aristotle Beyträge (1754–5), is the principal source of there are three equally important elements information on his life. It briefly describes in oratory: the speech itself (in music this his early years and then focuses on his is the piece being performed), the activities in (1716–41), his Grand speaker (the performers) and the Tour (1724–27) and his work at the court audience. The audience plays an important of in Berlin and role and can influence a live performance (from 1741). in a very real way. Direct communication with an audience was the primary Quantz was born in the village Oberscheden motivation of most music from the 17th in the province of Hannover on 30 January and 18th centuries. 1697. His father was a blacksmith. At the age of 11, after being orphaned, he began In much 18th-century chamber music the an apprenticeship (1708–13) with his uncle melodic lines (which sometimes included Justus Quantz, a town musician in Merseburg. the bass line) interact in a continuous Quantz writes: musical dialogue, which was sometimes described as a conversation galante wanted to be nothing but a musician. In August […] I went to Merseburg to (courteous conversation). This is particularly begin my apprenticeship with the true in Quantz’s Sei Duetti. On the surface former toI wn-musician, Justus Quantz. this music can be enjoyed for its charm […] The first instrument which I had to and beauty, but a deeper appreciation is achieved when listened to attentively, following learn was the violin, for which I also As they represented a completely new famous instrumentalists such as: When it became clear that there would be seemed to have the greatest liking way of composing music they Pisendel and Veracini on the little opportunity for advancement as and ability. Thereon followed the impressed me not a little. I did violin, Pantaleon Hebenstreit on an oboist in the Polish Chapel, Quantz and the trumpet. During my years not fail to supply myself with quite the Pantalon [hammered dulcimer], decided to devote himself seriously to the as an apprentice I worked hardest a number of them. The splendid on the and flute and in 1719 studied briefly with the on these three instruments. ritornellos of Vivaldi served as , Richter on the oboe, famous French flute player Buffardin, excellent examples in the future. Buffardin on the , principal flute in the Royal Orchestra. While still an apprentice Quantz also arranged not to speak of the good violoncellists, bassoonists, horn to have keyboard lessons: Quantz accepted an invitation to join the Here I reached a turning point, players, and bass violinists. When affecting both my previous way town band in Dresden, one of the most listening to these famous people I Due to my own choosing, I took some important artistic centres in Europe, in March of life and my main lifework. The was greatly amazed, and my zeal for violin, which until now had been lessons at this time on the clavier, which 1716, thus fulfilling the hope he had expressed continuing musical studies was doubled. my principal instrument, I now I was not required to learn, from a at the completion of his apprenticeship. He I wanted to prepare myself so that relative of mine, the organist Kiesewetter. exchanged for the oboe. However, makes some telling observations: in time I too could become a fair I was prevented by my colleagues, Through his instruction I laid the first member of this excellent company. groundwork for understanding who had had longer experience, harmony, and probably first received Here [in Dresden] I soon became from excelling on either instrument, the desire to learn composition. aware that the mere playing of the which I wanted to very much to do. notes as set down by the composer Quantz spent part of 1717 studying My chagrin over this caused me to was far from being the greatest merit with J.D. Zelenka and in 1718, take up seriously the transverse At the completion of his apprenticeship of a musician. at the age of 21, was appointed oboist in flute, which until then I had practiced Quantz was proficient on most of the the newly formed Dresden Polish Chapel only for my own pleasure. On this principal string instruments, the oboe The Royal Orchestra was in full bloom of August II, Elector of Saxony and King instrument I did not have to fear any and trumpet. He hoped to get a position already at this time. It distinguished of Poland. special resistance from my colleagues, in Dresden or Berlin as ‘I believed I could itself from many other orchestras by particularly since the previous flautist, hear much more beautiful music there, its French smoothness of performance, In March of the year 1718 the so-called Friese, who had no great inclination and learn much more, than I could in as introduced by the concertmaster Polish Kapelle, which was to consist toward music, willingly allowed me to Merseburg.’ at that time, Volumier; just as it later, of 12 members, was established. Since take the chair of the first flautist [in under the direction of its 11 members had already been hired the Polish Chapel]. For about 4 months concertmaster, Herr Pisendel, who In 1714 he had the opportunity to go to and an oboist was still lacking I was I took instruction from the famous introduced a mixed style, achieved Pirna to fill in for a sick journeyman proposed for the job, and after a flautist Buffardin in order to learn the a finesse of performance which I have peculiarities of this instrument. We under the direction of town-musician Schalle. successful test before the director of never heard bettered in all my travels. the Kapelle, Baron von Seyferitz, I played nothing but fast pieces, for this At this time it boasted of various During this period in Pirna I saw Vivaldi’s was accepted. violin for the first time. was the ‘forte’ of my master. I began to take instruction from From August 1726 to March 1727 Quantz After a ten-week visit to England, where he , a 72 year old kind visited Paris where he heard many met Handel, Quantz returned to Dresden and honest man, who was not only a Quantz became an intimate friend of J.G. performances. ‘[T]he French style was on 23 July 1727. learned contrapuntist but also an Pisendel, the concertmaster of the Royal not unknown to me and I did like their agreeable lucid composer of his manner of playing very much’, however he Orchestra, who greatly influenced his Now I reflected on all the good and time. He taught