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Cdq310c CD Label Europe Antonio Vivaldi Johann Georg Pisendel Antonio Montanari Tomaso Albinoni La Serenissima Adrian Chandler Per Monsieur Pisendel 2 Six Virtuoso Violin Sonatas of the Baroque VIVALDI · PISENDEL · MONTANARI · ALBINONI PER MONSIEUR PISENDEL 2 6 Virtuoso Violin Sonatas of the Baroque Antonio Vivaldi 1678–1741 Tomaso Albinoni 1671–1751 La Serenissima Suonata à Solo facto per Sonata for violin & continuo in B Monsieur Pisendel in A, RV 29 e Allemanda: Larghetto 4’58 Adrian Chandler – Violin 1 Andante 2’55 r Corrente: Allegro b 2’22 (Rowland Ross, 1981, after Amati) 2 Allegro 2’07 t Gavotta: Allegro 2’00 3 Largo 2’35 z Sarabanda: Allegro 1’09 Gareth Deats – Cello 4 Presto 1’20 (Michael Watson, 1993, Manchester, Johann Georg Pisendel after Andrea Guarneri) Johann Georg Pisendel 1687–1755 Sonata for violin in a minor Sonata for violin & continuo in c minor u Grave 2’38 Thomas Dunford – Theorbo 5 Adagio prolubite – Andante 1’55 i Allegro 5’19 (Giuseppe Tumiatti, 2010) 6 Allegro 4’32 o Giga – Variazione 6’50 7 Largo 3’04 Robert Howarth – Harpsichord 8 Allegro 4’37 Antonio Vivaldi (Malcolm Greenhalgh, 1989, London, Suonata à Solo facto per after Grimaldi (c1680)) Antonio Montanari 1676–1737 Monsieur Pisendel in F, RV 19 Sonata for violin & continuo in d minor p Andante 2’30 Robert Howarth – Organ 9 Adagio 1’44 a Giga 2’46 (Robin Jennings, 2005, Kent, 0 Allegro 2’10 s Largo 2’06 after various originals) q Adagio 1’42 d Allegro 2’31 w Giga senza basso 2’41 f Allegro con variazioni 6’52 2 Per Monsieur Pisendel 2 As well as studying the violin with Vivaldi, corrections in Vivaldi’s hand made to one of Pisendel’s own violin concertos prove that he was also taking lessons in composition from the Venetian. The Johann Georg Pisendel was one of the greatest violinists of the 18th century. He was born on relationship between the two men flourished and Vivaldi treated Pisendel more like a colleague 26 December 1687 in Cadolzburg, a small town in Bavaria where his father had settled as Kantor in than a pupil. Vivaldi, who held the reins of his operatic enterprises very tightly, clearly held Pisendel 1680. Destined to follow in his father’s footsteps, he entered the local court chapel of Ansbach as a in such high regard that he asked him to lead one of the performances of his new opera Arsilda chorister in 1697, studying singing with Francesco Antonio Pistocchi and the violin with Pistocchi’s (RV 700) at the Teatro S. Angelo. This also entailed playing a dazzling solo concerto between the great friend and fellow Bolognese, Giuseppe Torelli. To have studied with so great a master as Torelli acts of the opera. at such a young age must have been fundamental to the development of Pisendel both as a violinist From this period, we are fortunate to possess an account of a meeting between the two men as and composer. transcribed by Pisendel’s biographer Johann Adam Hiller: In 1709 Pisendel left Ansbach for Leipzig to study law; whilst en route he stopped over in Weimar where he met Johann Sebastian Bach. Here, Bach gave Pisendel a copy in his own hand of a double Pisendel took a stroll with Vivaldi in St Mark’s Square. In the midst of their conversation, Vivaldi stopped violin concerto by Telemann (TWV 52:G2). Pisendel’s technical wizardry impressed Bach so much so abruptly and whispered to him that they should go home immediately … Pisendel did as he was told and Vivaldi that his violin-writing would for evermore bear the imprint of Pisendel’s prowess. Indeed, it is told him that four secret police had been closely following and observing him. Vivaldi asked him whether he had difficult to imagine Bach’s works for unaccompanied violin without Pisendel’s own fiendish done or said anything that was illegal in Venice and since Pisendel could not remember anything of the sort, unaccompanied sonata, a work that survives in Pisendel’s hand and partially in a publication by his Vivaldi advised him not to leave his house until he could find out more and tell him what was going on. In fact, great friend Georg Philipp Telemann. Vivaldi went straight to the Inquisitori, where he found out that they had been looking for someone who During Pisendel’s time in Leipzig, he impressed his colleagues by playing a concerto by Albinoni resembled Pisendel and whose whereabouts they now knew. in 1709; he also deputised for Melchior Hoffman as director of the opera orchestra and led Telemann’s Collegium Musicum. Apart from a brief excursion to Darmstadt (where he declined a post Pisendel stayed for nine months in Venice and found his lessons with Vivaldi to be so profitable in the court orchestra), Pisendel remained in Leipzig until 1712, when he entered the service of the that in 1717 he returned for more, knowing he would be given a favourable