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Download Booklet 8771_CO_Strum und Drang BOOKLET_FINAL.indd 1 10/12/2019 15:25 Recorded at St John’s Smith Square, London, UK from 4 to 6 January 2019 STURM UND DRANG Produced, Engineered and Edited by Andrew Mellor Assistant engineer: Brett Cox Design: Toucari Live and Debbie Coates Volume 1 Cover image: Shipwreck by Claude Joseph Vernet (1714-1789) Session photography: Benjamin Ealovega Session filming: Martin Kendrick Music by Gluck, Jommelli, Haydn, Beck and Traetta Italian language coach: Matteo dalle Fratte Harpsichord technician: Malcolm Greenhalgh Orchestra playing on period instruments at A = 430 Hz CHIARA SKERATH soprano The recording of Haydn’s ‘La Passione’ symphony is dedicated to Ken Coates, in loving memory. We are extremely grateful to George & Efthalia Koukis and Koukis Aviation for making this recording possible. THE MOZARTISTS Matthew Truscott (leader) We are also grateful to the following people and organisations for their generous support and assistance: Kate Bingham & Jesse Norman, Sir Vernon & Lady Ellis, Jeffery & Jennifer Eldredge, Jeanette Grohe, Richard Heason and all the staff at St John’s Smith Square, Pearce & Beaujolais Rood, Hamish and Carole Ritchie, Dyrk Riddell, Joe IAN PAGE conductor & Christine Swanson, Tina Vadaneaux, Michael & Rosemary Warburg, and all the other individuals who support our work. 2 STURM UND DRANG 1 STURM UND DRANG 1 3 sturm8771_CO_Strum und drang 1 finalund forDrang nick.indd BOOKLET_FINAL.indd 2 2 09/12/201910/12/2019 11:12:16 15:25 sturm und drang 1 final for nick.indd 3 09/12/2019 11:12:16 Recorded at St John’s Smith Square, London, UK from 4 to 6 January 2019 STURM UND DRANG Produced, Engineered and Edited by Andrew Mellor Assistant engineer: Brett Cox Design: Toucari Live and Debbie Coates Volume 1 Cover image: Shipwreck by Claude Joseph Vernet (1714-1789) Session photography: Benjamin Ealovega Session filming: Martin Kendrick Music by Gluck, Jommelli, Haydn, Beck and Traetta Italian language coach: Matteo dalle Fratte Harpsichord technician: Malcolm Greenhalgh Orchestra playing on period instruments at A = 430 Hz CHIARA SKERATH soprano The recording of Haydn’s ‘La Passione’ symphony is dedicated to Ken Coates, in loving memory. We are extremely grateful to George & Efthalia Koukis and Koukis Aviation for making this recording possible. THE MOZARTISTS Matthew Truscott (leader) We are also grateful to the following people and organisations for their generous support and assistance: Kate Bingham & Jesse Norman, Sir Vernon & Lady Ellis, Jeffery & Jennifer Eldredge, Jeanette Grohe, Richard Heason and all the staff at St John’s Smith Square, Pearce & Beaujolais Rood, Hamish and Carole Ritchie, Dyrk Riddell, Joe IAN PAGE conductor & Christine Swanson, Tina Vadaneaux, Michael & Rosemary Warburg, and all the other individuals who support our work. 2 STURM UND DRANG 1 STURM UND DRANG 1 3 sturm und drang 1 final for nick.indd 2 09/12/2019 11:12:16 sturm8771_CO_Strum und drang 1 finalund forDrang nick.indd BOOKLET_FINAL.indd 3 3 09/12/201910/12/2019 11:12:16 15:25 STURM UND DRANG, Volume 1 Page Page 1 GLUCK: Final scene from Don Juan 6’18 10 Larghetto – Chaconne (Allegro non troppo) 9 TRAETTA: “Sofonisba, che aspetti?” from Sofonisba 4’30 20 (Chiara Skerath, Sofonisba) 2 JOMMELLI: “Ombre che tacite qui sede” from Fetonte 4’18 12 (Chiara Skerath, Fetonte) HAYDN: Symphony No. 49 in F minor, ‘La Passione’ 22 10 1. Adagio 12’12 3 HAYDN: “Non v’è chi mi aiuta” from La canterina 2’50 15 11 2. Allegro di molto 6’16 (Chiara Skerath, Gasparina) 12 3. Menuet e Trio 4’16 13 4. Presto 3’02 BECK: Symphony in G minor, Op. 3, no. 3 16 4 1. Allegro con spirito 7’10 5 2. Andante un poco adagio 6’00 6 3. Minuetto e Trio 3’44 7 4. Presto 5’09 8 TRAETTA: “Crudeli, ahimè, che fate?” from Sofonisba 5’15 18 (Chiara Skerath, Sofonisba) 4 STURM UND DRANG 1 STURM UND DRANG 1 5 sturm8771_CO_Strum und drang 1 finalund forDrang nick.indd BOOKLET_FINAL.indd 4 4 09/12/201910/12/2019 11:12:17 15:25 sturm und drang 1 final for nick.indd 5 09/12/2019 11:12:17 STURM UND DRANG, Volume 1 Page Page 1 GLUCK: Final scene from Don Juan 6’18 10 Larghetto – Chaconne (Allegro non troppo) 9 TRAETTA: “Sofonisba, che aspetti?” from Sofonisba 4’30 20 (Chiara Skerath, Sofonisba) 2 JOMMELLI: “Ombre che tacite qui sede” from Fetonte 4’18 12 (Chiara Skerath, Fetonte) HAYDN: Symphony No. 49 in F minor, ‘La Passione’ 22 10 1. Adagio 12’12 3 HAYDN: “Non v’è chi mi aiuta” from La canterina 2’50 15 11 2. Allegro di molto 6’16 (Chiara Skerath, Gasparina) 12 3. Menuet e Trio 4’16 13 4. Presto 3’02 BECK: Symphony in G minor, Op. 3, no. 3 16 4 1. Allegro con spirito 7’10 5 2. Andante un poco adagio 6’00 6 3. Minuetto e Trio 3’44 