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Violin Concertos from Darmstadt

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Violin Concertos from Darmstadt Kress Violin Concertos from Darmstadt Violin concertos from the Darmstadt court Georg Philipp Telemann (1681–1767) Concerto in D Major, TWV 53:D5 for trumpet, violino concertato, violoncello obbligato, strings and basso continuo 01 Vivace 3 : 35 02 Adagio 4 : 00 03 Allegro 4 : 59 12 : 34 Johann Jakob Kress (c1685 –1728) Concerto à 5 in C Minor, Op. 1, No. 2* for violino principale, strings and basso continuo 04 Allegro 2 : 53 05 Adagio 2 : 05 06 Allegro 2 : 52 7: 50 Johann Friedrich Fasch (1688 – 1758) Concerto in D Major, FWV L:D4a* for solo violin, 3 trumpets, timpani, oboes, bassoon, strings and basso continuo 07 Allegro 5 : 20 08 Andante 2 : 16 09 Allegro 5 : 40 13 : 13 4 Johann Jakob Kress Concerto à 5 in C Major, Op. 1, No. 6 * for violino principale, strings and basso continuo 10 Adagio 3 : 18 11 Allegro 2 : 50 12 Adagio 2 : 14 13 Allegro 2 : 08 10 : 30 Johann Samuel Endler (1694 —1762) Ouverture (Orchestral suite) in D Major* for violin, 3 trumpets, timpani, oboes, bassoon, strings and basso continuo 14 Ouverture 7 : 10 15 Vivement 2 : 25 16 La Brouillerie 1 : 52 17 Menuett 2 : 31 18 Réjouissance 3 : 09 19 Fantasie 1: 32 20 Passepied 3 : 05 21 Le Causeur 2 : 04 23:48 * World premiere recording 5 Johannes Pramsohler solo violin & director / Solovioline & Leitung / violon solo & direction Violin Giovanni Battista Guadagnini, Piacenza 1745 Manfred Bockschweiger solo trumpet / Solotrompete / trompette solo 6 Darmstädter Barocksolisten Members and guests of the Staatsorchester Darmstadt (on modern instruments) Ethem Emre Tamer, Christian Roß Christiane Dierk, Antje Reichert harpsichord / Cembalo / clavecin violin I / Violine I / violon I Manfred Bellmann (Fasch) Damaris Heide-Jensen, Michael Schubert (Endler) Makiko Sano, Elisabeth Überacker oboe I / Oboe I / hautbois I violin II / Violine II / violon II Oliver Gutsch (Fasch) Klaus-Jürgen Opitz, oboe II / Oboe II / hautbois II Charlotte Breidenbach Manfred Bockschweiger, viola / Viola / alto Marina Fixle, Michael Schmeißer trumpet / Trompete / trompette Angela Elsäßer (Solo) Friederike Eisenberg Jan Schmitz cello / Cello / violoncelle bassoon / Fagott / basson Berthold Anhalt Johannes Knirsch timpani / Pauken / timbales violone 7 8 English “If the concerto [TWV 53:D5] was not writ- ten for Pisendel, it must have been inspired by another violinist of uncommon ability,” wrote Steven Zohn in his impressive work about Telemann (Music for a Mixed Taste, Oxford University Press). Could this “other violinist” possibly have been Johann Jakob Kress? Who else but the concertmaster Violin Concertos would have taken over the formidable solo parts of the violin concertos that are pre- served in such great numbers in Darmstadt? from Darmstadt Not very much is known about this violinist, who obviously possessed extraordinary abilities. Probably born in 1685, the year of Johann Sebastian Bach’s birth, in Walderbach in the Upper Palatinate, Kress received his musical training in Oettingen under the auspice of Prince Albrecht Ernst II, and was engaged as “Kammermusiker” at the court of Darmstadt in 1712. By that time, Darmstadt had developed into a respectable musical center. The reigning Landgrave Ernst Ludwig placed the advancement of the court’s musical life at the center of his endeavors. His mother Elisabeth Dorothea, who ruled as regent until INTRODUCTION — English 10 Ernst Ludwig’s twenty- first birthday, already Pisendel, who had been invited to Darmstadt lay the foundation at the end of the seven- together with other guest musicians. How- teenth century in that she had the orchestra ever, Pisendel rejected the subsequent offer of adopt the precise French style of playing. In a permanent position in favor of the concert- 1709 Ernst Ludwig succeeded in engaging master position in Dresden. Therefore, Kress Christoph Graupner for Darmstadt, who in was officially engaged the following year. turn schooled the court musical establishment The politics of the seventeenth century, in the sensuous Italian style and in that way the many wars with their devastations fol- farsightedly introduced the “mixed German lowed by epidemics and famines, and also a style.” In addition to Kapell meister Graupner, princely lifestyle, which from today’s point of the landgrave engaged numerous further view was excessively lavish, had brought the musicians within the space of a few years. landgraviate to the brink of financial ruin. Ernst Ludwig’s ambitious plans above The would-be “sun king” Ernst Ludwig could all concerned the opera. Inspired by his regularly pay neither his musicians nor his visits to Hamburg, where he was celebrated other court officials. In 1719 he already owed as a connoisseur and patron by the circle of Kress a whole year’s salary and was even less composers around Mattheson, Keiser, and solvent in the following years, so that Kress Händel, he wanted to build a new opera felt that he