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these are less stringent, less consistent in their writing; the impression will be subjective. If you hear no Ensemble Vintage Köln they are more repetitive and more unusual in a difference, that too is fine, and a compliment to the sometimes awkward way. We do not condemn these composer (whoever it was) and the interpreters. We HANDEL Ensemble Vintage Köln was founded in 2009 by Ariadne Daskalakis, Ursula Schmidt-Laukamp (recorder/traverse works; the problem is simply that they have “clouded enjoyed flexible use of the violoncello and viola da flute), Rainer Zipperling and Gerald Hambitzer, colleagues at the Hochschule für Musik Köln who share a wealth the waters”. Having been sold as Handel and included gamba in the basso continuo. Our choice to play this of experience in historical performance practice. Ensemble Vintage Köln ranges in size from trio sonata to a larger as such in respected publications, for a good two repertoire on baroque instruments is based on the ensemble with strings. Recent projects include performances for the German radio companies HR in Frankfurt and Complete Violin Sonatas centuries they deterred our ability to delve into and conviction that the original instruments still best do SWR in Baden-Baden, and a collaboration with Ensemble eX at the Festival for Early Music in Regensburg. grasp the essence of Handel. justice to the music that was written for them. Handel’s We have chosen to keep the authentic and non- wide range of colours and expression are Ariadne Daskalakis Ensemble Vintage Köln authentic sonatas separate in the programme order so complemented by subtlety and fragility, nuances for Ariadne Daskalakis has appeared with many leading orchestras, including the Akademie für Alte Musik Berlin, the that the listener might be able to notice the subtle which baroque instruments remain particularly Prague Chamber Orchestra, the Bavarian Radio Orchestra Munich and the English Chamber Orchestra. Prizewinner Ariadne Daskalakis differences. A practised ear may or may not discern a appropriate. of the 1998 International ARD Munich Competition, she is equally at home performing as recitalist as she is with Rainer Zipperling • Gerald Hambitzer slight shift in the musical language after the first five Ensemble Vintage Köln, the Manon Quartet Berlin or the Emanuel Piano Trio. Born in Boston, Ariadne Daskalakis sonatas and the two fragment movements; admittedly, Ariadne Daskalakis, 2010 holds degrees from Harvard University and the Hochschule der Künste Berlin. She is Professor of Violin at the Cologne Conservatory of Music and Dance.
Rainer Zipperling Ensemble Vintage Köln Rainer Zipperling studied viola da gamba and cello at the Royal Conservatory of The Hague. Finishing his studies in 1980 he joined groups such as the Orchestra of the 18th century, La Petite Bande, the Ricercar Consort and Camerata Köln. He regularly performs with John Eliot Gardiner and the English Baroque Soloists as principal cellist and gambist and has performed the Brandenburg Concertos with Claudio Abbado and his Mozart Orchestra. Today he is highly regarded as a teacher at the Cologne Conservatory of Music and Dance and the Lemmensinstitut in Leuven, Belgium. His recent recording of Bach’s Cello Suites received excellent press reviews.
