Dedication to Mattheus Lestevenon from Sonatas Op. 1 (1744) Netherlands Music Institute, Furor Musicus at the Lutherse Kerk, Hilversum (© Christiaan de Roo)

2 3 PIETER (PETRUS, PIETRO, PETER) HELLENDAAL 1721 - CAMBRIDGE 1799

Pieter Hellendaal was born in Rotterdam in 1721. While little is known about his family’s circumstances and background, tax records indicate that the family was not particularly well off. His father, Johan Hellendaal, was registered as being a pastry baker, but he changed his profession to candlemaker when the family moved to in 1731, where it was registered under the name of Hellendael.

UTRECHT, 1731 -1737 In 1732, at the tender age of ten, Pieter was appointed as organist of the Nicolaïkerk in Utrecht, on condition that his father Johan would assist him. While this suggests that his father was also a musician and may even have been Pieter’s teacher, there is no actual historical evidence to support this surmise. The churchwardens’ resolu- tions include instructions dating from 1732, presumably specially drafted for young Pieter. Besides giving a precise description of the organist’s duties, they also include instructions for the use of the church’s Gerritsz organ. For instance, the smaller the congregation, the fewer stops he was required to use. Despite his youth, Pieter earned the same salary as his predecessor.

Nicolaïkerk in Utrecht (drawing Pierre van Liender, 1756) Het Archief collection, catalogue number 37465 4 5

His father Johan Hellendaal apparently knew a lot about organs, as he carried is evident from the first edition of the sonatas for violin and continuo opus 1 and out some repair work to the organ in 1732. The receipts show that he regularly the added privilege of 14 February 1744, granting Hellendaal the right to publish fixed ciphers, restored keyboards and had also supplied two new front pipes. The his own music and guaranteeing his intellectual ownership. The sonatas were restoration work carried out by Johan was the prelude to more extensive renova- dedicated to Signor e Signora Lestevenon, Signor da Berkenroode e Stryen. tions intended to considerably improve the instrument’s condition. A statement In the elegant script of the acknowledgements, Hellendaal most respectfully made by Pieter in April 1733 reveals that the organ suffered major damage when dedicated the first fruits of his labour to this benefactor, who had enabled him to a gravedigger attempted to steal tuff stone from the church. In the archives there study the violin under Tartini’s guidance. The scion of a wealthy family, Mattheus is no record of his salary having been paid in that year; presumably he was simply Lestevenon held various major posts in Amsterdam and was town secretary at the unable to carry out his function due to the restoration work and the damage to the time that he supported Hellendaal. Locatelli also dedicated six sonatas to him, so organ. That same year he unsuccessfully applied for the post of organist of the it would seem that Lestevenon was a highly regarded music lover. Marekerk in .

In 1737 Pieter voluntarily resigned from his position in Utrecht, possibly in con- nection with the family moving to Amsterdam. The reasons behind the relocation are unknown; however, this decision was to have a major influence upon Pieter’s musical career.

AMSTERDAM AND PADUA, 1737 - 1743(?) Until Pieter’s arrival in Amsterdam there is no mention in historical records of the fact that he also played the violin. It is tempting to assume that Pieter was in contact with Pietro Locatelli, who lived and worked in Amsterdam from 1727 until his death in 1764, but this is purely speculative. We know that Hellendaal studied the violin with in Padua sometime between 1737 and 1744. This

6 7 GIUSEPPE TARTINI (Pirano (currently Piran, Slovenia) 1692 - Padua 1770) In his day Tartini was one of the most influential violinists in Europe. He was born in 1692 in Pirano, a city that is nowadays part of Slovenia. In his early years he took violin lessons from a certain Giulio di Terni, who was later to study the violin with Tartini, in a reversal of their roles. It is thought that he also studied composi- tion with the Czech composer Bohuslav Cernohorsky. The story goes that Tartini only seriously began to study the violin after hearing Francesco Veracini perform in 1716. He is said to have been so impressed by his violin playing and, above all, by his bowing technique that he left the opera orchestra where he played, shutting himself up in a room, according to Charles Burney, ‘in order to study the use of the bow in more tranquillity, and with more convenience […].’ Between 1728 and 1743 numerous violin sonatas and concertos composed by Tartini were published by Le Cène in Amsterdam; it is possible that Hellendaal become acquainted with Tartini through these publications.