me the principles of did not enjoy the French vocal style. He development as a performer and composer. counterpoint. Since I already had bad music that I had heard on my was also unimpressed by the opera orchestra, some knowledge of composition and did journey. I found that I had gathered but enjoyed the solo performances not lack in industry, I reached, within quite a store of ideas, but that it I was fortunate enough to make the the space of six months, the point where of many instrumentalists, among them would be necessary to put them in acquaintance of Herr Pisendel, the great, my master did not consider it necessary the flautist , who for a time proper order. In every place in which skillful violin virtuoso and Royal to give me further lessons. […] taught Prince Frederick before he became I had stopped I had composed Concertmaster after Volumier’s death. Furthermore, he offered to correct king of Prussia. something, imitating the style prevalent This acquaintance, by and by, grew anything that I might compose during my there. But, I also thought about the into an intimate friendship on both sides stay in Rome without a fee. A rare merit which the original has over which to my great pleasure is still However, outside of the orchestra, example among the Italians! the imitation. Thus I began to continuing until this day. From him […] I there was no lack of good direct my greatest efforts toward have learned to perform not only an instrumentalists. Fortcroix and the goal of forming a personal adagio [slow movements], which he On a visit to Naples in 1725 Quantz met Roland Marais were good gambists. style so that possibly I too could played in an extremely touching way, : The first had a great deal of skill, but become an originator in music. but also, insofar as the interpretation the latter had more neatness and However, it would take thought, of movements and the performance of The first church composer in Naples pleasantness in his playing. Guigon experience, and time to achieve this. music in general is concerned, I have was the Oberkapellmeister and Knight, and Battiste were good violinists. Thus, whereas formerly a composition learned most from him. He encouraged Alessandro Scarlatti. […] I heard Scarlatti The former played in the Italian, might be finished in an hour, I now me to make further attempts in the play on the clavicembalo, which he the latter in the French style. allowed myself a day’s time, being only field of composition. knew how to play in a learned way Blavet, Lucas, the two brothers too sure that the first ideas might be although he did not posses as much Braun, Naudot, and several others successful, but that they are, if not finesse as his son []. played the transverse flute. Among always the worst, certainly not always Between 1724 and 1727 Quantz was able to After this he accompanied me in a them Blavet was the best. His the best. That, in fact, a fine sensitivity complete his education with a Grand Tour, solo. I had the good fortune to win helpfulness and good way of living and mature judgment are necessary to travelling and studying in Italy, France and his favour, in fact so much that he caused us to become friends, and I purify them and bring them into their England. He studied counterpoint with composed a few flute solos for me. He must praise him for the many proper relationship to one another, Gasparini in Rome, a skill that he would introduced me at various distinguished kindnesses which he showed me in so that a piece will be popular not later put to good use in his Sei Duetti. houses and even wanted to obtain for various ways. Also, there was no lack only for a short time and fleetingly, but, me a position in the Portuguese of good organists, clavier players, and if possible, always. service with a substantial salary, but I violoncellists. considered it wise to decline. As well as being a wonderful learning myself to be heard several times His Highness with such favourable trio (mostly dating from the experience, the three-year Grand Tour before Her Majesty, the Queen [of conditions that I could no longer Dresden period) and concertos. established Quantz’s reputation outside Prussia], I was offered a position by refuse to accept: two thousand thalers , paving the way for the future Her Highness for 800 thalers a year. I a year for life [a previously unheard The English translation of Quantz’s international dissemination of his music was ready to accept, but the King [of of sum], plus a special payment for my autobiography is published in P. Nettl: and writings. Poland], my master, would not agree. compositions, a hundred Dukaten Forgotten Musicians (New York, 1951). However, I did receive permission to for each flute that I would construct, go to Berlin as often as I was asked for. the privilege of not having to play in Within a year of returning to Dresden the orchestra, but only in the Royal Quantz was promoted to the Dresden In the same year, 1728, the Crown chamber music, and not having to Court Chapel (Saxon Kapelle), thus Prince of Prussia [Frederick II] […] decided take orders from anyone but the recognising his status as one of the to study the transverse flute and I had King. […] Thus I left Dresden in outstanding performers in Dresden. the honour of teaching His Highness. December 1741, since I began to For this reason I had to go to Berlin, serve in the Royal Prussian Service Up to this time I had been oboist Ruppin or Reinsberg twice every year. at that time. and flautist in the Polish Kapelle […] However, during my journey, my place had been given to another, Until 1741 Quantz was involved in the active Quantz stayed in Berlin for the remainder of and I was transferred to the Saxon musical life of the Saxon court in Dresden. In his career. His duties centred on the Kapelle. This happened in the month 1734 he published his Opus 1 consisting of 6 supervision of the king’s private evening of March in the year 1728 […] From sonatas for flute and continuo. He married concerts, for which he wrote new works this time on I abandoned the in 1737 and in 1739 started making . oboe completely, because its and at which he alone had the privilege of embouchure is different from the criticising Frederick’s playing. He died Because of the lack of good flutes, I flute, and remained solely with in Potsdam on 12 July 1773. began in the year 1739 to drill and tune the transverse flute. some myself, which