7 4. Presto 5’09 8 TRAETTA: “Crudeli, ahimè, che fate?” from Sofonisba 5’15 18 (Chiara Skerath, Sofonisba) 4 STURM UND DRANG 1 STURM UND DRANG 1 5 sturm und drang 1 final for nick.indd 4 09/12/2019 11:12:17 sturm8771_CO_Strum und drang 1 finalund forDrang nick.indd BOOKLET_FINAL.indd 5 5 09/12/201910/12/2019 11:12:17 15:25 Sturm und Drang This recording is the first in a projected seven-volume series exploring the so-called ‘Sturm und Drang’ movement which swept through music, and other art forms, between the early 1760s and the early 1780s. In its strictest sense this was an exclusively literary movement which developed in Germany during the 1770s, and which owes its name to the title of a play written in 1776 by Maximilian Klinger. Its general objectives were to frighten and perturb through the use of a wildly subjective and emotional means of expression, and, taking as its model the recently revived and revered plays of Shakespeare, the movement sought to evoke ground-breaking extremes of passion and sentimentality. A leading figure was the young Goethe, whose Sorrows of the Young Werther (1774) anticipated the sombre world-weariness of the next century’s young Romantics, and the movement is generally considered to have reached its peak with Schiller’s play Die Räuber (1780-81). Not surprisingly, the ‘Sturm und Drang’ movement was mirrored in other art forms; the evocation of fear and terror was reflected in the fashion for storms and shipwrecks in paintings of the period by such artists as Joseph Vernet and Philip James de Loutherbourg, while in music there suddenly, and often quite independently, emerged a profusion of intensely dramatic and turbulent minor-key works. It is interesting to observe, however, that the most concentrated period of musical ‘Sturm und Drang’ actually predated the literary movement, suggesting less a conscious and deliberate ‘movement’ than a latent emotional mood. Indeed, it was perhaps inevitable and natural that there should at some point be a reaction to the superficial charm and gentility of the rococo style of the mid-eighteenth century. This series of ‘Sturm und Drang’ recordings incorporates iconic compositions by Mozart, Gluck and, above all, Joseph Haydn, but it also includes largely forgotten or neglected works by less familiar names. The music featured on this disc was all composed in the 1760s. It includes ballet and opera as well as symphonies, but is drawn together by the hallmarks of the remarkably visceral and dynamic style of music that we now call ‘Sturm und Drang’. Ian Page STURM UND DRANG 1 7 8771_CO_Strum und Drang BOOKLET_FINAL.indd 6 10/12/2019 15:25 sturm und drang 1 final for nick.indd 7 09/12/2019 11:12:20 Sturm und Drang This recording is the first in a projected seven-volume series exploring the so-called ‘Sturm und Drang’ movement which swept through music, and other art forms, between the early 1760s and the early 1780s. In its strictest sense this was an exclusively literary movement which developed in Germany during the 1770s, and which owes its name to the title of a play written in 1776 by Maximilian Klinger. Its general objectives were to frighten and perturb through the use of a wildly subjective and emotional means of expression, and, taking as its model the recently revived and revered plays of Shakespeare, the movement sought to evoke ground-breaking extremes of passion and sentimentality. A leading figure was the young Goethe, whose Sorrows of the Young Werther (1774) anticipated the sombre world-weariness of the next century’s young Romantics, and the movement is generally considered to have reached its peak with Schiller’s play Die Räuber (1780-81). Not surprisingly, the ‘Sturm und Drang’ movement was mirrored in other art forms; the evocation of fear and terror was reflected in the fashion for storms and shipwrecks in paintings of the period by such artists as Joseph Vernet and Philip James de Loutherbourg, while in music there suddenly, and often quite independently, emerged a profusion of intensely dramatic and turbulent minor-key works. It is interesting to observe, however, that the most concentrated period of musical ‘Sturm und Drang’ actually predated the literary movement, suggesting less a conscious and deliberate ‘movement’ than a latent emotional mood. Indeed, it was perhaps inevitable and natural that there should at some point be a reaction to the superficial charm and gentility of the rococo style of the mid-eighteenth century. This series of ‘Sturm und Drang’ recordings incorporates iconic compositions by Mozart, Gluck and, above all, Joseph Haydn, but it also includes largely forgotten or neglected works by less familiar names.
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