Tartini began his school in Padua in about 1727. It was known as the Scuola delle Nazioni (the School of the Nations), as it attracted students from all over Europe. He taught violin and composition; students generally spent about two years studying with him. The Maestro delle Nazioni combined artistry, technical capacity and a systematic approach. Of his many students a number went on to attain great fame, such as Graun, Pugnani and Nardini. Tartini made a point of devoting much care and attention to his teaching: in 1737 he accepted just nine students and thought that even this was more than he could manage. The fact that Hellendaal succeeded in obtaining a place as Tartini’s student is thus cer- Giuseppe Tartini (1692-1770)

8 9 tain proof that he must have been an extraordinary violinist. Tartini’s violin school RETURN TO AMSTERDAM placed great emphasis on expression in the right hand; in his celebrated 1760 It is not known exactly when Hellendaal returned to Amsterdam, however the letter to the violinist Maddalena Lombardini, he advised her that her principal Amsterdamse Courant of 9 November 1743 announced that Hellendaal would give practice and study should be confined to the use of the bow in general, so that a concert in the Herberg de Zon inn in the centre of Amsterdam on Wednesday she would be able to master it in every situation. 13th November. It mentioned that he had taken up residence in the house of the surgeon Paul Prin. This was followed by announcements for a number of concerts Numerous copies of material later known as Tartini’s Regole per arrivare a saper in various inns. These were mostly events featuring a variety of musicians, with ben suonar il Violino spread throughout Europe, in particular the sections on Hellendaal performing in various roles, as illustrated by an advertisement dated ornamentation. These copies were probably based on notes made by Tartini’s February 1744 to ‘all the Music Lovers in Amsterdam: Mr Hellendaal, former students. The first official edition of the sections on ornaments was published in disciple of the great Tartini […] will play the first violin, […] a delightful solo of his France, after Tartini’s death. It was not until 1958 that chapters in the Italian lan- own composition […] and a pastorale by Tartini’ during a concert in the ‘t Wapen guage emerged, found in a collection of 18th-century manuscripts from Tartini’s van Embden inn. In those days the practice of giving public concerts in halls was circle, which was acquired by the University of California, Berkeley. Presumably still in its infancy. Such halls were mostly owned by private societies, who made this was material collected for study purposes, possibly for Tartini’s own school. them available for performances. Often these were society concerts that were only Interestingly, besides numerous anonymous works, many of them on ornamen- open to a private circle of subscribers. tation, this collection contains many compositions by Tartini and his students, including nine copies of sonatas from Hellendaal’s opus 1 and 2. So it seems In the meantime Hellendaal’s father Johan Hellendaal had passed away. According likely that Hellendaal had already composed the sonatas in Padua, especially to the Amsterdam city chronicler Jacob Bicker Raye, he was murdered in 1742, considering that opus 1 and 2 appeared in print relatively soon after he returned while acting as advocate in divorce proceedings on behalf of the wife of a dancing to the Netherlands. master he was acquainted with. In order to silence him, the dancing master arranged for somebody to poison him, in the hope that he would lose his memory as a result. However, this undertaking proved more difficult than expected, and in the ensuing scuffle Johan was murdered with an axe. His already mutilated body was then hacked into pieces and strewn across various canals and gardens.

