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Home , Academy of Ancient Music, Early Opera Company, Harry Bicket, Mark Padmore, Nicola Porpora, Theodora (Handel)

Viola Concerto in G major TWV 51:G9 (1681-1767) y I. Largo [3.20] Dall’Abaco, Porpora, Marcello, Tartini & Telemann u II. Allegro [2.43] i III. Andante [3.20] o IV. Presto [3.21] Concerto à più instrumenti in D major Op. 5, No. 6 Evaristo Felice Dall’Abaco (1675-1742) Alfonso Leal del Ojo viola 1 I. Allegro [3.30] 2 II. Aria Cantabile [1.49] Total timings: [68.43] 3 III. Ciaccona [2.41] 4 IV. Rondeau Allegro [0.58] 5 V. Allegro [3.56] DIRECTOR / Nadja Zwiener & Tuomo Suni violins | Joseph Crouch cello www.signumrecords.com Cello Concerto in G major Nicola Porpora (1686-1768) 6 I. Amoroso [4.57] 7 II. Allegro [4.45] The English Concert is an which Evaristo Felice Dall’Abaco (1675-1742) was 8 III. Largo [3.37] draws its inspiration from the elite of born in Verona, the son of a noted guitarist, 9 IV. A tempo giusto [4.09] 18th-century Europe: its members are recruited Damiano Dall’Abaco. Unusually, he appears to Joseph Crouch cello from amongst Europe’s foremost instrumentalists have been a skilled player of both violin and who are led either from the harpsichord or cello, having studied both instruments with Oboe Concerto in D minor Marcello (1673-1747) by their principal violinist or Konzertmeister, . His first post was as a 0 I. Allegro moderato [3.22] just as were the famed court orchestras of violinist in the court orchestra in Modena, q II. Adagio [3.13] , Munich, Mannheim Potsdam and but in 1704 he moved to Munich where he w III. Allegro [3.35] others. This recording is a showcase for the was taken on as a cellist in the court orchestra Katharina Spreckelsen oboe leading instrumentalists of today’s English of Maximilien Emanuel, Elector of Bavaria. Concert, playing on 18th-century instruments After only a few weeks Dall’Abaco was forced Giuseppe Tartini (1692-1770) Violin Concerto in B minor D.125 and amongst the world’s finest musicians in to flee, with the rest of the orchestra and e I. Allegro assai [5.36] the long tradition of the great Italian and courtiers, following Maximilien’s defeat by r II. Larghetto, “Lascia ch’io dica addio” [5.09] German masters whose works they perform. the Duke of Marlborough at the battle of t III. Allegro [4.40] Blenheim. Most of the musicians eventually Nadja Zwiener violin