had no other choice than to sub- house, which however was proscribed by mit his resignation. The landgrave thereupon his treasury. And thus, on 17 February 1711, appointed him to the position of concert- the old theater (the former riding school), master with a respectable salary increase, and which had been renovated by the French ar- Kress had to remain. He apparently attained chitect Louis Rémy de la Fosse, was opulently such great prestige in Darmstadt that he had inaugurated with Graupner’s opera Telemach. become indispensable. The instrumental music on this occasion Unfortunately, we do not know much was directed by no less than Johann Georg more about Johann Jakob Kress. In her article INTRODUCTION — English 11 in The New Grove, Pippa Drummond referred versitäts- und Landesbibliothek in Münster, to Kress’s chamber music works as “unpre- deserves recognition as “the godfather of the tentious.” Had the attribution of his sonatas Fifth ‘Brandenburg’ Concerto.”1 The reason to Geminiani been confirmed, these works for this assertion is the conspicuous the- would have been seen with other eyes. His matic relationship between the two works; works in any event display solid craftsman- it is indeed entirely conceivable that Bach ship and an interesting musical language that borrowed material from Kress. For in 1719, entirely assimilated Vivaldi’s basic composi- two years before Bach’s dedication to the tional principles, but yet offers its very own margrave of Anhalt-Köthen, Ernst Ludwig combination of indeed economic, yet effec- apologized for having kept the Köthen tive virtuosity and theatrical ideas. With the concertmaster Josephus Spies for a while in simplest of means, Kress creates in the violin Darmstadt after a guest appearance. Upon his concertos a sophisticated dramaturgy within return to Köthen, did Spies possibly have a a very confined space. Particularly striking work by Kress in his baggage? are the ingenious violinistic techniques and In order to avoid an overdose of D Major, an internal organization that often inter- we decided not to present this concerto on vene even deeper in the orchestral musicians’ our disc, and instead selected two others. The freedom than with Pisendel in Dresden, or C-Minor Concerto (tracks 4 – 6) likewise be- in many a precisely marked Bach cantata. gins with a unisono motif and lets the soloists Kress writes, for example, slurred downbow have their say already after three measures of staccato for the whole orchestra, places slurs orchestral tutti. A poignant Adagio, in which over unusual numbers of notes, and proceeds the solo violin spins a sustained melody over in the accompanying voices with an intelli- gent structuring of the musical events. Especially the first concerto of the 1 James R. Oestreich, “Getting To Know Bach Better,” New York Times (23 January collection, which is preserved in the Uni- 2002), review of a concert by R. Goebel. INTRODUCTION — English 12 the orchestra’s staccato (again here, too, an Darmstadt often helped out in Telemann’s exact instruction for the execution in eighth larger-scale performances in Frankfurt. notes with rest!), is followed by a whirling Evidence of a friendship between Telemann movement in 3/8 meter. and Kress is Telemann’s role as the god father Kress’s violin concertos represent a com- of Kress’s son Georg Philipp, who later plete antithesis to the other works on our grew up to be a respectable violinist. program: they succinctly let expressive theat- The Concerto for Violin, Trumpet, and ricality come into being within the shortest obbligato Violoncello that opens our album time, and thus contrast with the endless is to be located somewhere in the exchange cadential figures in the Fasch concerto and partnership of Dresden-Zerbst- Darmstadt. the expansive bariolage passages in the over- According to the inventory list of the ture by Endler. Concert- Stube of Zerbst Castle, it was a part The sixth and last work of the collection of the repertoire of the local musical estab- (Tracks 10 –13) is the only concerto in four- lishment under Fasch. Visibly impressed by movement da chiesa form. A slow introduc- the work was also Johann Georg Pisendel, as tory movement is followed by a fugato, an shown by the unusually large number of parts astonishing Adagio, and a highly spirited personally written out by him in Dresden’s Allegro with virtuoso interjections by the “Schrank II.” He arranged the concerto for solo violin. an opulent scoring in which the trumpet part is taken over by a horn, the solo violoncello In 1712 Georg Philipp Telemann was sum- is joined by two bassoons, and three oboes moned to Frankfurt – that is to say, in close reinforce the violin parts. Graupner has been proximity to Darmstadt – which allowed identified as the scribe of the Darmstadt him to maintain active contact with his old version. Although it is designated in the title friends from Leipzig, who were meanwhile as a “triple concerto,” the solo violin clearly residing in Darmstadt.
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