10 11 In May 1744 Hellendaal married Elisabet Prin, daughter of the above-mentioned that fell vacant, as a lead-up to these positions. He was granted permission to Paul Prin. Five children were born of their marriage, two in the Netherlands (one replace the organist of the Pieterskerk; however, his name does not appear in the died at birth) and three in . In February 1745 an announcement was salary records, possibly he received no payment for his services. Hellendaal also published, stating that ‘Six Sonate a Violino solo e Basso Opera Prima com- made various other attempts to obtain a fixed post and thus achieve a secure posed by P. Hellendaal are available for purchase at his home in Amsterdam for financial and social position, but to no avail. Newspaper reports from the time the sum of four florins.’ The violin sonatas opus 2 must have been published fairly reveal that Hellendaal continued to give regular performances. soon afterwards. Both collections were published by the composer himself and may have been composed while Hellendaal was still in Padua, since the title In October 1751 it was announced that Hellendaal would give his final concert in pages are also in Italian. Leiden on 9 October, before his departure to London. Entry tickets costing ‘Two guilders with a lady’ could be purchased from him at his home. The tickets were expensive, but this was apparently not an unusual price for those times; after all, LEIDEN, 1749 - 1751 there were only a limited number of seats available for concerts given in small In January 1749 Hellendaal enrolled at . After the Treaty of venues. It is not known exactly why Hellendaal left for England, but it seems that Utrecht (1713), the Republic of the Seven United Netherlands had fallen into he had found it impossible to build up a concert practice in the Netherlands. political and economic decline. Particularly in the province of Holland, steep When the burgomasters of the city of Leiden found out that Hellendaal had excise duties imposed on food articles weighed heavily upon the population. departed without giving any notice, they were so offended that they immediately While Hellendaal may partly have been attracted by the exemption from diverse revoked their earlier pledge allowing him to replace the organist of the Pieterskerk. excise duties granted to university students, he was probably also seeking to enhance his reputation in music-loving circles; since there was much music-mak- ing going on at the university, especially at official functions. However, he did not LONDON, 1751 - 1760 succeed in obtaining a position at the university. That same year Hellendaal Pieter Hellendaal arrived in London in late 1751. At the time England was enjoying submitted a request as a ‘music master residing in Leiden’ to be permitted to a period of peace and stability and the arts were flourishing under the patronage replace the Pieterskerk organist and the Town Hall carillonneur. He also of the aristocracy. Musical life bloomed in London and a genuine concert culture expressed the hope of being appointed to the next organist or carillonneur post had begun to emerge, attracting many musicians to the city. More and more

12 13 concerts were now being given in big halls with a much larger audience capacity, concert, also performing one of his own concertos. Ultimately, another candidate compared with concerts given in household circles. This also helped to increase was chosen; despite both violinists being praised as outstanding musicians and the popularity of London as a centre for the publication of music. Hellendaal also receiving special mention for being ‘handsome and renowned for his beauty,’ he was judged to be less suitable as leader of an orchestra. Just one year after his arrival, Hellendaal announced in the London press that he would give a concert in the main hall of Ogle on 15 April 1752. Between 1752 and 1754 Hellendaal was regularly mentioned in concert announcements, often KING’S LYNN , 1760 - 1761 as ‘First Violin, Mr Hellendaal,’ which was presumably also a reference to his In 1760 Hellendaal gave a concert in the town hall of King’s Lynn in Norfolk, superior quality. Virtually all these concerts were combinations of instrumental England. Shortly afterwards he was appointed as organist of the town’s St. and vocal music. Worthy of note is an advertisement dating from 1754 for Margaret’s Church for a year’s duration, as successor to Charles Burney, the Handel’s Acis and Galatea, which mentioned that ‘Mr. Hallendall also performed celebrated music historian. Burney had made every effort to arrange for a new a violin solo’ between the two acts. organ made by Snetzler; however, within a year of its installation he had informed them that he was resigning, as he considered the annual salary of £30 to be too Hellendaal probably performed in many more concerts without being mentioned by low. It had cost the churchwardens a great deal of trouble to find a new organist name, since many advertisements were of a general nature. After 1754 his name no to replace him. The salary amount was at the lower limit of what an untrained longer appeared in the London newspapers, although it is likely that he regularly worker earned in London at the time. Hellendaal received the same salary, also participated in the ensembles touted in the press as ‘the best hands in Town.’ after his reappointment in 1761. Shortly afterwards Hellendaal also unexpectedly quit his position. In 1758 Hellendaal was granted a royal privilege for the publication of his Six Grand Concertos opus 3, which he probably composed in London and which were published there by John Walsh. A second edition followed in 1760. CAMBRIDGE, 1762 - 1799 However, it would seem that London also did not provide him with enough In November 1762 the Cambridge Chronicle announced that Hellendaal had opportunities to earn a secure living. In 1795 he auditioned for the position of been appointed as organist of the Pembroke Hall Chapel in Cambridge, where he concertmaster of the Oxford Room Orchestra by leading the orchestra in a had probably been residing for some time. He was also still active as a violinist;