- 3 - reached Brussels, where Dall’Abaco was to taught and coached throughout his professional Nicola Porpora lived to the age of 82, dying Today Alessandro Marcello is remembered spend the next 10 years, absorbing the musical career, the leading librettist of the 18th in , his home city, in poverty and out almost exclusively for his oboe concerto style of the French and Dutch into his native century, (1698-1782), and, most of fashion. He had suffered the misfortune to (published in 1716 by Roger, the same Italian musical ‘language’. This fusion of styles significant of all in terms of his compositional have been overshadowed during his best years Amsterdam publisher as of the Dall’Abaco is exemplified in the Op. 5 output, none other than , who by that musical giant, Handel, and in his concerto), and even this is sometimes in D which begins with a decorous Allegro claimed to have learned the “true fundamentals declining years by changing musical tastes misattributed to his more prolific brother reminiscent of ’s Op. 6 concerti, of composition” from Porpora while serving as and the rise of galant and Classical styles. Benedetto. The oboe concerto was also but the middle movements, especially the his valet and accompanist. unwittingly misattributed (although thereby cantabile Aria, are distinctly French in their Alessandro Marcello (1673-1747) was the achieving much wider vicarious fame) by inspiration, while the concluding Allegro, in an As was common amongst 18th-century eldest son of a respected and influential J.S. Bach who mistakenly believed it to be by energetic triple time, has a rustic drive which musicians, Porpora led a peripatetic life, aristocratic family in . The family’s high Vivaldi and included it, arranged for solo is more or less uncategorisable. This stylistic travelling frequently to Venice and sometimes social rank meant that the young Alessandro, harpsichord, in a volume entitled “XVI cross-fertilisation gives Dall’Abaco his own further afield to and Dresden. He also and his younger brother Benedetto, would Concerti nach A. Vivaldi”. distinctive musical voice. spent seven years in (from 1730 to receive a ‘gentleman’s’ education which included 1737) as director of the company, the so- music of course, but which precluded the The antiphony between the three upper strings Dall’Abaco’s Op. 5 collection was published in called ‘Opera of the Nobility’, established in pursuit of music in anything other than an and the solo oboe in the opening of the Amsterdam in 1715, in which year Maximilien opposition to Handel. Porpora’s instrumental amateur capacity as a ‘nobile dilettante’. first movement, the reiterated chords in the was restored to his Bavarian throne. Dall’Abaco compositions owe much to contemporary Alessandro was taught violin by his father accompaniment of the slow movement Adagio, returned to Munich, this time as a violinist, operatic style, especially in their thematic Agostino, and had additional music tuition from and the solo opening of the final Presto are having been rewarded for his loyalty with material which is both highly ornate and Francesco Gasparini (a predecessor of Vivaldi all features which give the work its the post of Konzertmeister, remaining in post inherently ‘vocal’. In the cello concerto the at the Ospedale della Pietà) and from the then individuality, revealing the extraordinary level until his retirement in 1740. cello is of course the virtuoso ‘singer’, although organist of San Marco Cathedral, Antonio Lotti. of musical skill and ‘professionalism’ even its tenor voice is often also involved in the However, as befitted his social position, a career amongst the musical ‘amateurs’ of the most Nicola Porpora (1686-1768) was a gifted musical texture too. Both allegros, the first in the Venetian judiciary and as a diplomat serene republic of 18th-century Europe. composer and musical pedagogue who being a double fugue, feature exotic for the Republic followed, and his music was commanded the highest respect from the passage-work, while the slow movements are published under the pseudonym Eterio Stinfalcio. In common with many musicians of the leading musicians of his time. Amongst his as beautiful as anything to be found in this period, Giuseppe Tartini (1692-1770) was most devoted followers was the ‘superstar’ mid- period. educated by priests with a view to his own , (1705-1782), whom he eventual ordination. However, in 1709 he

- 4 - - 5 - enrolled as a student of law, and any lingering Tartini’s playing was famed for its combination Telemann’s early works often explore a kind Corelli in the rhythmic drive of the faster aspirations to the priesthood were finally of technical and poetic qualities. The latter of fusion between the melodic and rhythmic movements. The Largo and Allegro form an abandoned when he scandalously married are particularly a feature of his slow movements energy of the Italian concerto and the opening-movement pair, but it is the beautiful the niece of the local bishop of Padova. This for which the melodies have a uniquely vocal ornamented elegance of French music of third movement Andante which is the heart caused such outrage that Tartini was obliged quality. Indeed in some of them, including in the time. The Viola Concerto, probably dating of the work, revealing Telemann at his most to flee to Assisi, without his new spouse with this B minor concerto, the tune is a setting from 1712, is typical in that it has, in Telemann’s elegant and harmonically adventurous. whom he was not re-united for five years. of an actual text, with the words written own colourful description “the smell of France” beneath the notes. Here the text, ‘Lascia in the slow movements while owing much to © Felix Warnock 2018 Tartini seems to have used his time well in ch’io dica addio’ (‘Let me say farewell’), could Assisi, honing his legendary technical skills be said to apply to the first movement too, a on the violin to such effect that a reconciliation rather melancholy, but nevertheless dramatic with the Bishop was eventually achieved, Allegro assai. The final movement, though, is and before the age of 30 he had returned to an incisively rhythmical Allegro in which graceful THE ENGLISH CONCERT Padova as director of that city’s orchestra at the tutti passages alternate with brilliant soli. Basilica of St. Anthony. Such was his growing Violin I Viola Organ reputation, indeed, that he negotiated for Given our modern-day reverence for J.S. Bach Nadja Zwiener (leader) Alfonso Leal del Ojo Tom Foster 4 himself a generous contract which allowed it can seem surprising that in the musical Jonas Zschenderlein Louise Hogan him to accept numerous engagements: in world of the mid-18th century Georg Philipp Julia Kuhn Archlute/baroque guitar 1723, for example, he was in Prague playing Telemann (1681-1767) was the North German Thérèse Timoney Violoncello Paula Chateauneuf at the coronation of the Habsburg Emperor composer of supreme fame and influence. Magdalena Loth-Hill Joseph Crouch David Miller 5 Charles VI as Viceroy of Bohemia. Tartini’s This was partly thanks to the sheer quantity Jonathan Byers Taro Takeuchi 6 career as a touring virtuoso was brought of music composed during his long life Violin II Anna Holmes 3 to an abrupt end in 1740 by a mysterious (Telemann was born before Bach, yet by the Tuomo Suni injury to his bowing arm, but he retained his time he died Haydn was a mature composer Elizabeth MacCarthy 1 Doublebass 1 Tutti viola in Telemann post as orchestral director in Padova for the aged 32 and Mozart had written his first ), Jacek Kurzydło Philippa Macmillan 2 Tartini only 3 next 30 years and all the leading violinists of and partly due to his early mastery of the Diana Lee Porpora only 4 Dall’abaco only 2 the next generation continued to beat a path opportunities for self-promotion presented by John Crockatt 5 Porpora only to his door. the explosion in music printing and distribution 6 Dall’abaco only in the early decades of the 18th century.