Gerald Hambitzer Gerald Hambitzer studied harpsichord at the Cologne Conservatory of Music and Dance and while still a student was engaged as harpsichordist with the Concerto Köln. He is a regular guest on various radio stations and has been involved in more than sixty CD productions. His recordings as a soloist in harpsichord concertos by J.S. Bach, C. Ph. E. Bach and F. Durante have earned him international recognition. In 1999 Gerald Hambitzer was appointed Professor and Head of the Institute of Early Music at the Cologne University of Music. Ariadne Daskalakis, Baroque Violin Photo: Frank Niemetz Gerard Hambitzer, Rainer Zipperling, Harpsichord Viola da Gamba / Baroque Cello
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George Frideric Handel (1685–1759) George Frideric Handel (1685–1759) These in turn bear the note “Not Mr. Handel’s Solo” short and questioning, and the fourth movement has an (in different handwriting) in the British Library copies. homogenous texture which rolls effortlessly and brings Complete Violin Sonatas Complete Violin Sonatas The combined Roger/Walsh editions were adapted by the work to a satisfying close. The Violin Sonatas by George Frideric Handel, nonetheless began with a twelve month leave of absence the great nineteenth-century publisher Chrysander and The Sonata in G major, HWV 358, (ca. 1707), an Violin Sonata in D major, HWV 371 11:05 ) Andante in A minor, HWV 412 2:14 masterful works by this truly European baroque genius, in London, where he eventually settled permanently. He handed down as authentic. Twentieth-century scholars earlier work written on Italian paper, differs from the 1 Affettuoso 3:01 have been shrouded in mystery. Until quite recently the was instrumental in bringing the Italian opera seria to such as Terence Best have brought us much closer to others in form. The first of only three movements is a 2 Allegro 2:29 ¡ Allegro in C minor, HWV 408 3:07 most respected publications listed Six Handel Sonatas London, an undertaking which led to the founding of the knowing the truth. cleverly crafted Preludio or perpetuo mobile, the 3 Larghetto 2:15 for Violin and Basso continuo, pieces known and loved Royal Academy and cemented London’s standing as a We begin with the great Sonata in D major, HWV second movement a declamatory recitativo with bold 4 Allegro 3:20 Violin Sonata in F major, HWV 370 10:48 by generations. As it turned out, however, four of those cultural capital. His operas were prolific and famous, 371, one of Handel’s best-known works and certainly modulations. The extremely high notes at the end of ™ Adagio 3:29 six are of questionable origin. Meanwhile, another three but not all successful at the time. The ensuing immense one of his strongest sonatas. A mature work, it is the the Gigue-like third movement are quite a surprise, and Violin Sonata in A major, HWV 361 7:24 £ Allegro 1:43 authentic violin sonatas were practically ignored for popularity of his oratorios was an unexpected by- latest of the violin sonatas: the paper of the surviving it is uncertain how seriously they were actually 5 Andante 2:25 ¢ Largo 3:19 centuries. product of circumstances. Supported by the court and autograph has been dated to around 1750. The slow intended. This sonata had no instrument indication and 6 Allegro 1:41 ∞ Allegro 2:17 Handel was born in Halle, Germany, in 1685. revered by the public throughout most of his movements stand out in their richness and expressivity. the writing might otherwise suggest a flute; but these 7 Adagio 0:48 Although his father originally forbade music and professional life, Handel survived two strokes and was The fugato and the counterpoint of the second highest notes, assuming they were truly intended, are 8 Allegro 2:30 Violin Sonata in G minor, HWV 368 8:45 intended him to study law, young Handel practised able to remain rather active and vigorous until relatively movement are masterful and ebullient, virtuosic and the main proof of argument that it was in fact written § Andante 2:13 secretly and finally received music lessons from old age. He died in London in 1759. never heavy-handed. The dance-like material of the for the violin. Violin Sonata in D minor, HWV 359a 7:12 ¶ Allegro 2:24 Friedrich Wilhelm Zachow, learning organ, harpsichord, The instrumental sonatas which survived offer but a final movement was also used in the oratorio Jephtha. The lilting Andante in A minor, HWV 412, (ca. 9 Grave 2:00 • Adagio 1:57 violin, harmony, counterpoint and composition. He soon sliver of material compared with the scope of his The Sonata in A major, HWV 361, (ca. 1726) 1724/25), of unknown origin or intention, gives a 0 Allegro 1:36 ª Gigue 2:11 became known for his superb keyboard playing