14 15 several months prior to this he had performed on the violin in Norfolk. Like so many university towns, Cambridge boasted a rich musical life. For several decades Hellendaal was extremely active here as a musician; countless concert announcements in the newspapers of the time attest to this. One such announce- ment advertised a performance of Handel’s Messiah in May 1763 ‘with a Solo on the Violin by Mr. Hellendaal.’

In 1777 Hellendaal was appointed to play the Snetzler organ of the Peterhouse Chapel in Cambridge, as reports about his concert life began to decline in number. However, it can be inferred from various sources that he must also have been very active as a teacher. In the meantime, the sonatas opus 4 for violin and continuo had also been published in London by J. Johnson, once again undated. They must have been published after opus 3 (1758) and before Johnson’s publishing business closed down (1777). In 1778 Hellendaal announced the possibility of subscribing to ‘Twelve of his Solo’s for the Violin,’ however, this planned publication was never issued; perhaps there were too few subscribers.

From about 1780 Hellendaal also ran a music publishing business and a musical instrument shop at his home address. Here he published his Eight solos for the Violoncello with a Thourough Bass opus 5 in this period. Following this, various publishers issued the Three Grand Lessons for keyboard with accompaniment by violin and cello opus 6 and the Celebrated Rondo for various instrumental combinations. Information obtained from concert programmes reveals that not all of his compositions survived to the present day: lost works include a violin A Concert at Christ’s College, Cambridge, in June 1767, Pieter Hellendaal is on the far left (etching by Abraham Hume after Thomas Orde) 16 17 concerto, a concerto, six sonatas for violin or flute and continuo and REPUTATION several works for clarinet, which he wrote for his son Peter. After Hellendaal’s death, details about his life appeared sketchy and not all recorded information was correct. In John Sainsbury’s Dictionary of Musicians The numerous surviving glees, catches and canons penned by Hellendaal reveal (London, 1824) we read the following: ‘Hellendaal, a German [sic] musician, the extent to which he had adapted to English culture. These typically English, resident in England […]. He was the master of the later Dr. Hague in thor- unaccompanied three- or four-part vocal works were written for the purpose of ough-bass and composition, and was a man of undoubted attainments in musical entertainment, often with a bawdy tint. In 1769 the Noblemen and Gentlemen’s science. He published some violin music in England.’ Hellendaal is also men- Catch Club, a club founded in 1761, probably mainly for the purpose of curbing tioned under the main entry on Charles Hague [1769 – 1821], who was apparent- the rampant use of obscene texts, even awarded Hellendaal the annual prize for ly one of the better-known English musicians of the time: ‘His master, Hellendaal, the best canon. This prize was intended to stimulate interest in the genre among had been a pupil of Tartini; and from Hellendaal he [Hague] had derived several of English composers. Due to this award Hellendaal immediately rose in stature to Tartini’s precepts of composition, which he used to repeat with great pleasure.’ join the ranks of an illustrious group of English musicians of the time, such as The supplement to Fétis’s Biographie Universelle des Musiciens (1878-80, Thomas Arne and John Stafford Smith. These compositions were among written by Arthur Pougin) mentions that the Dutch 18th-century violinist ‘Pierre Hellendaal’s most popular works in England. Hellendaal’ had moved to Italy around 1740 in order to take lessons from Tartini, after which he settled in Amsterdam, where he published two sets of six violin During the last seven years of his life Hellendaal was bedridden, according to the sonatas. In C.F. Pohl’s Mozart und Haydn in London (Vienna, 1876) Hellendaal is necrology that appeared in the Cambridge Chronicle on 27 April 1799, which included in the list of virtuosi who performed in London between 1750 and 1795. also described him as ‘an excellent composer of music, many years teacher of the Violin at this University and organist of the Peterhouse Chapel.’ His youngest son It was not until 1926 that Hellendaal re-emerged from obscurity in the Nether- Peter, who was active as a clarinettist and violinist, carried on the family name as lands, thanks to the publication of four of his cello sonatas by the Vereeniging a musician. He also worked in the family’s home-based music publishing voor Nederlandsche Muziekgeschiedenis (Society for Music History of The business and musical instrument shop. Netherlands), with a preface and continuo realisation by Julius Röntgen. In 1928 and 1931 two articles on Hellendaal by the Belgian musicologist Charles van den Borren were published; however, the information was scanty and not all of it was

