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The Hitchcock Spinet Works by Abel, Burney, Geminiani, Loeillet, Mattheson & Telemann

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The Hitchcock Spinet Works by Abel, Burney, Geminiani, Loeillet, Mattheson & Telemann The Hitchcock Spinet Works by Abel, Burney, Geminiani, Loeillet, Mattheson & Telemann The Hitchcock Trio Anke Dennert, Spinet Gabriele Steinfeld, Violin Simone Eckert, Viola da gamba The Hitchcock Spinet Works by Abel, Burney, Geminiani, Loeillet, Mattheson & Telemann The Hitchcock Trio Anke Dennert: Spinet by Thomas Hitchcock, London 1730 Gabriele Steinfeld: Baroque violin, Southern German 1750 Simone Eckert: Viola da gamba by Joachim Tielke, Hamburg 1685 Johann Mattheson (1681–1764) Suite settieme from “Pièces de clavecin” (London 1714) for Spinet 01 Prelude . (01'35) 02 Allemande . (01'58) 03 Courante . (02'12) Georg Philipp Telemann (1681–1767) Trio X from “Essercizii Musici” (Hamburg 1739) for Violin, Viola da gamba and Basso continuo 04 Dolce . (02'45) 05 Presto . (01'32) 06 Pastorale . (01'27) 07 Vivace . (02'08) John Loeillet (1680–1730) Lesson I for the Spinet (London 1712) 08 Almand . (02'07) 09 Slow Aire . (01'18) 10 Corant . (02'42) 11 Menuet . (01'34) 12 Jigg . (02'26) Georg Philipp Telemann from “Der getreue Music=Meister” (Hamburg 1728) for Spinet 13 Dolce . (02'02) 14 Menuets . (02'38) 15 Gigue à l’Angloise . (00'53) Carl Friedrich Abel (1723–1787) Trio in G major A5:4A for Violin, Viola da gamba, Spinet 16 Allegro ma non troppo . (04'50) 17 Andantino . (02'08) 18 Tempo di minuetto . (02'04) Charles Burney (1726–1814) Sonata III in D major (London 1776) for Spinet 19 Prelude . (00'48) 20 A ff e t t u o s o . (01'57) 21 Capriccio . (05'00) 22 Minuetto . (01'26) Francesco Maria Veracini (1690–1768) Sonata No. 12 from 12 Sonate accademiche, Op. 2 (London 1744) for Violin and Spinet 23 Passagallo (Largo/Andante) . (03'48) 24 Capriccio Cromatico . (03'00) 25 Adagio . (01'38) 26 Ciaccona (Allegro ma non Presto) . (05'23) Francesco Geminiani (1687–1762) Rules for Playing in a True Taste: An English Tune (London 1739) for Violin, Viola da gamba, Spinet 27 An English Tune . (00'45) 28 Cantabile . (01'26) 29 Andante . (00'38) 30 Allegro assai . (00'39) 31 Allegro moderato . (00'36) 32 Andante . (02'24) Total Time . (68'04) Thomas Hitchcock No. 1379 London 1730 An English Spinet in Hamburg’s Telemann Museum ot only is the name Hitchcock synonymous with the most famous British fi lm director, it is also the name of an important dynasty of instrument makers in England. Although over 2000 instruments were made in the Hitchcock work- N shop, only a few of the instruments that have survived can be found in the great museums of the world today. To mark the opening of the fi rst Telemann Museum in 2011, the Hamburg Telemann Society received a unique gift: the Thomas Hitchcock Londini fecit No. 1379, an English spinet built in London in 1730 by the famous instrument maker Thomas Hitchcock. This valuable instrument was typically found in bourgeois salons at the time and was often played in concerts. The spinets of Hitchcock's successful London workshop were pop- ular throughout Europe. Therefore, it is possible that these spinets were also known and played in Hamburg while Georg Philipp Telemann was alive. For the fi rst time, this expressive instrument is now being featured in a recording that aims to show the tonal, polyphonic fl exibility of the Hitchcock spinet, which is ideal for both chamber music and solo works. The CD presents works that may have been played on the London instrument at the time. The London market not only provided access to goods from all over the world but also to international artists. London, then the largest city in the world, was a center of attraction for 5 numerous international artists and fertile ground for artistic exchange, as it can be read in the foreword of I. D. Fletcher to Johann Mattheson’s Pièces de Clavecin from 1714: “Britain, Now may hope to return these Arts with interest, which she borrowed from other Nations; and Foreigners in time may Learn of those who, their Forefathers Taught; Since we are blest with a Monarch whose Soul is form’d for Harmony, and whose Reign will give Life and En- couragement to Arts and Science in general.” This recording, which features London compositions from the second third of the 18th century, sheds light on the musical dialog between violin, viola da gamba, and our English 6 spinet. The composers presented provide an aural impression of the musical diversity of the time: the English travel writer Charles Burney, virtuoso Italian violinists such as Fran- cesco Geminiani and Francesco Maria Veracini—who made their careers in London, the Hamburg composer Johann Mattheson—who had his works published in London, the Ger- man gamba virtuoso Carl Friedrich Abel—who worked there as a concert promoter, as well as John Loeillet from Ghent—a celebrated keyboard player and harpsichord teacher. Tele- mann, who never visited England himself, also