- 6 - - 7 - ‘In fact, one can’t say enough about the ‘To hear The English Concert playing Handel is Harry Bicket splendours of The English Concert under Bicket. to arrive in technicolour Oz after a lifetime director / harpsichord At every turn, it seemed, they brought more of black and white baroque in Kansas.’ colours and virtuosity to the music than we The Arts Desk Making his Glyndebourne festival début in have any right to expect, whether in grand solos 1996 with ’ landmark production or the most minor phrase.’ ‘Bicket’s band is in its element in this repertoire’ of , Harry Bicket is internationally Broadway World Sunday Times renowned as an opera and concert conductor of distinction. Noted particularly for his ‘each instrumentalist played as though “The very building seemed to glow and sigh interpretation of baroque and classical personally responsible for the entire show, with delighted recognition at the playing of this repertoire, he was appointed Artistic Director wringing out every ounce of drama: at one Baroque ensemble” of The English Concert in 2007. In 2013 Harry point during Act II, the cellos unleashed such Stage Talk Magazine also became Chief Conductor of Sante Fe a torrent of fury that they threatened to upstage Opera, opening the following season with a the cast.’ ‘Refreshingly direct and impactful’ critically-acclaimed Fidelio. Born in Liverpool, Financial Times The Times he studied at the Royal College of Music and Oxford University and is an accomplished ‘a performance so stunning it was liable to ‘…I thought I had gone to heaven. Here, in any harpsichordist. make even the most jaded of early-music case, was a superb performance that left the sceptics take note ... Through it all, Bicket and audience glowing with pleasure. Unobtrusively yet From New York to Los Angeles, and Hong The English Concert were nothing short of firmly overseen by Harry Bicket, leading the spritely Kong to Stockholm, Harry is no stranger to the brilliant. Sporting perfectly tight ensemble, English Concert from the harpsichord.’ great orchestras and opera houses the world spacious and ringing tone, a variety of colors, The Telegraph over. Following his celebrated production of gleaming strings and clean, forceful brass, with Renée Fleming and David they are the model of a period chamber orchestra ‘in arguably one of the most memorable Daniels in 2004, he is a regular guest at in every sense.’ performances of any opera in 2018, The English the . Highlights of the New York Classical Review Concert came in with a superstar cast and 2017/18 season included visits to Lyric Opera conquered in a big way...’ of Chicago (Orphée et Eurydice), Cincinnati Operawire (joined by ), Los Angeles Chamber Orchestra and Royal Northern Sinfonia.