18 19 substantiated. The publication of the Concerti Grossi opus 3 in 1959, with an the course of the past half-century the insight has steadily gained ground that all extensive preface by H. Brandts Buys, brought more biographical details to light; the diverse musical styles truly come into their own when one tries to approach however, a more complete picture only emerged in 1983, thanks to Leendert them from their original context. Using similar instruments to those that Hellen- Haasnoot’s dissertation on Hellendaal. At this point the Dutch violinist Willem daal had at his disposal, and gaining a deeper understanding of the 18th-century Noske (1918 - 1995) is also worthy of mention, as he went to great lengths to musical aesthetic, for example in the field of rhetoric, enables us to cast new light revive interest in Dutch violin repertoire, including Hellendaal’s works. on his music, which turns out to be surprisingly unconventional.

Hellendaal must have been a gifted violinist; all his sonatas are technically WORKS FOR VIOLIN AND CONTINUO demanding and feature many unusual and ingenious techniques, which are clearly There are 29 surviving sonatas for violin and continuo by Hellendaal, of which 18 related to the virtuosity underlying Tartini’s sonatas: in both cases the sonatas are were published as Opus 1, 2 and 4, while 11 appear in manuscript form. The clearly intended to showcase the player’s violinistic abilities. Hellendaal’s written latter are housed in the Fitzwilliam Museum in Cambridge and are dedicated to out ornamentation often involves complicated rhythms and unusual bowing Sophia Hague, probably a relative of Hellendaal’s student mentioned by patterns and techniques, as well as countless trills. Like Tartini’s works, Hellen- Sainsbury, Charles Hague. The earlier mentioned nine sonatas found in Berkeley daal’s music is characterised by folk elements, although in Hellendaal’s case in manuscript form are practically identical to the published sonatas, except that these often appear in sudden isolated bursts (juxta positio), rather than charac- the bass part is unfigured. terising an entire movement. In Hellendaal’s music the folk element reveals itself mostly in divergent harmonies unrelated to the prevailing tonality, sometimes with When Hellendaal’s music was rediscovered in the first half of the 20th century, the hint of a wink, and using fiery rhythmical patterns. In opus 1 and 2 the various newspaper reviews unjustly discredited it as bourgeois music from an era movements are often thematically related, but Hellendaal totally abandons this of powdered wigs, in which, notwithstanding fancy trappings such as knee practice from opus 4 onwards. breeches, hoop skirts and corkscrew curls, the people were as superficial as their artistic pastimes. According to these critics, the music was lacklustre and did not stand up to being performed in concert. Presumably the musical THE FITZWILLIAM MANUSCRIPT approach to performing baroque music failed to do justice to this repertoire. In While opus 1 and above all opus 2 and 4 are technically and musically demanding,