and complete works. The first publication of twelve which follows is also a true masterpiece. The unique masterful example of the Italian operatic influence. ! Adagio 1:00 promising compositional talents. He went to work at the instrumental sonatas around 1730 was for various lyricism of the first movement precedes another The Allegro in C minor, HWV 408, (ca. 1724/25) is @ Allegro 2:36 Violin Sonata in A major, HWV 372 7:42 opera in Hamburg in 1703, first as a violinist, then as melodic instruments: flute, recorder, oboe and violin. brilliant fugato movement. The short, plaintive third practically the same material as that which Handel º Adagio 1:31 harpsichordist and budding opera composer. After three (These did not include the great Sonata in D major, movement leads into an exceptionally elegant and used in his Recorder Sonata in A minor, HWV 362; this Violin Sonata in G minor, HWV 364a 6:17 ⁄ Allegro 2:26 years there he travelled at the suggestion of Prince HWV 371, which had yet to be written, or the Sonata in sprightly finale. illustrates how the composer could share material # Andante larghetto 2:00 ¤ Largo 1:16 Ferdinand de’ Medici to Italy, where he spent time in G major, HWV 358.) It seems the publisher, John Walsh The Sonata in D minor, HWV 359a, (ca. 1724) was among different melodic instruments and extrapolate $ Allegro 1:35 ‹ Allegro 2:29 Florence, Rome and Venice, frequenting noble and acting under the name Jeanne Roger of Amsterdam, published by Walsh as a flute sonata. The first material from one sonata to another. % Adagio 0:43 otherwise prestigious circles. His contact with the wanted to offer ‘something for everyone’ by the popular movement has an unusually declamatory character The inherent qualities of Handel’s violin sonatas ^ Allegro 1:59 Violin Sonata in E major, HWV 373 8:05 Italian musical world of opera, oratorio, cantatas and composer. This led to future confusion, however, thanks to its strong rhythmic motives. The second were obscured over time by the additional four › Adagio 1:55 instrumental works had a profound influence on his because in switching around the solo instruments, a not movement is contrapuntal and has an urgent quality. “imposter” sonatas. Of these, the Sonata in A major, Violin Sonata in G major, HWV 358 4:46 fi Allegro 2:35 development. He interacted with colleagues such as uncommon practice, Walsh ‘gave away’ two violin The third movement depicts fragility and emotional HWV 372 and sonata in E major, HWV 373, which & Allegro 1:48 fl Largo 1:18 Domenico and Alessandro Scarlatti, Vivaldi, Albinoni sonatas to the oboe and flute. Furthermore, he added affects, and the final movement is graceful, with a both appeared in the early Roger audition, exude light * Adagio 0:43 ‡ Allegro 2:17 and Corelli. Handel had arrived in Italy a not yet fully two violin sonatas which were not authentic, in the nostalgic elegance. elegance and warmth. The Sonata in F major, HWV ( Allegro 2:15 formed composer, and left as a truly developed artist, Sonatas in A and E, HWV 372 and HWV 373. The The Sonata in G minor, HWV 364a, (ca. 1724) was 370, and Sonata in G minor, HWV 368, are greater in able expertly to combine and interweave the different copies of these in the British National Library bear the clearly written for the violin and in addition Handel scope but not deeper in meaning. Is it possible that Ensemble Vintage Köln European influences, especially the German note “NB. This is not Mr. Handel’s”. John Walsh indicated the solo part could be played by the viola da Handel composed them after all, in spite of the contrapuntal and Italian operatic styles, as his published a corrected version of the same instrumental gamba. Publisher Walsh delegated it to the oboe. This contrary evidence? Looking simply at the musical Ariadne Daskalakis, Baroque Violin instrumental sonatas demonstrate. sonatas a few years later, in which he removed the two work is particularly beautiful and well-crafted. It opens content, they are unquestionably beautiful works, Rainer Zipperling, Viola da gamba / Baroque Cello • Gerald Hambitzer, Harpsichord In 1710 Handel was appointed Kapellmeister to the imposter violin sonatas and replaced them with two with a gorgeous aria followed by an elegant which will still do justice to concert programmes. court of Hanover, an important post which he others, in G minor and F major (HWV 368 and 370). contrapuntal second movement. The third movement is However, in comparison with the undisputed sonatas,
