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Musica Poetica Jörn Boysen Artistic Direction CHRISTIAN FLOR & DIETRICH BECKER “Musicalische Frühlings-Früchte” Northern German dance suites from the 17th century Musica Poetica Jörn Boysen artistic direction includes 6 WORLD PREMIÈRE recordings 1 CHRISTIAN FLOR & DIETRICH BECKER “Musicalische Frühlings-Früchte” Northern German dance suites from the 17th century Musica Poetica Jörn Boysen artistic direction Helen Thomson (HT) soprano John Ma (JM), Prisca Stalmarski (PS) violins Marja Gaynor (MG), Leticia Moros Ballesteros (LM) violas María Sánchez Ramírez (MS) violoncello Silvia Jiménez Soriano (SJ) violone Jörn Boysen (JB) direction and harpsichord (Christian Zell, 1728, copy by Matthias Kramer) 2 3 DIETRICH BECKER (c.1623 – c.1679) CHRISTIAN FLOR Sonata and Suite in G (Musicalische Frühlings-Früchte, Hamburg, 1668) Suite in C for harpsichord (Ratsbücherei Lüneburg, Mus. Ant. Pract. 1198)* [1] Sonata 3:34 [15] Praeludium 1:03 [2] Allmand 1:20 [16] Allemande 2:01 [3] Courant 0:57 [17] Courante 1:10 [4] Sarband 1:38 [18] Sarabanda 1:59 [5] Gique 1:12 [19] Gigue 2:05 (JM, PS, MG, LM, MS, SJ, JB) DIETRICH BECKER CHRISTIAN FLOR (1626–1697) Sonata in G (Musicalische Frühlings-Früchte, Hamburg, 1668) Suite in d for harpsichord (Ratsbücherei Lüneburg, Mus. Ant. Pract. 1198)* [20] Sonata 4:54 [6] Aria & Variatio 1:36 (PS, JM, SJ, JB) [7] Corrente & Variatio 1:50 [8] Sarabande & Variatio 2:09 ANONYMOUS (around 1700) Suite no. I in e (Uppsala Universitet, Düben Collection, IMHS 64:13)* ANONYMOUS (around 1700) [21] Ouverture 3:51 Suite no. II in e (Uppsala Universitet, Düben Collection, IMHS 64:13)* [22] Allemande 2:10 [9] Entrée 1:27 [23] Menuet 0:55 [10] Tombeau 4:30 [24] Air 2:36 [11] Gigue 1:05 [25] Chaconne 2:29 [12] Anglois 0:48 (JM, PS, MG, MS, SJ, JB) [13] Menuet 0:50 [14] Final 1:15 (PS, JM, LM, MS, SJ) 4 5 CHRISTIAN FLOR Suite in G for harpsichord (Ratsbücherei Lüneburg, Mus. Ant. Pract. 1198)* [26] Praeludium (improvisation Boysen) 1:57 [27] Ballet 0:33 [28] Air Rolandi (Lully) 0:58 [29] Menuets 1 & 2 1:26 [30] Auf, höret meine Sinnen (Hochzeitlicher Freuden-Klang, Hamburg, 1659)* 6:40 (HT, JM, MG, LM, MS, SJ, JB) total time 61:13 * World première recording For more information and program texts in French and Spanish go to www.musicapoetica.info 6 7 Musicalische Frühlings-Früchte the free imperial cities of Hamburg, years, but he may have been a student organ preludes, compositions for fu- The dance suite in the music of 17th Lübeck and Leipzig, for instance, but of Heinrich Scheidemann in Hamburg neral and wedding services and a St century Germany also in various small principalities and or Franz Tunder in Lübeck. Later, he Matthew Passion, which is one of the territorial states, emerged within a worked as an organist in Rendsburg earliest Passion oratorios. The two decades preceding the Thirty few decades. Influences from abroad before being appointed organist of St. Years War were witness to an extra- and rivalry between centres with quite Lamberti’s and then also of St. Johan- Dietrich (Dirik) Becker belongs to the ordinary burst of creativity in European different cultural structures encour- nis’ in Lüneburg. Flor quickly achieved same generation of musicians. He was instrumental music, accompanied aged eclecticism and stylistic diversity: recognition, and he soon found him- born in Hamburg in 1623. He worked by and perhaps in part resulting German composers adopted various self employed as composer, teacher as an organist in Ahrensburg, and as from a lively exchange of musicians foreign, mainly French and Italian, and organ adviser throughout the a violinist at the court of Count de la between countries and a growing techniques and forms (e.g. suites and region. His harpsichord suites, which Gardies near Stockholm and at the consciousness of national styles. sonatas) and combined them with can be found in a manuscript at the court of Duke Christian Ludwig of German features (e.g. counterpoint). Ratsbücherei in Lüneburg (Mus. Ant. Celle. It was from the latter that he The impact of the war on political, According to Johann Joachim Quantz Pract. 1198), compare well with the received permission, “so that his skill in economic and cultural life in the (1697-1773), the ‘German style’ derived works of his North German contempo- his profession might be improved”, to German territories was tremendous: from a combination of the best ele- raries, with Buxtehude, Reincken and visit Lübeck and then Hamburg, where while the Catholic south-east and ments of the music of other nations. Böhm, for instance. The manuscript he remained, becoming violinist of Protestant north-west were largely also contains a number of chorales the ‘Ratsmusik’ in 1662. His collection spared, other regions lost more than Our programme concentrates on for the harpsichord and arrangements ‘Musicalische Frühlings-Früchte’ was half of their population. But the swift suites composed by relatively un- of dances from Lully’s operas which published in 1668 and is