EUROPEAN UNION BAROQUE ORCHESTRA 2012 Inspired Performance
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The Four Seasons
Karl Aage Rasmussen THE FOUR SEASONS AFTER VIVALDI Concerto Copenhagen Magnus Fryklund · Lars Ulrik Mortensen L’autunno (Autumn) in F major 11:00 Karl Aage Rasmussen Fredrik From, violin I Allegro ������������������������������������������������������������������������������������������������������������������������������������������������������������� 4:58 THE FOUR SEASONS II Adagio molto ����������������������������������������������������������������������������������������������������������������������������������������������� 2:45 AFTER VIVALDI III Allegro 3:17 L’inverno (Winter) in F minor 10:02 Concerto Copenhagen Peter Spissky, violin conducted by I Allegro non molto 4:02 II Largo 2:46 Magnus Fryklund · Lars Ulrik Mortensen * III Allegro 3:14 KARL AAGE RaSMUSSEN Follia, follia … (2015) 7:39 ANTONio Vivaldi (1678-1741) / KARL AAGE RaSMUSSEN (b 1947) The Four Seasons After Vivaldi (2014) 41:56 OTTORINO RESPIGHI (1879-1936) La primavera (Spring) in E major �����������������������������������������������������������������������������������������������������������10:00 -
Eubo Mobile Baroque Academy
EUBO MOBILE BAROQUE ACADEMY EUROPEAN CO OPERATION PROJECT 2015 2018 INTERIM REPORT Pathways & Performances CONTENTS EUBO MOBILE BAROQUE ACADEMY........................................2?3 PARTNER ORGANISATIONS ....................................................4?13 INTERNATIONAL CONCERT TOURS ....................................14?18 MUSIC EDUCATION ...............................................................19?22 OTHER ACTIVITIES ................................................................23?25 HOW DO WE MAKE ALL THIS HAPPEN ................................26?27 WHO IS WHO................................................................................28 EUBO MOBILE BAROQUE ACADEMY The EUBO Mobile Baroque Academy (EMBA) co-operation project addresses the unequal provision across the European Union of baroque music education and performance, in new and creative ways. The EMBA project builds on the 30-year successful track-record of the European Union Baroque Orchestra (EUBO) in providing training and performing opportunities for young EU period performance musicians and extends and develops possibilities for orchestral musicians intending to pursue a professional career. From an earlier stage of conservatoire training via orchestral experience, through to the first steps in the professional world, musicians attending the activities of EMBA are offered a pathway into the profession. The EMBA activities supporting the development of emerging musicians include specialist masterclasses by expert tutors; residential orchestral selection -
AT HOME in the WORLD Wednesday 22 August 6Pm, Salon
AT HOME IN THE WORLD Wednesday 22 August 6pm, Salon PRESENTED BY Melbourne Recital Centre ARTISTS Genevieve Lacey recorders Jane Gower Baroque bassoon Lars Ulrik Mortensen harpsichord PROGRAM ANTONIO VIVALDI (1678-1741) Sonata in A minor for recorder, bassoon & continuo I Largo II Allegro III Largo cantabile IV Allegro molto JOHAN HELMICH ROMAN (1694-1758) Sonata No.4 in G for recorder & continuo I Largo II Allegro III Larghetto IV Vivace V Allegro VI Non presto GEORG PHILIPP TELEMANN (1681-1767) Sonata in F minor, TWV 41:f1 I Triste II Allegro III Andante IV Vivace LOUIS COUPERIN (1626-1661) Prélude non mesurée in G MICHEL DE LA BARRE (1675-1745) Sonata L’inconnue in G for recorder & continuo, Book 2, No.9 I Overture II Vivement III Chaconne ABOUT THE ARTISTS Lars Ulrik Mortensen works extensively as a soloist and chamber musician throughout the world. From 1996-1999 he was a professor at the Munich Hochschule für Musik, and still teaches numerous courses. Mortensen is also active as a conductor, exclusively of period instrument ensembles. He is the Artistic Director of both Concerto Copenhagen and the European Union Baroque Orchestra. Additionally, Mortensen works with several distinguished ensembles such as Holland Baroque, Irish Baroque Orchestra, Nederlandse Bachvereniging and Collegium 1704. Mortensen has recorded extensively for many labels including DGG-Archiv, CPO, ECM and Kontrapunkt, winning a Diapason d’Or for Bach’s Goldberg Variations. He has received multiple prizes and distinctions, among them Denmark’s most prestigious music award, the Léonie Sonning Music Prize. After gaining her Bachelor of Music from the Canberra School of Music in 1992, Jane Gower undertook post-graduate studies in Early Music at The Royal Conservatory of The Hague. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Antonio Maria Montanari (1676-1737) ~ Concerto Grosso in a Major Baroque Music Performed According to the Traditions of the Time