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George Frideric Handel (1685–1759) George Frideric Handel (1685–1759) These in turn bear the note “Not Mr. Handel’s Solo” short and questioning, and the fourth movement has an (in different handwriting) in the British Library copies. homogenous texture which rolls effortlessly and brings Complete Violin Sonatas Complete Violin Sonatas The combined Roger/Walsh editions were adapted by the work to a satisfying close. The Violin Sonatas by George Frideric Handel, nonetheless began with a twelve month leave of absence the great nineteenth-century publisher Chrysander and The Sonata in G major, HWV 358, (ca. 1707), an Violin Sonata in D major, HWV 371 11:05 ) Andante in A minor, HWV 412 2:14 masterful works by this truly European baroque genius, in London, where he eventually settled permanently. He handed down as authentic. Twentieth-century scholars earlier work written on Italian paper, differs from the 1 Affettuoso 3:01 have been shrouded in mystery. Until quite recently the was instrumental in bringing the Italian opera seria to such as Terence Best have brought us much closer to others in form. The first of only three movements is a 2 Allegro 2:29 ¡ Allegro in C minor, HWV 408 3:07 most respected publications listed Six Handel Sonatas London, an undertaking which led to the founding of the knowing the truth. cleverly crafted Preludio or perpetuo mobile, the 3 Larghetto 2:15 for Violin and Basso continuo, pieces known and loved Royal Academy and cemented London’s standing as a We begin with the great Sonata in D major, HWV second movement a declamatory recitativo with bold 4 Allegro 3:20 Violin Sonata in F major, HWV 370 10:48 by generations. As it turned out, however, four of those cultural capital. His operas were prolific and famous, 371, one of Handel’s best-known works and certainly modulations. The extremely high notes at the end of ™ Adagio 3:29 six are of questionable origin. Meanwhile, another three but not all successful at the time. The ensuing immense one of his strongest sonatas. A mature work, it is the the Gigue-like third movement are quite a surprise, and Violin Sonata in A major, HWV 361 7:24 £ Allegro 1:43 authentic violin sonatas were practically ignored for popularity of his oratorios was an unexpected by- latest of the violin sonatas: the paper of the surviving it is uncertain how seriously they were actually 5 Andante 2:25 ¢ Largo 3:19 centuries. product of circumstances. Supported by the court and autograph has been dated to around 1750. The slow intended. This sonata had no instrument indication and 6 Allegro 1:41 ∞ Allegro 2:17 Handel was born in Halle, Germany, in 1685. revered by the public throughout most of his movements stand out in their richness and expressivity. the writing might otherwise suggest a flute; but these 7 Adagio 0:48 Although his father originally forbade music and professional life, Handel survived two strokes and was The fugato and the counterpoint of the second highest notes, assuming they were truly intended, are 8 Allegro 2:30 Violin Sonata in G minor, HWV 368 8:45 intended him to study law, young Handel practised able to remain rather active and vigorous until relatively movement are masterful and ebullient, virtuosic and the main proof of argument that it was in fact written § Andante 2:13 secretly and finally received music lessons from old age. He died in London in 1759. never heavy-handed. The dance-like material of the for the violin. Violin Sonata in D minor, HWV 359a 7:12 ¶ Allegro 2:24 Friedrich Wilhelm Zachow, learning organ, harpsichord, The instrumental sonatas which survived offer but a final movement was also used in the oratorio Jephtha. The lilting Andante in A minor, HWV 412, (ca. 9 Grave 2:00 • Adagio 1:57 violin, harmony, counterpoint and composition. He soon sliver of material compared with the scope of his The Sonata in A major, HWV 361, (ca. 1726) 1724/25), of unknown origin or intention, gives a 0 Allegro 1:36 ª Gigue 2:11 became known for his superb keyboard playing and complete works. The first publication of twelve which follows is also a true masterpiece. The unique masterful example of the Italian operatic influence. ! Adagio 1:00 promising compositional talents. He went to work at the instrumental sonatas around 1730 was for various lyricism of the first movement precedes another The Allegro in C minor, HWV 408, (ca. 1724/25) is @ Allegro 2:36 Violin Sonata in A major, HWV 372 7:42 opera in Hamburg in 1703, first as a violinist, then as melodic instruments: flute, recorder, oboe and violin. brilliant fugato movement. The short, plaintive third practically the same material as that which Handel º Adagio 1:31 harpsichordist and budding opera composer. After three (These did not include the great Sonata in D major, movement leads into an exceptionally elegant and used in his Recorder Sonata in A minor, HWV 362; this Violin Sonata in G minor, HWV 364a 6:17 ⁄ Allegro 2:26 