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Home , Antonio Vivaldi, Cornett, Giuseppe Torelli, Johann Christoph Pepusch

CONCERTI CURIOSI Johann Wilhelm Hertel (1727–1789) no. 3 for e Allegro ma non troppo [3.23] Pietro Domenico Paradies (1707–1791) r Largo [4.19] A favourite concerto for the organ or t Vivace [2.54] 1 Vivace e staccato—Allegretto [7.33] William Croft (1678–1727) 2 Adagio [2.00] for four and continuo [PG, BS, OS, HH, IA] 3 Allegretto [3.04] y Allegro [1.11] Anton Reichenauer (1694–1730) u Adagio [1.19] Concerto à 5 for i Allegro [1.47] 4 Allegro [3.50] Pietro Baldassari (c.1683–after 1768) 5 Adagio [3.14] Sonata for and strings 6 Allegro [3.16] o Allegro [2.20] Johan Daniel Berlin (1714–1787) p Grave [2.35] à 5 for cornett a Allegro [2.05] 7 Allegro [3.32] Total timings: [62.23] 8 Largo [3.32] 9 Allegro [2.07] CHARIVARI AGRÉABLE directed by Kah-Ming Ng (1667–1752) Concerto for four violins : Persephone Gibbs (leader; PG), Oliver Sändig (OS), Doublebass: Elizabeth Harré Holly Harman (HH), Benjamin Sansom (BS), Oboe: Geoffrey Coates 0 Allegro [2.48] Colin Coleman, Richard Wade : Michael Brain q Largo [1.46] : Rachel Stott, Joanne Miller Cornett: Jamie Savan Viola da gamba: Ibi Aziz (IA) : Simon Desbruslais w Vivace [3.45] Violoncello: Jennifer Bullock Harpsichord & chamber organ: Kah-Ming Ng