practice never Only a few compositions were published did me any harm. during Quantz’s time in Berlin, most In May 1728 Quantz accompanied notably the Sei duetti, op. 2 (Berlin, 1759). Augustus II (King of Poland) on a state visit Frederick II became King of Prussia in 1740 His most significant contribution to music to Berlin. He made a particularly deep and Quantz finally accepted a position at the literature is his treatise Versuch einer impression on Prince Frederick and thereafter court in Berlin. Anweisung die Flöte traversiere zu returned to the Prussian court twice a year spielen (Berlin, 1752). The majority of to teach him the flute. In November 1741 I was called by His Majesty of Prussia to Berlin for the Quantz’s output awaits publication and exact dating. He wrote many solo sonatas, After I had the honour of allowing last time, and offered a position by Quantz’s Versuch and Historically deals with all aspects of performance Chapter 17 — ‘Of the Duties of Those Who a sensitive performer. […] [T]he work is Informed Performance practice in a way that is not only more Accompany’ — takes up approximately especially fascinating […] for the insights comprehensive but also more concrete one third of the book and includes it gives us into the sorts of musical Three important and influential treatises than ever before. It expounds one information about tempo markings, problems faced by 18th century dealing with performance practice were musician’s ideas on how to become a intonation, problems of balance, the musicians, which turn out to be, published in the middle of the18th century: complete 18th-century musician. size and arrangement of an ensemble not so surprisingly, the very same problems that face musicians today, and the duties of the leader of an and probably also at all other • Johann Joachim Quantz’s Versuch einer Those of us interested in historically orchestra, the ripieno violinists, the times: how to play in tune, how Anweisung die Flöte traversiere zu informed performance are indebted to players, the cellists and to play expressively, and how to spielen (Essay of a Method for Playing the pioneering work of Edward R. Reilly players and the keyboard player. phrase beautifully and with good taste. the Transverse Flute), published in Berlin who published a complete English translation in 1752; (with introduction and notes) of Quantz’s The final chapter — ‘How a Musician and a Versuch in 1966, as well as several scholarly Musical Composition Are to Be Judged’ — • Carl Philipp Emanuel Bach’s Versuch über studies relating to Quantz and his works. includes descriptions of most of the die wahre Art das Clavier zu spielen A second edition of Reilly’s translation principal types of composition of the (Essay on the True Art of Playing Keyboard appeared in 2001 and a Kindle ebook time, especially those favoured in the Instruments), also published in edition in 2011. courts of central and northern Germany. Berlin: Part 1 in 1753 and Part 2 in 1762; and It also compares and evaluates the Reilly notes that the Versuch is divided into Italian, French and German styles of • Leopold Mozart’s Versuch einer gründlichen three separate but closely related performance and composition. Violinschule (Essay of a Thoroughgoing treatises. The first 16 chapters deal with Violin School) published in Augsburg in 1756. the education of the solo musician A reading of the Versuch makes it clear and include the rudiments of flute playing. that Quantz was a first-rate musician. By studying these treatises, which But they also include information of Howard Mayer Brown, in a review of complement each other beautifully, we can general interest: the basic forms of Reilly’s translation, notes that: form a detailed picture of musical taste ornamentation, how to practice, how to and performance practice in 18th-century develop the ability to recognise and Quantz’s musicianly qualities are Europe. convey the character of a piece of music, the manifest on every page of his various types of fast and slow pieces and work, for he tries to do much more Quantz’s Versuch is so much more than an their appropriate execution, dynamics, than merely instruct the beginner instruction book for learning the flute. free ornamentation, cadenzas and in the rudiments of playing. Instead, Only five of its 18 chapters concern the performing in public. he does really try to capture in flute exclusively. The rest of the treatise prose those qualities that make up Quantz’s Sei Duetti makes some interesting observations about the Sei Duetti: The Sei Duetti a due flauti traversi (Berlin, 1759) are historically significant and engaging compositions that Stylistically, the six duets […] provide deserve to be heard by a wider excellent examples of the composer’s audience. They also provide excellent intermediate position between the material to work with when studying Baroque and Classica eras. They afford the performer and scholar an Quantz’s Versuch. Published seven years opportunity to test the author’s after the Versuch, it is clear that Quantz precepts in an appropriate context. considered the edition, including its As a composer Quantz certainly lengthy Preface, to be a supplement cannot be classed among the great, to the Versuch. For this reason but he does display a high level of Barthold Kuijken includes a facsimile craftsmanship, and his works of the Preface in the facsimile frequently come alive in actual edition of the treatise published by performance in a way one would Breitkopf & Hartel in 1983. hardly expect from simply analyzing the printed page. They clearly illustrate Quantz does not discuss duets in any depth the qualities and defects of much in the Versuch, but he does stress the mid–18th-century music, and how advantages of practicing ‘well-elaborated’ dependent such music is on certain basic elements of performance. (i.e. contrapuntal) duets. As Edward R. Reilly Re-created with the clarity of phrasing, has noted, in the Preface to the Sei Duetti dynamic variety, and in fast ‘the various characteristics of “good” duets movements the briskness which are outlined along exactly the same lines Quantz demands, the duets become found in Quantz’s descriptions of musical elegant, light, and tender. Performed fors in the Versuch. […] The passage might be too slowly and clumsily, they are inserted unaltered between the discussion merely tedious. of trios … and that of solos.’