dedicated to recovery of most urban areas after known composers from the north of show that Flor was familiar with the the city council, who had appointed him the war brought about advantageous Germany. Christian Flor was born in latest musical developments in France. to the position of City Capellmeister. conditions for the regeneration of 1626 near Oldenburg (Holstein) into a Apart from his harpsichord music we Recent research suggests that, not only cultural life in towns, cities and courts. well-known family of clergymen. We know about 250 songs (among them was Becker one of the most important A large number of cultural centres, in do not know much about his early settings of texts by Johann Rist), three violinists of his time, but that he was 8 9 the first composer to use the sequence The Suite in d starts with an Aria the influence of English music, which are examples of a category of suites of Allemande - Courante - Sarabande - instead of an allemande and has no entered North Germany via Hamburg. whose formation and disappearance Gigue in ensemble suites. gigue. Every movement has a double, was the direct result of their having called Variatio in this case. Becker’s collection ‘Musicalische been composed for specific occasions This typical order of the suite seems Frühlings-Früchte’ contains sonatas – for ballets or related dramatic to have its roots in French lute music. The ‘Hochzeitlicher Freuden-Klang’ is and suites as well as combinations performances. The first suite opens In the course of time composers an occasional work, dated 18 April of both forms. Sometimes we find a with a French Ouverture which added other movements and doubles 1659. According to the front page, sonata preceding a suite of dances, surprises the listener with a furious bass (variations) among the basic four Flor composed it for the wedding of thus playing the role of an introduction solo that breaks into the polyphonic dances. Many suites have introductory his friend Heinrich Elers, preacher at (e.g. in the Suite in G). This introductory middle section. Another typically movements such as preludes (in St. Johannis. The piece is a charming sonata still keeps the Italian sonata form French feature is the Chaconne at the some of Flor’s Harpsichord Suites) or combination of instrumental suite with the combination of slow and fast end, with virtuosic violin solos and sonatas (in the suites from Becker’s with so-called ‘Generalbasslied’ movements. In other places we find shifting rhythmical accents. ‘Musicalische Frühlings-Früchte’). Flor’s or continuo song. These secular, single sonatas which include dances, as Suite in C opens with a Praeludium, a strophic songs are mostly solos with in his sonata for 2 violins, violone and The highlight of Suite no. II certainly is type of written-down improvisation. continuo and instrumental ritornellos continuo, which ends with a quick gigue. the beautiful Tombeau with its deeply Short improvised preludes were a and belong to a genre that is typical expressive lament, performed by the means of checking the tuning of the of the music of Protestant Germany. Stylistically, the two Anonymous suites first violin and accompanied by the instrument and the quality of its tone, Flor adds a quick Ballo to the from the Düben collection (Manuscript bow vibrato of the rest of the group. and of loosening the player’s fingers. Allemande – Courante – Sarabande No.: IMHS 64:13) might be related to The lament passes into a dance in ¾ An unscripted improvisation can be – Gigue sequence and finishes the one or two different (North) German which gives an impression of salvation heard on this recording as a prelude work with a beautiful slow cadence in composers at the end of the 17th or the after painful suffering. A chromatic to the Suite in G: it is based on a free which the singer calls on the couple beginning of the 18th century. Neither Final(e) ends the Suite. selection of single dances and an air to dance until it is time to go to bed. suite follows the Allemande – Courante from Lully’s opera “Roland”. The Gigue in common time (C) shows – Sarabande – Gigue sequence. Both Jörn Boysen 10 11 Musica Poetica chosen programme. Musica Poetica with ensembles and choirs in Ger- Musicalische Frühlings-Früchte „Musica Poetica is that discipline of performs as a chamber group as well many, Spain, the Netherlands and Die Tanzsuite in der deutschen Musik music which teaches how to compose as an orchestra including choir. France. He gives workshops for histo- des 17. Jahrhunderts. a musical composition […] in order to rical performance practice and basso sway the hearts and spirits of individu- Their performance schedule has inclu- continuo. In den zwei Jahrzehnte nach dem als into various dispositions.“ (Joachim ded concerts in Germany, the Czech Re- Dreißigjährigen Krieg erlebte die Burmeister, 1606) public, Spain and the Netherlands, and Since 2006 Boysen is director of the europäische Instrumentalmusik einen live radio broadcasts.
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