- 8 - - 9 - With The English Concert he led performances Nadja Zwiener Nadja is also active as a concerto soloist of in Europe and the US (including violin and directs programmes from the violin. Her Carnegie Hall), the latest title in a highly regular chamber music partners include Maurice successful series of Handel operas given by In the 2017/18 season German-born violinist Steger, Kristian Bezuidenhout, and Xenia Löffler the orchestra. Nadja Zwiener celebrated 10 years as leader of and of course her colleagues from The English The English Concert. Before Nadja began to Concert. She particularly enjoys working with While his production of Handel’s for the specialise in historical performance practices singers and creating interesting chamber received an Olivier Award of the 17th to 19th centuries at the Guildhall music programmes that might go as far nomination for Best New Opera Production, his Scholl of Music and Drama in London, she spent as combining with improvised, recordings are equally admired. Recordings to a number of years focusing on string quartet electronic or even contemporary music and date with The English Concert include releases playing as a founding member of the Kuss with dance or literature. for Virgin Classics, Chandos and Harmonia Quartet in Berlin, working with composers on Mundi featuring , David Daniels, their newly written pieces, and playing for In 2016, Nadja took over as a concertmaster Lucy Crowe, Sarah Connolly and Rosemary the Munich Opera House orchestra. Having of the Gaechinger Cantorey in Stuttgart, for . Harry’s discography also includes five discovered a love of playing on gut strings, which she oversaw the transformation into a recordings with the Orchestra of the Age of this soon led to performing in orchestras such new period instrument orchestra. Enlightenment, including a collection of Handel as the , Orchestra opera arias with Renée Fleming (Decca) and of the Age of Enlightenment and English As a Thuringian living in Leipzig, she feels (EMI), as well as selections from Baroque Soloists. particularly close to the music of Bach Handel’s Theodora, , and the cantata La whose works also play an important role in her Lucrezia with (Avie), Appointed leader of The English Concert in teaching the baroque violin and viola at the which was nominated for a Grammy Award. His 2007, Nadja has frequently been invited to Hochschule für Musik “Franz Liszt” in Weimar. Gramophone Award-nominated CDs also include appear as concertmaster for the likes of Sento Amor with David Daniels featuring arias William Christie and Emanuelle Haïm. She by Gluck, Handel and Mozart (Virgin Veritas) and has worked with , Il tenero momento with featuring and in the same respect arias by Mozart and Gluck (Erato). and regularly appears as a guest leader for the Akademie für Alte Musik Berlin.

- 10 - - 11 - Alfonso Leal del Ojo Joseph Crouch viola cello

Alfonso Leal del Ojo grew up and received his Joseph Crouch has been principal cellist of initial training in Seville. In 1998 he moved The English Concert since 2008, but his to London where he studied at the Guildhall relationship with the orchestra began over School of Music and the Royal Academy thirty years ago: as a boy treble in the of Music where he specialized in period of Joe joined in collaborative instrument performance. concerts and recordings with the orchestra that also featured its current director, Harry He has been principal viola of The English Bicket, on keyboard. Along with the immersive Concert since 2006 and tours extensively with vocal and choral education offered at the them throughout Europe, East Asia and North choir school came an early exposure to – and America. In addition to his work with The preference for – Renaissance and . English Concert, Alfonso is much in demand Joe was a choral scholar and read music at with other European ensembles, frequently King’s College Cambridge, where further collaborations appearing as a soloist or guest principal. brought him into contact with period instrument specialists of The Brandenburg Consort. Alfonso appears on numerous recordings, many of them award-winning; his recording of Bach’s It was not only the repertoire that attracted Brandenburg Concerto No. 6 with the Dunedin Joe to the Baroque cello, but the role of the Consort was nominated for a Gramophone basso continuo in the orchestral texture; award and was Classic FM album of the week. the responsibility for providing the music’s Chamber music remains an important part of his harmonic foundations and rhythmic propulsion seemed to offer an activity in which one could life and often collaborates with Trevor Pinnock, and many other fine musicians. happily spend an entire career. Joe made the final shift from voice to cello as a postgraduate Alfonso plays on a fine English viola by Edward at the Royal Academy of Music, studying with Lewis (1687). Jennifer Ward Clarke, and on graduation was