Reilly includes an English translation of the Having performed these duets many times in Preface in ‘Further Musical Examples concerts and for this recording, we now think for Quantz’s Versuch’ ( JAMS, 1964) and the music is probably better than Reilly is suggesting. He is correct that they come better and more intelligible effect on two alive in actual performance and Quantz’s instruments of different types than ideas on performance practice make a big upon instruments of the same kind.’ So difference. The slow movements in particular the combination of flute and muted violin are often very expressive. Reading the Versuch seems to be a preferred option. confirms Quantz’s strong expressive intentions in performance. About the instruments

We have been gratified by the positive Baroque flute: G.A. Rottenburgh — mid 18th responses from our audiences. These types century (Rudolf Tutz, Innsbruck) of duets are quite different to other forms : presumed Italian (c. 1700) of Baroque chamber music and fit in well Baroque bow: 18th century ‘’ bow with the idea of ‘elegant conversation’. (Michelle Speller, Vancouver) Quantz says that duets have ‘certain merits Pitch: A = 413 Hz peculiar to themselves’ and describes them as ‘an elaborate music written in About the recording contrapuntal or imitative style.’ There are many beauties to be discovered when The CD was recorded in the crystal clear and listened to attentively. resonant acoustic of The Salon at the Melbourne Recital Centre, Australia from © Greg Dikmans 2014 10–13 October 2011. The natural www.dikmans.net acoustic of the space shines through (no artifical reverb has been added). The original Instrumentation recording was made at 176.4kHz/24bit using Sonodore microphones and preamplifiers While the title page of the Sei Duetti states and monitored on Lipinski loudspeakers. they are for two flutes, in the Preface Recording and post-production by Quantz says they can be performed on Thomas Grubb (www.manomusica.com). other instruments such as on a flute and a muted violin, as well as other combinations of matched instruments (two violins, two etc). He goes on to say: ‘In general, duets as well as trios produce a About the musicians performance of 18th-century French flute music in 1991, and has been teaching at Greg Dikmans (baroque flute) and Lucinda a number of tertiary institutions. Moon (baroque violin) have been working together for over 25 years. In this time they After completing her formal studies, have developed a fruitful collaboration built Lucinda was appointed concertmaster of around an approach to historically the Australian Brandenburg Orchestra informed performance that is (1995–2008). She has performed and characterised by careful scholarship recorded with baroque orchestras and combined with subtle, tasteful and, ensembles in Australia, Mexico, Japan, above all, unpretentious musicianship. Europe, Canada and Scandinavia.