www.signumrecords.com This curious conglomeration of is a charitable institutions (ospedali) and academies, arena of subscription concerts. Their success is Happily none of the concertos in this disc fits celebration of contrasts. It is Charivari Agréable’s and (as entr’actes) in . sourly noted by Johann Mattheson, who, perhaps that description. They are not of the ilk of, say, 20th CD, and thus represents a milestone for a young betraying a smidgen of xenophobia, enjoined Pietro Antonio Locatelli’s fiendish concerto op. ensemble. In keeping with its contrarian ethos, The first solo concertos were putatively codified in his countrymen in 1713 to do better than the 3/12 from his seminal L’arte del violino (1733), it seems apposite to devise a recital that 1711 by , although their genesis who otherwise would ‘make all the subtitled Il Labirinto Armonico: facilis aditus, embraces two seemingly opposing concepts. can be traced to a generation before. Published money and return home’. Indeed many were not difficilis exitus. Rather, they are facilis auditus, They are ‘individualism’ (i.e. independence from in as his opus 3, the L’estro armonico enamoured of the southerners’ hot-blooded difficilis exsecutus. As a collection, they arouse the conformity of a collective) and ‘playing in concertos spread across Europe with the musical excesses. The French essayist Jean curiosity, not just in the usual sense of ‘exciting concert’ [from the Latin concertare, meaning ‘to ferocity of a pandemic, simultaneously serving as Laurent Le Cerf de la Viéville criticized attention’. By ‘curious’ we mean to invoke the work together’]. blueprints for the writing of (solo and multiple) who were ‘ardent imitators of the Italian manner’ alternative definitions by Nathaniel Bailey in his concertos and re-defining the already-fashionable for seeking ‘bizarre effects’. Weaned on the Dictionarium Britannicum (rev. edn 1736), in The nascent concerto was also called sinfonia Italian style. Vivaldi’s models soon became sobriety of the Corellian style, ’s reverse which is enumerated such adjectives as rare, (differentiated perhaps by a stronger contrapuntal the sine qua non for channelling the virtuosic snobbery is best voiced by the musical historian excellent, fine, and neat (meaning clever). Indeed flavour) or sonata (especially the Bolognese aspirations of the performer-. He led Roger North c.1726, who sniffed at the ‘many the easy charm of the works on this disc belies trumpet sonata), and some – such as the by example, occasioning in 1715 a nobleman persons that doe not well distinguish between both the consummate writing and the technical and the ripieno concerto – were on his Grand Tour Johann Friedrich Armand von real good and evill, but are hurryed away by demands required to execute them. quite egalitarian. But inevitably some parts Uffenbach (later to be mayor of Frankfurt) to caprice, as in a whirlewind, and in naming became more equal than others. This procedure be ‘astonished … at a cadenza that really Vivaldi (tho’ he hath his fellows) I have instanced Nonetheless, the debt they owe to Vivaldi involves the elevation of one – traditionally frightened me … although I cannot say that it enough’. Many observers were particularly is writ large upon their scores. This is evident violin – part via exuberant displays of delighted me, for it was more skilfully executed exercised by the combination of tasteless in Reichenauer’s , which, with the prodigious prowess. These episodes of than it was pleasant to hear’. flashiness and the vapid depiction of nature. descending scales in the opening motif, recalls domination are then interspersed and framed Fuelling the rancour was the composer Charles the one in the eighth concerto from Vivaldi’s by a recurring motto (or ) played was a net exporter of violin virtuosos – Avison, for whom those ‘of the lowest class L’estro Armonico. Unsurprisingly Reichenauer by the rest. With the right resources the and violins, for that matter – who exhibited are Vivaldi, Tessarini, Alberti and Locatelli, was in the employ of the Bohemian count and concerto could be adapted for a multitude of untrammelled impulsiveness in their performance. whose Compositions, being equally defective in imperial chamberlain Wenzel [Václav] von purposes, from the personal and pedagogic They were enthusiastically welcomed like various Harmony and true Invention, are only a Morzin, who was the dedicatee of Vivaldi’s opus to those of publication and patronage. Avenues gladiatorial heroes, especially by Europe’s fit Amusement for Children’. 8 concertos entitled Il cimento dell’armonia e for performance abounded at court, in church burgeoning merchant class, as concerts dell’inventione. This set of twelve, beginning with (during mass), in the musically ambitious gravitated away from the court to the public the now-ubiquitous Four Seasons, contains two