years there he travelled at the suggestion of Prince HWV 371, which had yet to be written, or the Sonata in sprightly finale. illustrates how the composer could share material # Andante larghetto 2:00 ¤ Largo 1:16 Ferdinand de’ Medici to Italy, where he spent time in G major, HWV 358.) It seems the publisher, John Walsh The Sonata in D minor, HWV 359a, (ca. 1724) was among different melodic instruments and extrapolate $ Allegro 1:35 ‹ Allegro 2:29 Florence, Rome and Venice, frequenting noble and acting under the name Jeanne Roger of Amsterdam, published by Walsh as a flute sonata. The first material from one sonata to another. % Adagio 0:43 otherwise prestigious circles. His contact with the wanted to offer ‘something for everyone’ by the popular movement has an unusually declamatory character The inherent qualities of Handel’s violin sonatas ^ Allegro 1:59 Violin Sonata in E major, HWV 373 8:05 Italian musical world of opera, oratorio, cantatas and composer. This led to future confusion, however, thanks to its strong rhythmic motives. The second were obscured over time by the additional four › Adagio 1:55 instrumental works had a profound influence on his because in switching around the solo instruments, a not movement is contrapuntal and has an urgent quality. “imposter” sonatas. Of these, the Sonata in A major, Violin Sonata in G major, HWV 358 4:46 fi Allegro 2:35 development. He interacted with colleagues such as uncommon practice, Walsh ‘gave away’ two violin The third movement depicts fragility and emotional HWV 372 and sonata in E major, HWV 373, which & Allegro 1:48 fl Largo 1:18 Domenico and Alessandro Scarlatti, Vivaldi, Albinoni sonatas to the oboe and flute. Furthermore, he added affects, and the final movement is graceful, with a both appeared in the early Roger audition, exude light * Adagio 0:43 ‡ Allegro 2:17 and Corelli. Handel had arrived in Italy a not yet fully two violin sonatas which were not authentic, in the nostalgic elegance. elegance and warmth. The Sonata in F major, HWV ( Allegro 2:15 formed composer, and left as a truly developed artist, Sonatas in A and E, HWV 372 and HWV 373. The The Sonata in G minor, HWV 364a, (ca. 1724) was 370, and Sonata in G minor, HWV 368, are greater in able expertly to combine and interweave the different copies of these in the British National Library bear the clearly written for the violin and in addition Handel scope but not deeper in meaning. Is it possible that Ensemble Vintage Köln European influences, especially the German note “NB. This is not Mr. Handel’s”. John Walsh indicated the solo part could be played by the viola da Handel composed them after all, in spite of the contrapuntal and Italian operatic styles, as his published a corrected version of the same instrumental gamba. Publisher Walsh delegated it to the oboe. This contrary evidence? Looking simply at the musical Ariadne Daskalakis, Baroque Violin instrumental sonatas demonstrate. sonatas a few years later, in which he removed the two work is particularly beautiful and well-crafted. It opens content, they are unquestionably beautiful works, Rainer Zipperling, Viola da gamba / Baroque Cello • Gerald Hambitzer, Harpsichord In 1710 Handel was appointed Kapellmeister to the imposter violin sonatas and replaced them with two with a gorgeous aria followed by an elegant which will still do justice to concert programmes. court of Hanover, an important post which he others, in G minor and F major (HWV 368 and 370). contrapuntal second movement. The third movement is However, in comparison with the undisputed sonatas,
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George Frideric Handel (1685–1759) George Frideric Handel (1685–1759) These in turn bear the note “Not Mr. Handel’s Solo” short and questioning, and the fourth movement has an (in different handwriting) in the British Library copies. homogenous texture which rolls effortlessly and brings Complete Violin Sonatas Complete Violin Sonatas The combined Roger/Walsh editions were adapted by the work to a satisfying close. The Violin Sonatas by George Frideric Handel, nonetheless began with a twelve month leave of absence the great nineteenth-century publisher Chrysander and The Sonata in G major, HWV 358, (ca. 1707), an Violin Sonata in D major, HWV 371 11:05 ) Andante in A minor, HWV 412 2:14 masterful works by this truly European baroque genius, in London, where he eventually settled permanently. He handed down as authentic. Twentieth-century scholars earlier work written on Italian paper, differs from the 1 Affettuoso 3:01 have been shrouded in mystery. Until quite recently the was instrumental in bringing the Italian opera seria to such as Terence Best have brought us much closer to others