- 12 - - 13 - invited to join the European Union Baroque late Michel Piguet in Basle, Katharina moved Katharina is professor of baroque and classical orchestra as its principal cellist. to London for further studies with oboe at the Royal Academy of Music. Over the at the Royal College of Music. past 20 years she has fostered a new generation Since then Joe has enjoyed a career that has of baroque oboists, many of whom are now seen him playing and teaching the basso She soon became a much sought-after player her colleagues. continuo role in a huge variety of settings: he with many European Ensembles. Katharina was was first appointed principal cellist with The principal oboist with the Amsterdam Baroque Gabrieli Consort & Players, and then joined Monica Orchestra, the Gabrieli Consort & Players and Huggett in Trio Sonnerie; later he became Florilegium and she now divides her time The English Concert wishes to acknowledge principal with The Academy of Ancient Music, between The English Concert, the Orchestra the generous support of The English Concert in , and today Joe combines principal of the Age of Enlightenment and Christian America (TECA) in making this recording. positions with The English Concert and the Curnyn’s . Internationale Bach Akademie, Stuttgart, with With special thanks to Alan Gemes, Joseph Smouha teaching positions at the Guildhall School of Katharina often performs and records with and Henry Pearson Music and Drama and at the Royal Academy of singers such as , Thomas Music in London. Quasthof, Ian Bostridge, , David Recorded in St Silas the Martyr from 6-9 November 2017 Producer & Editor – Adrian Peacock Daniels and Rolando Villazon. Her performances Recording Engineer – Mike Hatch This recording is one of Joe’s increasingly as an obbligato soloist are frequently paired frequent forays away from the line and with solo concerto performances. Cover image and soloist photos – © Feast Design and Artwork – Woven Design www.wovendesign.co.uk into the soloist’s spotlight, but his chief love P 2018 The copyright in this sound recording is owned by Signum Records Ltd remains the basso continuo and collaborations Katharina has recorded extensively. She can © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd with solo and choral voices. be heard on many of Ton Kopman’s Bach Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Cantata recordings. With the Gabrieli Consort Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Katharina Spreckelsen & Players she has recorded by Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, oboe Handel, sacred works by J.S. Bach and or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or Haydn’s Creation. With The English Concert otherwise, without prior permission from Signum Records Ltd. Katharina Spreckelsen is one of the leading she appears notably on discs with David SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] baroque oboists of her generation. She was Daniels, Elizabeth Watts, www.signumrecords.com born in Germany and after studying with the and Lucy Crowe.

- 14 - - 15 - ALSO AVAILABLE on signumclassics

Royal Rhymes and Rounds Queen Mary’s Big Belly The King’s Singers Hopes for an heir in Catholic England SIGCD307 Gallicantus Gabriel Crouch director “the sound this ensemble makes is beautifully balanced, and SIGCD464 you could take dictation from their impeccable enunciation. These are considerable benefits...a notably intelligent, enjoyable “The singers nurse the lines with the greatest care, distinguishing Jubilee offering.” the sections with subtle colours… Brilliant both musicologically BBC Music Magazine and artistically.” Early Music Today

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD549 BLACK Job Title: English Concerts

SIGNUM CLASSICS SIGCD549

THE ENGLISH CONCERT THE ENGLISH CONCERT CONCERT ENGLISH THE HARRY BICKET DIRECTOR / HARPSICHORD Dall’Abaco, Porpora, Marcello, Tartini & Telemann

1 - 5 Concerto à più instrumenti in D major Op. 5, No. 6 Evaristo Felice Dall’Abaco [12.54] Nadja Zwiener & Tuomo Suni violins | Joseph Crouch cello

6 - 9 Cello Concerto in G major Nicola Porpora [17.28]

Joseph Crouch cello TELEMANN • TARTINI • MARCELLO • PORPORA • DALL’ABACO

0 - w Oboe Concerto in D minor Alessandro Marcello [10.10] Katharina Spreckelsen oboe

e - t Violin Concerto in B minor D.125 Giuseppe Tartini [15.25] Nadja Zwiener violin

y - o Viola Concerto in G major TWV 51:G9 Georg Philipp Telemann [12.44] Alfonso Leal del Ojo viola DALL’ABACO • PORPORA • MARCELLO • TARTINI • TELEMANN

Total timings: [68.43] THE ENGLISH CONCERT

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD549 CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2018 Signum Records DDD SIGCD549 © 2018 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05492 5 SIGNUM