had his works sold in London by Crownfi eld. Telemann appreciated the humor of English music. In contrast to “. the French liveli- ness, singing, and harmony, the fl attery, invention, strange ways. .” he speaks of “. the British and Polish joke. .” The Gigue à l’Angloise from Der getreute Music=Meister of 1728 may give an example of how Telemann put English humor into music. Both Telemann’s Hamburg trio sonata from his Essercizii Musici and Geminiani’s Lon- don trio Rules for Playing in a True Taste were written in 1739 and refl ect a modern gallant musical style: “. it has been my particular Aim to observe a great variety of Harmony and Movement, which two Things are most agreeable to the Nature of the Instruments for our Delight arises from Variety and at the same time to give Pleasure to the Hearer.” This is how the Italian violin virtuoso Geminiani, who worked in London since 1714, describes his work in the foreword, taking an English folk song as the basis for his variation sonata. Telemann formally follows the structure of a sonata da chiesa, before surprising the listener in the third movement with a pastorale that assigns the spinet the folk-music-like role of a bagpipe. Johann Mattheson, cantor of the Hamburg cathedral, as well as composer and publisher of musical writings, had his harpsichord suites printed in the musical metropolis of London in 1714. The title Pièces de clavecin also indicates an English preference for the French style. John Loeillet’s Lessons for the Spinet also fulfi l this ideal. Born in Ghent, Loeillet had lived 7 in London since 1705. In the characteristic French suite movements, an English impres- sion is blended with the “Slow Aire.” In this work, Loeillet uses the distinctive timbre of the spinet for the various movements. Since the spinet has only one register, it is not possible to achieve diff erent timbres by changing registers as on the harpsichord. The composition itself must be arranged in such a way that the polyphonic or monophonic movement and the pitch incorporate fl ute-like upper octaves or bell-like lower octaves. Francesco Veracini’s extravagant sonata shows the sparkling virtuosity of an Italian star violinist who enjoyed great success in London. The highly virtuoso violin part alternates with strict old Italian canonic art in the passagallo and ciaconna. The composer assigns lush chords or sparse “tasto solo” to the spinet, the only bass instrument called for. He achieves an astonishing dynamic range and hence at times considerable distance between the solo violin and the accompanying spinet. Charles Burney demanded great virtuosity in his sonatas, which were printed in London in 1774. Today, the composer and musicologist is best known to us through his Diaries of a Musical Journey (1772), which he published in London after many years of travel through Italy, France, Austria, Germany, and Flanders. Charles Burney even wrote about the late Te- lemann and noted the following about the famous German: “Telemann is the most prolifi c German composer of the gallant style.” Burney’s Musical Parties could have included sonatas inspired by his European tour, new works he brought with him, and possibly also the trios of the famous viola da gamba virtuoso Carl Friedrich Abel, who had been working in London since 1759. This musically gallant work shows Abel as a pioneer of the classical period, presenting the violin and viola da gamba in elegant musicality with the Hitchcock spinet. 8 John Everett Millais: The Minuet (1866) (© Hamburger Kunsthalle/ bpk by Elke Walford) 9 The Hitchcock Trio Biographical Notes nke Dennert, the renowned specialist for historical keyboard instruments, studied with Robert Kohnen in Brussels and Andreas Staier in Cologne, as well as with Gisela Gumz in Hamburg for the concert exam on the harpsichord A and clavichord. Since then, she has made regular appearances as a continuo player and soloist with the Hamburger Ratsmusik, La Porta Musicale, Ensemble Obligat, and baroque orchestras in Europe and the USA. CD recordings for GENUIN on original instruments from Hamburg museums attest to her particular interest as a soloist for North German masters. The musician devotes herself to the revival of forgotten works, especially those by women composers. Anke Dennert teaches historical keyboard instruments and basso continuo at the Hamburg Conservatory. www.cembalo-hamburg.de When asked about her career aspirations at the age of eight, Simone Eckert replied: “gambist.” However, she turned a deaf ear to the warning to take up a real profession and now lives and works as a freelance musician near Hamburg. Since her studies with Hannelore Mueller and Jordi Savall with a diploma in Early Music at the Schola Cantorum Basiliensis in 1990, she has been working as a gambist, artistic di- 10 rector, agent and manager of her ensemble Hamburger Ratsmusik, as well as musicologist, editor of newly discovered music for viola da gamba and music teacher in and around Ham- burg.
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