ANTONIO MARIA MONTANARI (1676-1737) ~ CONCERTO GROSSO IN A maJOR BAROQUE MUSIC PERFORMED accORDING TO THE TRADITIONS OF THE TIME uthentic Classical Concerts zu veröffentlichen, heisst für uns, herausragende Aufführungen und Konzerte für die Nachwelt festzuhalten und zu vermitteln. Denn Künstler, Publikum, Werk und ARaum treten in einen intimen Dialog, der in Form und Ausdruck - in seiner Atmosphäre - einmalig und unwiederbringlich ist. Diese Symbiose, die Spannung der Aufführung dem Hörer in all ih- ren Facetten möglichst intensiv erlebbar zu machen, indem wir die Konzerte direkt in Stereo-Digital aufzeichnen, sehen wir als Ziel, als Philosophie unseres Hauses. Das Ergebnis sind einzigartige Interpretationen von musikalischen und literarischen Werken, schlichtweg - audiophile Momentaufnahmen von bleibendem Wert. Blühende Kultur, dem Publikum vor Ort und nicht zuletzt auch Ihnen zur Freude, sind somit jene Werte, welche wir in unseren Editionen und Reihen dokumentieren. Publishing Authentic Classical Concerts entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbio- sis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital. The results are unparalleled interpretations of musical and literary works, simply - audiophile snap- shots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series. Andreas Otto Grimminger & Josef-Stefan Kindler „EUBO has greatly contributed to the vitality of European baroque ensembles.“ Mrs. -
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557249bk Buxtehude US 7/10/05 5:16 pm Page 8 Dietrich Buxtehude (c.1637–1707): Complete Chamber Music • 2 Seven Trio Sonatas, Op. 2 BUXTEHUDE Sonata No. 1 in B flat major, 8:33 Sonata No. 5 in A major, 9:15 BuxWV 259 BuxWV 263 Seven Trio Sonatas, Op. 2 1 Allegro 1:23 ^ Allegro 1:01 2 Adagio – Allegro 2:23 & Violino solo – Concitato 3:19 John Holloway, Violin 3 Grave 1:34 * Adagio: Viola da gamba solo 1:21 4 Vivace – Lento 1:14 ( Allegro – Adagio 1:19 Jaap ter Linden, Viola da gamba 5 Poco adagio – Presto 1:59 ) 6/4 – Poco presto 2:14 Lars Ulrik Mortensen, Harpsichord Sonata No. 2 in D major, 9:06 Sonata No. 6 in E major, 8:37 BuxWV 260 BuxWV 264 6 Adagio – Allegro – Largo 3:13 ¡ Grave – Vivace 3:23 7 Ariette, Parte I–X 3:40 ™ Adagio – Poco presto – Lento 3:39 8 Largo – Vivace 2:14 £ Allegro 1:34 Sonata No. 3 in G minor, 10:54 Sonata No. 7 in F major, 8:15 BuxWV 261 BuxWV 265 9 Vivace – Lento 3:07 ¢ Adagio – 4/4 3:02 0 Allegro – Lento 1:25 ∞ Lento – Vivace 2:20 ! Andante 3:16 § Largo – Allegro 2:53 @ Grave – Gigue 3:06 This recording has been based on the following editions: Dieterich Buxtehude: VII. Suonate à doi, Sonata No. 4 in C minor, 8:32 Violino & Violadagamba, con Cembalo, Opus. 1, BuxWV 262 Hamburg [1694] – Opus 2, Hamburg 1696. Facsimile # Poco adagio 1:45 edition, vol. 1-2, with an introduction by Kerala J $ Allegro – Lento 2:03 Snyder. -
Handel MUSIC for QUEEN CAROLINE George Frideric Handel (1685 - 1759)
Les Arts Florissants William Christie Handel MUSIC FOR QUEEN CAROLINE George Frideric Handel (1685 - 1759) MUSIC FOR QUEEN CAROLINE !e King shall rejoice - Coronation Anthem, HWV 260 (1727) Te Deum in D major,“Queen Caroline”, HWV 280 (1714) !e ways of Zion do mourn - Funeral Anthem for Queen Caroline, HWV 264 (1737) LES ARTS FLORISSANTS William Christie,direction Caroline of Ansbach !by Enoch Seeman, c. 1720" Soloists for the Te Deum | solistes du Te Deum: Tim Mead,countertenor | contre-ténor Sean Clayton,tenor | ténor Lisandro Abadie,bass-baritone | baryton-basse !e wife of George II of England, a woman of great beauty and a defender of both science and the arts, Caroline of Ansbach was also a patron and close friend of Handel. !is recording brings together three of the composer’s works written for the major royal ceremonies which marked the life of Caroline from her arrival in England to her funeral. Épouse du roi George II d’Angleterre,femme d’une grande beauté,défenseur des arts et des sciences, Caroline d’Ansbach fut aussi la protectrice et l’amie intime de Handel. Cet enregistrement réunit trois œuvres du compositeur destinées aux grandes cérémonies royales qui, de l’arrivée de Caroline en Angleterre jusqu’à ses funérailles,ponctuèrent son règne. 1 7 | Tracklist | Liste des plages 10 | #e performers | Les interprètes 12 | Fit for a Queen | Des joyaux dignes d’une reine JOHN H. ROBERTS 21 | Sung texts | Textes chantés 26 | Portfolio 32 | Biographies 46 | Discography, DVDs and scores | Discographie, DVD et partitions 3 GEORGE FRIDERIC -