- 4 - - 5 - concertos suited for performance on the oboe. instruments and by Gottfried The arrival in in 1714 of the two we owe the preservation of the Fitzwilliam When they were published in 1725 Reichenauer Finger and Johann Gottfried Keller, both of Francescos – Veracini and Geminiani – may Virginal Book. He enjoyed great longevity, dying had stepped into the shoes of the previous whom were active in London around the turn of have prompted Pepusch to try his hand at the in his mid-eighties, and was eulogized ‘for his Kapellmeister in one of the century. This genre of writing remained in fashionable genre of the concerto. Veracini, cast learning as well as fine composition and skill Europe’s most celebrated court ensembles. This vogue for generations, as is evinced in Pepusch’s as a solo performer between the acts of operas, in musick’. Virtuosissima had earned the highest six concerts [sic] for two pairs of trebles op. 8 was an audience-puller at the Queen’s Theatre praise from Vivaldi, the count’s maestro di musica (c.1717–18). in the Haymarket (re-named the King’s Theatre Another octogenarian who received considerable in Italia, which title is a sinecure for furnishing in that year on the accession of George I). acclaim in England was Paradies [anglicized the court with on a mail-order basis. Croft was awarded the doctoral degree of Geminiani was rumoured to have left Naples from Paradisi]. But unlike Pepusch, Paradies’ DMus from Oxford University in 1713 along under a cloud; apparently he had been demoted repeated attempts at writing for the stage, Ingratiating his way up the ladder of patronage, with Pepusch, whom, despite his limited from violin to viola for not being able to play firstly in , then in London (where he Vivaldi dedicated his next opus to von Morzin’s contribution, posterity has unfairly shackled to in time (thereby possibly initiating the emigrated in 1746), were all poorly received. sovereign, the Habsburg Holy Roman Emperor ’s satire The Beggar’s . Adding institution of the viola joke). But by asserting Charles Burney in his General Charles VI. The imaginatively titled was insult to injury his reputation was posthumously his pedigree as Corelli’s pupil, Geminiani would (1776–89) derided Paradies’ as ‘ill-phrased’ published in 1727, the year in which Vivaldi’s sullied by the historian Sir John Hawkins in his have been poised to cash in on England’s and wanting ‘estro or grace’. It was, however, exact contemporary Croft died. He was buried in General History of the Science and Practice of Corelli obsession and lack of good indigenous as a harpsichord composer and a teacher of Westminster Abbey close to fellow organist Henry Music (1776) with the wholly unjustified violinists. Pepusch’s own musical language composition that he ultimately triumphed. Purcell, on whose music he modelled much of his observation of Pepusch to have been ‘a learned had been honed by immersion in Italian The publication in 1754 of his dozen Sonate di choral works. Croft’s overtly Italianate composition but dry composer, apparently deficient in the opera, and thus was perfectly suited to the gravicembalo brought him international plaudits. on this disc calls to mind ’s sonata powers of invention’. Even before his elevation as writing of concertos. But his nominally entitled This collection was reprinted several times in for four violins, which was performed orchestrally an academic heavyweight, Pepusch had enjoyed ‘Concerto for four violins’ is no such thing. It is a London, Paris, and Amsterdam, and its widespread in 1710 in Edinburgh. This might have been the a reputation not just as a theatre musician outright. popularity exalted Paradies to the pantheon impetus behind Croft’s work for four violins, hot and a published composer of many instrumental of living keyboard divinities. Leopold Mozart, on the heels of Vivaldi’s concertos for four violins sets but also as a sought-after performer in and His undeserved neglect notwithstanding, whilst on tour with Wolfgang Amadeus, wrote from the L’estro armonico of 1711. There is a an impresario of public and private concerts. Pepusch’s importance lies in his founding of home to Salzburg in December 1774 instructing difference though: Croft’s sonata belongs to When in 1712 Johann Friedrich Armand von the Academy of Ancient Musick and remaining that ‘Nannerl should practise the Clavier most the genre of the 2x2+b.c. sonata. Instrumental Uffenbach went to Strasbourg to study, he as the guiding spirit of this concert club, diligently, especially the of Paradisi collections published in 1698 and 1699 contain took along a few of Pepusch’s ‘especially strong and, post-retirement from composition c.1729, and Bach’. numerous sonatas for two pairs of melody pieces’ [besonders starke Stücke]. being a musical bibliophile. It is to him that