Greg and Lucinda have both undertaken postgraduate studies in Europe, studying www.elysiumensemble.com with leading exponents of Early Music including Barthold Kuijken (flute) and Sigiswald Kuijken (violin).

In recent years they have focused on the rich and varied genre of the 18th-century instrumental duet. In this time they have presented concerts exploring the theme of Dialogue: The Art of Elegant Conversation.

On returning to Australia, Greg founded the Elysium Ensemble in 1985 with the aim of bringing together musicians with an affinity for the music of the Baroque

and Classical periods and an interest in ski

historically informed performance. He ń

continued his postgraduate research, abli

completing a Masters thesis on the

d Sz d Leonar More titles from Resonus Acknowledgements Jacques-François Gallay Chamber music for natural horn ensemble Elysium Ensemble is affiliated with the Anneke Scott, Les Chevaliers de Saint Hubert Early Music Studio at the RES10123 Melbourne Conservatorium of Music. '[...] meticulous scholarship and musical intelligence. When Elysium Ensemble gratefully acknowledges this is combined with the panache and virtuosity of the the support of: players, this [album] makes a compelling presentation of these pieces.' Cameron Foundation The Horn Player (www.cameronfoundation.org) Fantasticus: Sonnerie & other portraits John & Anne Duncan RES10122 ‘The performances of Fantasticus are confident, stylish, Simone Perele (www.simone-perele.com) beautifully articulated and convey a sense of genuine rapport – a most delightful recital of early-18th-century French Baroque chamber music.’ Gramophone (Gramophone Choice)

© 2014 Resonus Limited è 2014 Elysium Ensemble under licence to Resonus Limited Recorded in The Salon, Melbourne Recital Centre — 10–13 October 2011 Executive Producer: Greg Dikmans Recording Producer, Engineer & Editor: Thomas Grubb (www.manomusica.com)

DDD – MCPS

RESONUS LIMITED – LONDON – UK

[email protected] www.resonusclassics.com RES10136