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Fantasticus • Pandolfi Mealli Jenkins RES10112 Fantasticus Baroque Chamber Works

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Fantasticus • Pandolfi Mealli Jenkins RES10112 Fantasticus Baroque Chamber Works RES10112 fantasticus baroque chamber works jenkins • pandolfi mealli • kertzinger • muffat buxtehude • • stradella • schmelzer Fantasticus Baroque chamber works Alessandro Stradella (1639-1682) Georg Muffat (1653-1704) 1. Sinfonia No. 22 in D minor [7:51] 7. Passacaglia in G minor (from Apparatus musico-organisticus (1690)) [7:45] Fantasticus Dieterich Buxtehude (c. 1637-1707) 2. Sonata a 2 in A minor, BuxWV 272 [7:42] Dietrich Buxtehude Sonata and Suite in B flat, BuxWV 273 Rie Kimura baroque violin Giovanni Antonio Pandolfi Mealli (c. 1629-c. 1679) 8. Sonata [8:07] Robert Smith viola da gamba & baroque cello 3. Sonata ‘La Castella’ [6:47] 9. Allemanda [2:18] Guillermo Brachetta harpsichord 10. Courant [1:23] Johann Heinrich Schmelzer (c. 1620/23-1680) 11. Sarraband [0:49] 4. Sonata a 2 in A minor [6:00] 12. Gigue [1:23] attr. Augustinus Kertzinger (d. 1678) John Jenkins (1592-1678) 5. Sonatina in D minor [4:50] 13. Fantasia in D minor [4:50] Antonio Bertali (1605-1669) 6. Sonata in a 2 in D minor [6:45] Total playing time [66:38] Fantasticus Baroque chamber works Alessandro Stradella (1639-1682) Georg Muffat (1653-1704) 1. Sinfonia No. 22 in D minor [7:51] 7. Passacaglia in G minor (from Apparatus musico-organisticus (1690)) [7:45] Fantasticus Dieterich Buxtehude (c. 1637-1707) 2. Sonata a 2 in A minor, BuxWV 272 [7:42] Dietrich Buxtehude Sonata and Suite in B flat, BuxWV 273 Rie Kimura baroque violin Giovanni Antonio Pandolfi Mealli (c. 1629-c. 1679) 8. Sonata [8:07] Robert Smith viola da gamba & baroque cello 3. Sonata ‘La Castella’ [6:47] 9. Allemanda [2:18] Guillermo Brachetta harpsichord 10. Courant [1:23] Johann Heinrich Schmelzer (c. 1620/23-1680) 11. Sarraband [0:49] 4. Sonata a 2 in A minor [6:00] 12. Gigue [1:23] attr. Augustinus Kertzinger (d. 1678) John Jenkins (1592-1678) 5. Sonatina in D minor [4:50] 13. Fantasia in D minor [4:50] Antonio Bertali (1605-1669) 6. Sonata in a 2 in D minor [6:45] Total playing time [66:38] Stylus fantasticus stylus phantasticus): ‘The fantastic style is suitable for instruments. It is the most free The seventeenth century saw a dramatic rise and unrestrained method of composing; in the status of instrumental music. In earlier it is bound to nothing, neither to words nor centuries, instruments were mainly used to to a melodic subject; it was instituted to double voices or play improvised dances. display genius and to teach the hidden But from 1600 onwards, an instrumental design of harmony...’ Kircher conceived the repertory emerged independent of vocal stylus fantasticus as primarily contrapuntal, and dance music. This new repertory but using freely invented themes rather than increasingly featured idiomatic instrumental the cantus firmus (pre-existing melodies) often techniques, such as multiple-stopping for used in vocal counterpoint. As examples of stringed instruments or rolled chords for the fantastic style, Kircher quoted excerpts keyboardists. For the first time in history, from several pieces, including Froberger’s composers could gain a European reputation Fantasia on the theme Ut, re, mi, fa, sol, la principally by writing instrumental music, and a sinfonia for four lutes attributed to as with Heinrich Biber (1644-1704), Arcangelo Lelio Colista (1629-1680). Corelli (1653-1713), Johann Jakob Froberger (1616-1667) and many others. By the eighteenth century, concepts of the stylus fantasticus had broadened. Writing in The emerging repertory of idiomatic 1739, the Hamburg theorist Johann instrumental music posed a compositional Mattheson (1681-1764) defined it as an challenge. How should such instrumental improvised or improvisatory style: ‘a singing works be structured when they had no or playing that comes of free genius or, as words? Should a composer follow dance is said, ex tempore. [...] This style is the rhythms or the logic of counterpoint? Or most free and unrestrained manner of should the piece be a showcase for the composing, singing and playing that one virtuosity of an individual performer? can imagine, for one hits first upon this idea and then upon that one, since one is Fantasticus In 1650 an answer to this dilemma was bound neither to words nor to melody, provided by the Jesuit polymath Athanasius only to harmony, so that the singer or Kircher (1601-1680). In his Musurgia player can display his skill.’ As examples, universale he formulated the notion of Mattheson quoted the rhapsodic openings the stylus fantasticus (also known as of keyboard toccatas by Froberger and Stylus fantasticus stylus phantasticus): ‘The fantastic style is suitable for instruments. It is the most free The seventeenth century saw a dramatic rise and unrestrained method of composing; in the status of instrumental music. In earlier it is bound to nothing, neither to words nor centuries, instruments were mainly used to to a melodic subject; it was instituted to double voices or play improvised dances. display genius and to teach the hidden But from 1600 onwards, an instrumental design of harmony...’ Kircher conceived the repertory emerged independent of vocal stylus fantasticus as primarily contrapuntal, and dance music. This new repertory but using freely invented themes rather than increasingly featured idiomatic instrumental the cantus firmus (pre-existing melodies) often techniques, such as multiple-stopping for used in vocal counterpoint. As examples of stringed instruments or rolled chords for the fantastic style, Kircher quoted excerpts keyboardists. For the first time in history, from several pieces, including Froberger’s composers could gain a European reputation Fantasia on the theme Ut, re, mi, fa, sol, la principally by writing instrumental music, and a sinfonia for four lutes attributed to as with Heinrich Biber (1644-1704), Arcangelo Lelio Colista (1629-1680). Corelli (1653-1713), Johann Jakob Froberger (1616-1667) and many others. By the eighteenth century, concepts of the stylus fantasticus had broadened. Writing in The emerging repertory of idiomatic 1739, the Hamburg theorist Johann instrumental music posed a compositional Mattheson (1681-1764) defined it as an challenge. How should such instrumental improvised or improvisatory style: ‘a singing works be structured when they had no or playing that comes of free genius or, as words? Should a composer follow dance is said, ex tempore. [...] This style is the rhythms or the logic of counterpoint? Or most free and unrestrained manner of should the piece be a showcase for the composing, singing and playing that one virtuosity of an individual performer? can imagine, for one hits first upon this idea and then upon that one, since one is Fantasticus In 1650 an answer to this dilemma was bound neither to words nor to melody, provided by the Jesuit polymath Athanasius only to harmony, so that the singer or Kircher (1601-1680). In his Musurgia player can display his skill.’ As examples, universale he formulated the notion of Mattheson quoted the rhapsodic openings the stylus fantasticus (also known as of keyboard toccatas by Froberger and Dieterich Buxtehude (c. 1637-1707); these a free dialogue between the violin and unrestrained outpourings contrasted with violoncello, using rhapsodic improvisatory the contrapuntal pieces cited by Kircher. lines; a more imitative canzona follows, its distinctive theme full of repeated notes. Later Mattheson also extended the notion of the a short contrapuntal duo is heard twice, stylus fantasticus to include improvisatory interspersed by a brief gigue. In the second music for instrumental ensemble. He statement the parts are swapped around, described how in 1666 in Hamburg, a demonstrating Stradella’s command of sonata ‘for two violins and viola da gamba invertible counterpoint. by the young [Kaspar] Förster [c. 1616-1673] was played. Each player was given eight A leading exponent of the stylus fantasticus bars to let his free ideas be heard, in was Dieterich Buxtehude, organist at the accordance with the stylus fantasticus.’ Marienkirche in Lübeck from 1668 until his Mattheson’s description implies that each death. Buxtehude’s output includes many performer improvised over a repeated organ praeludia in improvisatory style, with bass theme. An ostinato bass, reiterated virtuosic flourishes for the hands and feet. hypnotically by the continuo, was the He also used improvisatory devices in his ideal foundation for virtuosic outpourings chamber music. Buxtehude’s Sonata a 2 in by players of melody instruments. Taking A minor, BuxWV 272 consists of two sections Kircher’s and Mattheson’s ideas together, based on ostinatos, linked by a short chordal it is evident that the stylus fantasticus ‘Adagio’. The first ostinato is a sixteen-beat was multifaceted, encompassing theme that is repeated twenty-six times, while contrapuntal textures, unrestrained the violin and gamba wrap roulades, figuration improvisation, and ostinato bass-lines. and even a gigue around it. The second ostinato is built on a jagged theme in the bass; A combination of strict counterpoint and this allows dissonant upper parts, especially improvisatory freedom is heard in the audible in the triple-stopped passages for the Sinfonia a 2 by Antonio Stradella (1639-1682). violin. Stradella worked in Rome until 1677, and later was active in Venice, Turin and Genoa. Buxtehude’s Sonata and Suite in B flat major, Although his output is dominated by operatic BuxWV 273 combines the mesmerising effect music, he also wrote sonatas and concerti of the ostinato with the rhythms of the dance grossi for strings. His sinfonia begins with suite. The piece opens with a 113-bar section Dieterich Buxtehude (c. 1637-1707); these a free dialogue between the violin and unrestrained outpourings contrasted with violoncello, using rhapsodic improvisatory the contrapuntal pieces cited by Kircher. lines; a more imitative canzona follows, its distinctive theme full of repeated notes. Later Mattheson also extended the notion of the a short contrapuntal duo is heard twice, stylus fantasticus to include improvisatory interspersed by a brief gigue.
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