- 6 - - 7 - The delicate expertise displayed in the crafting Little of Baldassari’s oeuvre remains extant. The same cannot be said of the Prussian of string and wind instruments, including the of Paradies’ sonatas also comes through in his Most of it would have been sacred music Berlin’s curious choice of an instrument which cornett. His repeated exhortations not to play . Its joyous, yet restrained, written during his protracted tenure of over by the mid-eighteenth century was hanging on with puffed cheeks – for reasons technical and virtuosity is evocative of the more graceful half a century as maestro di cappella of the to dear life in the shadow of its heyday. His superficial, viz. appearing ‘unsightly and aspects of the keyboard idiom of Domenico di San Filippo Neri in . What other two , perfectly regular and also in unseemly’ – would have applied equally to the Scarlatti, the maverick from his little that has survived shows some stylistic the key of , employ clarinets and surprisingly absent chapters on the trumpet hometown of Naples. Paradies’ epithet ‘favourite’ affinity with the strict adherence to polyphony typical of rococo or early-classical symphonies. or the . Thankfully these two brass hints at prior public popularity. His publishing it as championed by the prestigious Accademia Given that cornett and ensembles instruments are catered for in a Norwegian in 1768, so late in his career, must surely Filarmonica of . The papal state’s ‘second remained active in Germany into the 19th music textbook by Lorents Nicolaj Berg, an represent a last-ditch attempt at milking his city’ (after Rome), with its magnificent basilica century, it might have been a visiting fellow ‘instrumentalist in royal service in Christiansand’ reputation. Two years later he left for Venice to of San Petronio, is one of the cradles of countryman cornettist who kindled such who died in the same year as Berlin. There is, spend his remaining two decades. the concerto. eccentricity in Berlin. This was the same unexpectedly, a chapter on the cornett, an sentiment that drove him to write a concerto instrument ‘not well-known except among Resting on his laurels was all that his Bologna is also home to the Concerto Palatino for the cembalo da gamba verticale. Such whims musicians’. Berg wrote that he had only ever contemporary and fellow Neapolitan, the castrato della Signoria, Italy’s most famous wind band, often overtake composers: Pepusch composed heard one good cornettist in person. This was Farinelli, could do, when bundled off after which evolved from the civic use of municipal a concerto for the flageolet, an instrument a musician-journeyman, who, like Berg, was the death of his patron King Ferdinand VI of wind players in the thirteenth century, and which which, in England, inexplicably enjoyed then working with Copenhagen’s city musicians. Spain. Ensconced in his villa in Bologna lasted until 1779. For festal occasions, members popularity disproportionate to its feasibility. But by 1782, when his Første Prøve for surrounded by the trappings of international of the Concerto Palatino – players of the Begyndere udi Instrumental-Kunsten was success, including collections of art, music and cornett, trumpet and sackbut – were roped in to Berlin’s connection with the cornett, however, published, Berg had quite given up on the musical instruments, Farinelli lapped up the bolster the ranks of San Petronio’s cappella goes deeper than might be expected. At the age cornett, for ‘only rarely does a music lover homage of nobility and musicians. Among these musicale. Through this symbiosis, the cappella’s of sixteen he went to Copenhagen to serve the find pleasure in bothering himself with this was one Baldassari, who in 1768 revealed his directors and musicians realized the potential customary seven-year apprenticeship with chest-bursting crooked horn on which one intention to dedicate 12 to Farinelli. for the combination of trumpet with strings. Andreas Berg, who, as the city’s Stadtpfeifer plays nothing else but psalms, , and These would have been his swan song, much like These trumpet sonatas became seminal to the [town wait, or wind musician], would have been other slow pieces’. the Paradies concerto of the same year, for, development of the concerto. It is familiar with the cornett. In 1744 Berlin Baldassari – yet another octogenarian – was perhaps with this tradition in mind, rather published his Musikalske elementer, the first Evidently possessed of exceptional gifts and an then in his dotage. than through any antiquarian aberration, that Danish-Norwegian musical primer. It contains enquiring mind, Berlin carved out in Trondheim Baldassari was inspired to write for the cornett. rudiments on music notation and the playing a distinguished career that surpassed the