20 21 the 11 unpublished sonatas from the Fitzwilliam manuscript pose an extra challenge bass part. In the repeats we often opted to use the later modifications and to performers, since the sonatas are not all completed: alterations, deletions, sometimes even both the original and modified parts at the same time, resulting in improvements and alternatives have been scrawled into almost every sonata. These a sort of trio sonata. Sometimes, lacking any alternative, we chose to play the modifications were most probably added by Hellendaal; however, not all the deleted material after all, in order to ensure that the bars connected smoothly. alterations struck us as being improvements, while not all deletions are provided with Interestingly, in doing so, we never had to make any improvements, as the deleted a clearly recognisable alternative or connect logically with the following passage. For parts always fitted perfectly into the whole. It was sometimes unclear to us why the first time we see virtuosic cadenzas and capriccios added by Hellendaal under certain bars had even been deleted in the first place. some fermatas, similar to those found in Locatelli’s music. Sonata X (in actual fact no. XI) from the manuscript presented us with totally It is unclear when the sonatas were written; they may have been a sketch for the different obstacles. To start with, the sonata consists of five, or even six move- set of sonatas that was announced by Hellendaal in 1778, but never finally ments, as the last movement includes a separately written middle section and an eventuated. Strikingly, the Pastorale from the sonata opus 4 no. 3 (composed alternativo. This is in contrast to all the other sonatas, which consist of three or between c. 1758 and 1777) is included. Since its bass part in the manuscript is four movements, with the exception of no. VIII. There were few extra notes more complicated and a cadenza for the violin has also been added, it would scrawled into the score; however, in the second, extremely long movement many seem that the sonatas were, at any rate, composed after opus 4, but possibly bars had been deleted without any alternatives being added. It proved to be even later, in view of their dedication to Sophia Hague. The sonatas in this impossible to simply leave out the deleted material, as the remaining bars no manuscript, particularly the final ones, clearly employ a later musical idiom and longer connected to each other musically. For this reason we did not record this come across as somewhat classical in nature, despite being written for violin and movement, while in the final movement we made some cuts, as some of the continuo. Notably, some sonatas consist of more than four movements and some material did not enhance the musical result. In this way we ended up with a much of the movements are exceptionally long. more balanced sonata with four movements.

In Sonata VIIa (erroneously there are two sonatas with the number VII in the In conclusion, we also play the Hornepipe, which Hellendaal included before collection) from the Fitzwilliam manuscript, it was almost always possible to read Sonata X and which suddenly recalls his time in England. This was originally both the originally notated music and the modified notes, which are mostly in the notated as a single voice, so we have provided it with an additional accompaniment.

22 23 Allegro from Sonata X (autograph, 1770) Allegretto from Sonata X (autograph, 1770) © Fitzwilliam Museum, Cambridge © Fitzwilliam Museum, Cambridge 24 25 THE ORGAN The superb organ that we used for this CD recording was presumably built around 1700 by Peter Weidtman the Elder. The instrument was housed in various churches before being moved to Hilversum, the Netherlands. Here the instrument has been restored as much as possible to its original state and renovated where necessary.