Jane Gower - Baroque Bassoon As a Specialist in Historical Bassoon, Jane Gower Performs Extensively Throughout Europe, the United States and Australia
Jane Gower - baroque bassoon As a specialist in historical bassoon, Jane Gower performs extensively throughout Europe, the United States and Australia. She is very active in chamber music and as a soloist, appears with the finest early music orchestras, and has a growing and diverse collection of original instruments on which she also performs. Jane Gower was performing with the Sydney Symphony, Australian Chamber Orchestra and the Australia Ensemble while still an undergraduate; she received her Bachelor of Music degree with High Distinction from the Canberra School of Music in 1992. With the support of a Netherlands Government Scholarship and a Queen’s Trust grant she studied historical bassoon at the Royal Conservatory in The Hague, completing her performance diploma in Early Music in 1996. In 2005 Jane Gower was appointed Principal Bassoon of Sir John Eliot Gardiner’s acclaimed English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. She has been Principal Bassoon with Jos van Immerseel’s orchestra Anima Eterna for many years, performing and recording repertoire ranging from Buxtehude and Bach to Tchaikovsky, Dvorak and Orff, as well as the complete symphonies of Schubert and Beethoven. Additionally she is the Principal Bassoon of Concerto Copenhagen, and appears as Principal with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, and many other leading period instrument ensembles. She returns regularly to her native Australia to perform with the Australian Chamber Orchestra. In 1999 Jane founded the quartet "island" with the aim of exploring the extraordinary 19th century repertoire for bassoon and strings, and with them has performed throughout Europe and Australia, also recording 4 premiere CDs on original instruments of Devienne, Danzi, Krommer and Reicha. -
IGNACIO PREGO Biography
IGNACIO PREGO Biography First Prize winner at the 2012 Westfield International Harpsichord Competition, Ignacio Prego has been described by the newspaper El Mundo as “…one of the most versatile Spanish musicians in the Classical scene…” He has performed in major cities in the USA, China, Japan, Italy, Spain, Costa Rica, Chile, Holland, Portugal, Italy, Romania, Peru, Bolivia and Canada, including important venues such as the National Gallery of Arts in Washington, D.C., the National Center for the Performing Arts in Beijing, the National Auditorium in Madrid, the Esplanade in Singapore and the Alice Tully Hall at Lincoln Center in New York. Recent appearances include Mr. Prego’s debut with The English Concert and Harry Bicket playing Bach’s F minor Harpsichord Concerto in New York. Also debuts in England with a solo recital at St. Martin in the Fields in London and in Berkeley, CA, playing Goldberg Variations; concerts with the Portland Baroque Orchestra conducted by Monica Huggett playing as soloist at the Oregon Bach Festival, Bach Harpsichord Concerti with Byron Schenkman & Friends in Seattle, a Japan/Singapore Concert Tour under the direction of Masaaki Suzuki, a concert conducted by Jordi Savall at the Metropolitan Museum of Art in NY, solo recitals at the National Gallery of Arts in Washington, D.C., the Cervantes Institute of Chicago, the Queen Sofia Spanish Institute in New York and at the Westfield Continuo Conference in Tacoma, WA. A live performance at the WQXR NY Public Radio as part of the Bach360 Festival, a presentation at the NYIT Auditorium for the New York Philharmonic Insight Series and recitals with recorder virtuoso Maurice Steger and cellist Phoebe Carrai at the Frick Collection in New York and The Mansion of Strathmore in Bethesda. -
Concerto Copenhagen
CONCERTO COPENHAGEN Concerto Copenhagen gave its first performances in 1991 and was soon to become Scandinavia’s leading period instrument orchestra. Today it is known internationally as one of the most interesting and innovative baroque orchestras. Its trademark is vitality, style and a marked talent for communicating with the audience. In 1999 Lars Ulrik Mortensen was appointed Artistic Director. As recognition of his stature as one of the world’s leading harpsichord players and musical directors he was awarded the coveted Léonie Sonning Prize in 2007. The partnership between Concerto Copenhagen and Mortensen has resulted in an exciting musical journey, appreciated and praised by audiences and critics worldwide. Throughout the years Concerto Copenhagen has