- 8 - - 9 - imaginings and abilities of mere mortals. Christian was Kapellmeister in Oettingen and (mainly sacred, but also secular). They bear Sources Besides being the city’s cathedral organist, he later Merseburg; his father Johann Christian was the influence of the musicians at the court of Baldassari: , National Bibliothek E.M.97a (not developed a Klavier with a pedal (thus pre-dating one of the best viola da gamba players of his King Frederick the Great, and, like Paradies’ and the Kunsthistorisches Museum as stated in New Grove the music theorist Friedrich Wilhelm Marpurg’s time, touring with the Eisenach court orchestra, Berlin’s music, are primarily in the galant II), performing edition prepared by Jamie Savan from date of 1756 for its invention), built the of which he later became, as violinist, the concert style that straddles the baroque and classical original source previously-mentioned ‘keyboard viola da gamba’, master and musical director. As harpsichordist periods. These works were mostly intended for Berlin: Trondheim, Det Kongelige Norske Videnskabers and published books and papers on subjects Johann Wilhelm accompanied his father on the Schwerin court, which orchestra had on its Selkab, Biblioteket XM 23, performing edition ranging from music theory to meteorology and concert tours, and followed him to work at the payroll the famous trumpet virtuoso Johann prepared by Jamie Savan from original source astronomy. He was a founder-member of the Strelitz court. When his father’s eyesight began Georg Hoese. There Hertel first served as Royal Norwegian Scientific Association, worked to fail in the autumn of 1750, Wilhelm keyboardist, then as court and chapel composer, Pepusch: Bodleian Library, Oxford University, MS as an architect and cartographer, headed the assumed the old man’s responsibilities as with the duties of a Kapellmeister in all but Tenbury 1131, performing edition prepared by Kah-Ming Ng from original manuscript city’s fire-service, and led the inspection of the orchestra leader. This stint lasted barely two name. His lifelong dedication to the house of city waterworks. He claimed to be the proud years, for the Mecklenburg-Strelitz Hofkapelle Mecklenburg was rewarded with a promotion Reichenauer: performing edition prepared by Kah-Ming Ng recipient of a book by the polymath musician was soon dissolved after the death of duke to the privy council of Christian Ludwig’s Johann Mattheson, who gave it to him directly: Adolf Friedrich III (whose niece Sophie Charlotte daughter, princess Ulrike Sophie, a dedicated Solo Instruments it takes one to know one. For such a busy life, it was later to become the queen of George III of patroness of the arts. But his highest reward Harpsichord by Andrew Garlick after Joannes Ruckers is perhaps understandable that Berlin can be Great Britain). And when Wilhelm’s father died was the high esteem in which he was held by (1638), ravalé. credited with only thirty musical compositions, two years after that, it was time to move on. his contemporaries. The music lexicographer most of which are lost. But more’s the pity that The late duke’s sister in Schwerin Gustave Ernst Ludwig Gerber described Hertel in his Oboe by Marcel Ponseele (Belgium) after Thomas Stanesby th he should pay scant regard to documenting Caroline, wife of duke Christian Ludwig II from indispensable Historisch-biographisches Lexicon Jr (London, early 18 century). his eventful existence. the senior branch of the Mecklenburg house, der Tonkünstler (1790) as ‘most tasteful’ Straight cornett in three sections by Henri Gohin (Boissy gladly welcomed Hertel; the Schwerin ducal [geschmackvollesten] – a portrayal which, it is l’Aillerie, France, 2010) after 18th-century originals, pitch In contrast three (editions of) autobiographies household had many keen amateur musicians. hoped, also encompasses our celebratory recording. in Chorton (ie. A=466Hz). number among Hertel’s vast output, albeit Violin by Jacob Stainer (attrib., c.1650); bow by René mostly unpublished, which is bookended by In no time Hertel attained distinction in his © Kah-Ming Ng 2011 Groppe after anon. French model (c.1720). literary works: his earliest writings, penned in own right, first as a violinist, then as a composer Natural trumpet by Stephen Keavy after Johann Wilhelm his twenties, were on thoroughbass realization of some 50 instrumental concertos, over 40 Haas (Nuremberg, c.1710–1720). and music theory. Hertel boasts an impressive symphonies, 30-odd harpsichord sonatas, and, musical lineage: his grandfather Jacob above all, copious amounts of vocal music