reception by Vivaldi Dresden court under whose patronage he remained for the rest of his life. He was engaged as who had inscribed five sonatas and six concertos to him personally. The manuscripts of these and a assistant concertmaster of the court orchestra, where he played under the Spanish-born Flemish huge number of other Italian works, the bulk of which were by Vivaldi, Pisendel brought back to violinist Jean-Baptiste Volumier and soon became a member of the elite chamber ensemble Die Dresden where they survive to this day in the Sächsische Landesbibliothek. Kammermusik, touring as part of the Crown Prince of Saxony’s retinue. With this ensemble he visited The music of Vivaldi’s fellow Venetian Tomaso Albinoni, who dedicated a virtuoso sonata to Paris (1714), Berlin (1715) and Venice (1716). Pisendel (see La Serenissima Per Monsieur Pisendel, AV0018) is represented by around 12 works in There can be no doubt that the Italian tour of 1716–1717 was the most significant trip undertaken this corpus. Two further sonatas by Albinoni are housed here, though as the manuscripts are by Pisendel as a member of Die Kammermusik. It was during his extended stay in Venice that he met unattributed, they were classified by the Landesbibliothek as anonymous until 1976, when Manfred and befriended Antonio Vivaldi, spending much of the ensuing two years studying with him. In Fechner identified the handwriting and style of composition as entirely that of Albinoni. These two 1716 Vivaldi was at the height of his success; he was one of the most celebrated violinists in Europe, sonatas (So 33 & 34) were probably presented to Pisendel on the same occasion as that of the larger he was Maestro de’ Concerti at the Venetian institution for foundlings, the Ospedale della Pietà, the sonata in B (So 32); the endless amount of double-stopping contained within these other two twelve concertos of L’estro armonico (Op.3, 1711) had swept Europe by storm, he was enjoying sonatas are btypical of Pisendel’s style. operatic triumphs and he was also supplying sacred music to the Pietà during the absence of its While in Italy, the retinue of the Crown Prince visited Rome and it was here that Pisendel took Maestro di Coro, Francesco Gasparini. the opportunity to study with Antonio Montanari, who, since Corelli’s death in 1713 had become 3 the most sought-after violinist in the papal city. Pisendel returned to Dresden with three Montanari 1709 verließ Pisendel Ansbach, um in Leipzig Jura zu studieren; auf dem Weg machte er in sonatas which he probably copied from the composer’s autograph. Typical of Montanari are Weimar Halt, wo er Johann Sebastian Bach kennenlernte. Bach überreichte ihm eine selbst curiosities such as the exclusion of the continuo from the finale of the d minor sonata. If Montanari angefertigte Kopie eines Konzertes für zwei Violinen von Telemann (TWV 52:G2). Pisendels was a prolific composer, the passage of time has not been kind to his works, as only around 15 or so technische Zaubereien beeindruckten Bach so sehr, dass seine Kompositionen für Violine fortan examples survive, most being either sonatas or concertos for violinii. stets Spuren von Pisendels Können enthalten sollten. Bachs Solowerke für Violine sind ohne It is difficult to imagine any other musician from the first half of the 18th century being as well Pisendels höllische Solosonate in der Tat nur schwer vorstellbar. Die Sonate ist teilweise als connected as Pisendel. In addition to those mentioned above, he was also friends with Antonio Lotti Handschrift Pisendels, teilweise in einer Veröffentlichung seines berühmten Freundes Georg and Joachim Quantz and taught the virtuoso violinists Johann Gottlieb Graun and Franz Benda. His Philipp Telemann erhalten. attention to the fusion of the national styles of France, Germany and Italy in music by himself and Während seines Aufenthalts in Leipzig beeindruckte Pisendel 1709 seine Kollegen mit einer others was fundamental in the development of a style representing a ‘mixed taste’ and which Vorführung eines Konzertes von Albinoni; außerdem vertrat er Melchior Hoffman, den Direktor eventually resulted in the birth of the classical style. With this and his jovial temperament in mind, des Opernorchesters, und leitete Telemanns Collegium Musicum. Abgesehen von einem kurzen Pisendel would no doubt have agreed with Georg Muffat’s assertion that ‘As I mix the French Ausflug nach Darmstadt (wo er einen Posten am Hoforchester ablehnte), blieb Pisendel bis 1712 manner with the German and Italian, I do not begin a war, but perhaps rather a prelude to unity, in Leipzig. Danach trat er in den Dienst des Dresdener Hofes, unter dessen Schirmherrschaft er für the dear peace, desired by all the peoples.’iii den Rest seines Lebens blieb.
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