collaborated with internationally celebrated artists such as: Emma Kirkby, Andreas Scholl, Anne Sofie von Otter, Andrew Manze, Reinhard Goebel, Alfredo Bernardini and Andrew Lawrence-King who is the orchestra’s Principal Guest Conductor. Concerto Copenhagen’s CD recordings for the German label cpo, Deutsche Grammophone and BIS, as well as DVD productions for Harmonia Mundi and Decca, have attracted world wide attention and won several prestigious prizes. This has led to invitations from many of Europe’s leading concert venues and festivals as well as extensive tours to USA, Japan and Australia. Everywhere critics have placed Concerto Copenhagen in the first rank of international baroque orchestras. In Denmark their main partner is the Royal Theatre in Copenhagen where Concerto Copenhagen performs on an annual basis. Recent productions Nordic Artists Management / Denmark VAT number: DK29514143 http://nordicartistsmanagement.com have included works by Monteverdi and Mozart, as well as Händel’s XERXES, GIULIO CESARE, PARTENOPE and JEPHTA. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVI, Number 1 April 2001 HANDEL’S SCIPIONE AND THE NEUTRALIZATION OF POLITICS1 This is an essay about possibilities, an observation of what Handel and his librettist wrote rather than what was finally performed. Handel composed his opera Scipione in 1726 for a text by Paolo Rolli, who adapted a libretto by Antonio Salvi written for a Medici performance in Livorno in 1704.2 Handel’s and Rolli’s version was performed at the King’s Theater in the Haymarket for the Royal Academy of Music.3 The opera has suffered in critical esteem not so much from its own failings as from its proximity in time to the great productions of Giulio Cesare, Tamerlano and Rodelinda which preceeded it. I would like to argue, however, that even in this opera Handel and Rolli were working on an interesting idea: a presentation of Roman historical material in ways that anticipated the ethical discussions that we now associate with the oratorios. If that potential was undermined by what was finally put on stage, it is nevertheless interesting to observe what might have been. Narrative material from the Roman republic was potentially difficult on the English stage of the early eighteenth century. The conquering heroes of the late Roman republic particularly—Sulla, Pompey, and especially Caesar—might most easily be associated with the monarch; but these historical figures were also tainted by the fact that they could be identified as tyrants responsible for demolishing republican freedom. Addison’s Cato had caused a virtual riot in the theatre in 1713, as Whigs and Tories vied to distance themselves from the (unseen) villain Caesar and claim the play’s stoic hero Cato as their own. -
MARCH 2017 Director’S Introduction
JANUARY – MARCH 2017 Director’s Introduction ©Frances Marshall Photography Receptive to life and death, and aware of the spiritual depths of both, Schubert probed the heart of the human condition in his unsurpassed, and almost certainly unsurpassable, output of 600-plus songs. Wigmore Hall’s Schubert: The Complete Songs series offers audiences the chance to experience the full range of this extraordinary creative achievement as it continues through 2017. Grammy-nominated pianist, bandleader and composer Vijay Iyer starts his Jazz Residency at Wigmore Hall. The American musician, born in 1971 in New York, has been described by Los Angeles Weekly as ‘a boundless and deeply important young star’ and by the Guardian as being ‘at a dizzying pinnacle of contemporary jazz multitasking’, verdicts reinforced by a string of awards and five-star reviews. Patricia Kopatchinskaja, our Artist in Residence, launches her Wigmore Hall series with the first of three concerts crafted to show the versatility, curiosity and wide musical passions of a true pioneer among today’s performers. The Moldovan-Austrian violinist is equally at home with period performance styles as she is when bringing contemporary compositions to life or casting fresh interpretative light on the most familiar of chamber works. Spread over the course of four seasons, Angela Hewitt: The Bach Odyssey gathers momentum with a concert devoted to Bach’s six French Suites. Angela Hewitt’s affinity for Bach flows naturally from Peter Dazeley her strong connection with the composer’s dance rhythms and from Paul Lewis’s pianism, eloquent and fully alive, is the result of a harmonious her exquisite feeling for lyrical phrasing, contrapuntal clarity and marriage between deep thinking about music and unrestrained physical sensitive articulation.