- 10 - - 11 - JAMIE SAVAN Theatre Company. Persephone is a founder of BIOGRAPHIES baroque chamber group Gut Instinct and the Jamie Savan played his first-ever professional period instrument Constanze Quartet. She concert with Charivari Agréable as an performs and records with many , KAH-MING NG GEOFFREY COATES undergraduate at St Anne’s College, Oxford including the and University, back in 1997, in which year he also the Gabrieli Consort. Kah-Ming Ng studied at Monash University, Geoffrey Coates’s career began at the age of founded the Gonzaga Band. Since then he has Melbourne (B.E., civil engineering), the Frankfurt 19 when he first went on stage with Florilegium. developed an enviable international reputation SIMON DESBRUSLAIS State Academy of Music (as a DAAD scholar), Since then he has performed frequently with as a cornett soloist and chamber musician. He and the London Guildhall School of Music (as leading orchestras in all of London’s major joined the renowned wind ensemble His Majestys Simon Desbruslais was educated at King’s an FCO scholar). He then went to Oxford University concert halls, broadcast on BBC and worldwide Sagbutts & in 2005, completing a PhD in College London, the Royal College of Music and (as a British Council Chevening scholar), to radio stations and appeared on television Performance Practice at Birmingham University Christ Church College, Oxford University. In 2008 read for a performance M.Phil. at St Anne’s with the English Baroque Soloists under John in the same year. In 2010 he was appointed he was awarded a Joan Conway Scholarship College, and later a D.Phil. at Keble College, Eliot Gardiner. He enjoys a growing profile as Lecturer in Music and Head of Performance at allowing him to take trumpet instruction with where he wrote a doctoral thesis on continuo a soloist, having toured in Europe with The Newcastle University, where he is able to combine Eric Aubier in the Conservatoire de Musique à in its social and artistic context. Hanover Band and performed concertos in venues his love of performance, teaching and research Rueil Malmaison, igniting an interest in the He is a winner of the Guildhall School’s Early such as Barbican Hall and St-Martin-in-the- in Early Music. performance of twentieth- and twenty-first century Music Competition and a Fellow (in Harpsichord) Fields. An accomplished performer on modern and trumpet music. He has a particular commitment of the Trinity College of Music London. Kah-Ming historical , his teachers included Frank de PERSEPHONE GIBBS to the commissioning and performance of this has lectured at Oxford University as well as other Bruine, Gail Hennessy and Richard Simpson. expanding repertoire, and has worked as a institutions; he wrote the entries on English and Hailed by Time Out as a ‘rising star of soloist in collaboration with many of the UK’s French baroque ornamentation in the New Grove the ’, American-born violinist leading composers. He enjoys an equally busy Dictionary of Music & Musicians. Persephone Gibbs studied with Dorothy DeLay and varied career as a performer of the and gained degrees in English and law before natural trumpet. studying with David Takeno and at the Guildhall School of Music. Persephone leads the Temple Players and the Brandenburg Baroque Soloists and is a frequent guest leader for the Festive Orchestra of London and Opera