The organ at the Lutherse Kerk, Hilversum (Peter Weidtman the Elder, c. 1770, photo Antoinette Lohmann) 26 27 ANTOINETTE LOHMANN (AMSTERDAM, 1969) FUROR MUSICUS studied violin, viola and historical violin at the Amsterdam Conservatory. Antoi- was founded by Antoinette in 2008. The group has released several recordings: nette has been active in a variety of musical areas, including Argentinian tango, transcriptions of works by J.S. Bach, among them Antoinette’s reconstruction of salon music, folk music and contemporary music. She has performed and record- a J.S. Bach viola concerto; the violin sonatas opus 1 & 2 by the Dutch baroque ed with many orchestras and ensembles over the years. Currently her repertoire composer Jacob Nozeman; and the critically acclaimed Phantasia Musica album extends from the early 17th to the 21st century, always performed from a historically (2017), featuring previously unknown 17th-century repertoire. Phantasia Musica informed perspective. She has a special interest in unusual instruments such as scored a 10 with distinction in the Dutch classical music magazine Luister, 5 the viola d’amore, the tenor violin, the violino piccolo and the viola pomposa. She stars in the Dutch daily de Volkskrant and an A in the Italian magazine Amadeus. is also a keen performer of contemporary compositions for historical instruments. The ensemble is primarily devoted to performing and recording little-known 17th- Her main focus is on reviving forgotten chamber music, with special emphasis and 18th-century repertoire on period instruments and carrying out the necessary on Dutch repertoire. She has recorded chamber music by Joseph Martin Kraus, historical research. The performers wish to guard against simply going with the Margarethe Danzi, Franz Danzi, Franz Krommer, Belle van Zuylen and Dutch and flow of traditions that have developed over the past decades within the histori- German music of the early baroque. cally informed performance movement. There is still so much fantastic repertoire that has been unjustly neglected and never performed, and they view it as an Antoinette teaches historical violin and viola as a principal study at the HKU important challenge to immerse themselves in previously unheard repertoire and Utrecht Conservatorium and the Conservatorium van Amsterdam. She is also the to avoid being influenced by other performances. principal teacher of the Historical Performance department in Utrecht. The name Furor Musicus derives from the term Furor Poeticus, a Latin expression Antoinette recorded these works on a late 17th-century violin by Egidius Snoeck often used to refer to poetic inspiration in ancient Greek and Roman literature. (Brussels), which is still in its original baroque set-up, using four pure gut strings. The word ‘furor’ refers to a state of intense excitement, in some cases even bor- dering on madness. The term Furor Poeticus refers to the capacity to be inspired and inspire others. Poetic inspiration is often described as a state in which the poet is the passive and unconscious mouthpiece of a higher power, but in fact,

28 29 there was an equal emphasis on craft and inspiration throughout antiquity. It was the same with music of the 17th and 18th centuries.

Furor Musicus and Jean van Vugt strive to capture the atmosphere of a live performance as opposed to creating an artificially manipulated recording. Any interference with the natural sound is minimised in their recordings.

The original, more extensive Dutch text, including more information, can be found at www.antoinettelohmann.nl

You can follow us at www.facebook.com/FurorMusicus/

Please refer to these links for the biographies of the other ensemble members:

Jörn Boysen and María Sánchez Ramírez: http://www.musicapoetica.info Harjo Neutkens: https://harjoneutkens.wordpress.com Jan Hollestelle, Tonia Strauch and Hinnerck Feddersen: www.antoinettelohmann.nl Antoinette Lohmann and recording engineer Jean van Vugt during playback sessions (© Christiaan de Roo) 30 31 PIETER HELLENDAAL (1721 - 1799)

Sonata III, Op. 1 Sonata IV, Op. 4 1. Largo 3:16 13. Adagio 3:46 2. Allegro 3:38 14. Allegro 3:13 3. Allegro assai 2:55 15. Allegro 2:16

Sonata V, Op. 2 Sonata VII, Fitzwilliam Manuscript 4. Andante 4:11 16. Largo 4:07 5. Allegro assai 2:31 17. Allegro 2:30 6. Allegro 2:41 18. Allegretto 2:00

Sonata IV, Op. 2 Sonata X, Fitzwilliam Manuscript 7. Andante 2:32 19. Adagio 3:23 8. Allegro assai 4:21 20. Andante 2:47 9. Allegro 3:13 21. Allegretto 3:25 22. Allegro 1:45 Sonata III, Op. 4 10. Affetuoso 1:57 23. Hornpipe, Fitzwilliam Manuscript 2:28 11. Allegro 3:53 12. Pastorale 4:39

32 33 Antoinette Lohmann (photo Anneke Boeke)

34 35 GLO 5271

© Christiaan de Roo

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