- 12 - - 13 - CHARIVARI AGRÉABLE Broadcasting Union. Their discography of 20 discs have garnered such accolades as the Diapason ‘One of the classiest baroque bands’ (Sunday d’Or, Gramophone Editor’s Choice, International Observer), whose ‘musical intuitions are always Record Review’s ‘Best CD of the Year’, Classic captivating’ (Goldberg), Charivari Agréable is FM’s Christmas Choice, BBC Music Magazine’s ‘one of the most versatile early music groups ‘Outstanding CD’, and Music-Web International’s Acknowledgements around at the moment, which, under its benign ‘Recording of the Year’. Many thanks to Bruce Clark (The Economist), for sorting out the syntax and mangled metaphors, director, Kah-Ming Ng, appears to be infinitely and to John Erskine, for shedding light on the Latin. adaptable, finding musicians who can fit into The ensemble is sought after for all manner of any of its many and varied programmes’ private or corporate functions, even performing Dedication To YAB Tan Sri Abdul Khalid Ibrahim, who kicked it all off, and to Justin Majzub, who kept it rolling. (International Record Review). The group has at a New Year black-tie candlelit dinner for been hailed for its ‘thinking musicians who Duran Duran! Apart from hosting an annual Recorded in St Andrew’s Church, Toddington, Gloucestershire, 11–13 August 2010 treat music of the past more creatively’ via their summer festival of early music in Oxford, the Producer, Engineer and Editor – Adrian Hunter arrangements of music, ‘based on a greater ensemble regularly expands into Oxford’s resident Pitch A=415Hz, keyboards tuned by Kah-Ming Ng to 1/6-comma circular temperament knowledge of the historical and social contexts period-instrument orchestra, Charivari Agréable Cover Image - Shutterstock for the music’ (Gramophone). Simfonie. The orchestra has on-going collaborations with over forty vocal groups – choral societies Design and Artwork - Woven Design Charivari Agréable (trans. ‘pleasant tumult’, and professional choirs alike – all over the UK, www.wovendesign.co.uk from Saint-Lambert’s 1707 treatise on and has been conducted by many musicians of P 2011 The copyright in this recording is owned by Signum Records Ltd. accompaniment) was formed at the University renown, including Sir Charles Mackerras and © 2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. of Oxford in 1993, and within the year became Edward Higginbottom. The ensemble has Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable a prize-winner of the Early Music Network appeared at all prominent London venues, even to an action by law. 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, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Competition, made its debut at the Wigmore in Buckingham Palace; recent and forthcoming SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. Hall, and recorded the first of many subsequent engagements include major festivals in the +44 (0) 20 8997 4000 E-mail: [email protected] live concerts for the BBC, including Radio UK, and tours to Austria, Belgium, the Czech www.signumrecords.com 3’s ‘In tune’, ‘Music Restor’d’, and ‘The Early Republic, Finland, Germany, Hungary, The Music Show’. Charivari Agréable has since Netherlands, Slovenia, Spain, Sweden, South recorded for New York’s WNYC, and many other East Asia, Turkey, and the USA. For more European radio stations, including the European information, please visit www.charivari.co.uk.

- 14 - - 15 - ALSO FROM CHARIVARI AgRÉable on signumclassics

SIGCD009 SIGCD018 SIGCD020 SIGCD026 The Fitzwilliam Virginal Book Sacred Songs of Sorrow The Queen’s Goodnight Music for Gainsborough

SIGCD032 SIGCD041 SIGCD049 SIGCD069 The Sultan and the Phoenix Modus Phantasticus Harmonia Caelestis Esperar Sentir Morir

SIGCD086 SIGCD093 SIGCD157 SIGCD198 The Virtuoso Godfather The Oxford Psalms The Original Brandenburg Concertos Pachelbel Vespers with The King’s Singers Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD249 BLACK Job Title Concerti Curiosi

SIGNUM CLASSICS SIGCD249 CONCERTI CURIOSI

1 3

- A favourite concerto Pietro Domenico Paradies [12.37] CUIRIOSI CONCERTI solo harpsichord: Kah-Ming Ng

4 - 6 Concerto à 5 for oboe Anton Reichenauer [10.20] solo oboe: Geoffrey Coates

7 - 9 Sinfonia à 5 Johan Daniel Berlin [9.11] solo cornett: Jamie Savan

0 - w Concerto for four violins Johann Christoph Pepusch [8.19] solo violin: Persephone Gibbs CHARIVARI AGRÉABLE / NG / AGRÉABLE CHARIVARI e - t Concerto no. 3 for trumpet Johann Wilhelm Hertel [10.36] solo trumpet: Simon Desbruslais CHARIVARI AGRÉABLE / NG

y - i Sonata for four violins William Croft [4.17] & basso continuo

o - a Sonata for cornett and strings Pietro Baldassari [7.00] solo cornett: Jamie Savan

Total timings: [62.23]

CONCERTI CUIRIOSI CHARIVARI AGRÉABLE

directed by Kah-Ming Ng

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD249

CLASSICS Perivale, Middx UB6 7JD, United Kingdom. P 2011 Signum Records DDD SIGCD249 © 2011 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 02492 8 SIGNUM