in form. The first of only three movements is a 2 Allegro 2:29 ¡ Allegro in C minor, HWV 408 3:07 most respected publications listed Six Handel Sonatas London, an undertaking which led to the founding of the knowing the truth. cleverly crafted Preludio or perpetuo mobile, the 3 Larghetto 2:15 for Violin and Basso continuo, pieces known and loved Royal Academy and cemented London’s standing as a We begin with the great Sonata in D major, HWV second movement a declamatory recitativo with bold 4 Allegro 3:20 Violin Sonata in F major, HWV 370 10:48 by generations. As it turned out, however, four of those cultural capital. His operas were prolific and famous, 371, one of Handel’s best-known works and certainly modulations. The extremely high notes at the end of ™ Adagio 3:29 six are of questionable origin. Meanwhile, another three but not all successful at the time. The ensuing immense one of his strongest sonatas. A mature work, it is the the Gigue-like third movement are quite a surprise, and Violin Sonata in A major, HWV 361 7:24 £ Allegro 1:43 authentic violin sonatas were practically ignored for popularity of his oratorios was an unexpected by- latest of the violin sonatas: the paper of the surviving it is uncertain how seriously they were actually 5 Andante 2:25 ¢ Largo 3:19 centuries. product of circumstances. Supported by the court and autograph has been dated to around 1750. The slow intended. This sonata had no instrument indication and 6 Allegro 1:41 ∞ Allegro 2:17 Handel was born in Halle, Germany, in 1685. revered by the public throughout most of his movements stand out in their richness and expressivity. the writing might otherwise suggest a flute; but these 7 Adagio 0:48 Although his father originally forbade music and professional life, Handel survived two strokes and was The fugato and the counterpoint of the second highest notes, assuming they were truly intended, are 8 Allegro 2:30 Violin Sonata in G minor, HWV 368 8:45 intended him to study law, young Handel practised able to remain rather active and vigorous until relatively movement are masterful and ebullient, virtuosic and the main proof of argument that it was in fact written § Andante 2:13 secretly and finally received music lessons from old age. He died in London in 1759. never heavy-handed. The dance-like material of the for the violin. Violin Sonata in D minor, HWV 359a 7:12 ¶ Allegro 2:24 Friedrich Wilhelm Zachow, learning organ, harpsichord, The instrumental sonatas which survived offer but a final movement was also used in the oratorio Jephtha. The lilting Andante in A minor, HWV 412, (ca. 9 Grave 2:00 • Adagio 1:57 violin, harmony, counterpoint and composition. He soon sliver of material compared with the scope of his The Sonata in A major, HWV 361, (ca. 1726) 1724/25), of unknown origin or intention, gives a 0 Allegro 1:36 ª Gigue 2:11 became known for his superb keyboard playing and complete works. The first publication of twelve which follows is also a true masterpiece. The unique masterful example of the Italian operatic influence. ! Adagio 1:00 promising compositional talents. He went to work at the instrumental sonatas around 1730 was for various lyricism of the first movement precedes another The Allegro in C minor, HWV 408, (ca. 1724/25) is @ Allegro 2:36 Violin Sonata in A major, HWV 372 7:42 opera in Hamburg in 1703, first as a violinist, then as melodic instruments: flute, recorder, oboe and violin. brilliant fugato movement. The short, plaintive third practically the same material as that which Handel º Adagio 1:31 harpsichordist and budding opera composer. After three (These did not include the great Sonata in D major, movement leads into an exceptionally elegant and used in his Recorder Sonata in A minor, HWV 362; this Violin Sonata in G minor, HWV 364a 6:17 ⁄ Allegro 2:26 years there he travelled at the suggestion of Prince HWV 371, which had yet to be written, or the Sonata in sprightly finale. illustrates how the composer could share material # Andante larghetto 2:00 ¤ Largo 1:16 Ferdinand de’ Medici to Italy, where he spent time in G major, HWV 358.) It seems the publisher, John Walsh The Sonata in D minor, HWV 359a, (ca. 1724) was among different melodic instruments and extrapolate $ Allegro 1:35 ‹ Allegro 2:29 Florence, Rome and Venice, frequenting noble and acting under the name Jeanne Roger of Amsterdam, published by Walsh as a flute sonata. The first material from one sonata to another. % Adagio 0:43 otherwise prestigious circles. His contact with the wanted to offer ‘something for everyone’ by the popular movement has an unusually declamatory character The inherent qualities of Handel’s violin sonatas ^ Allegro 1:59 Violin Sonata in E major, HWV 373 8:05 Italian musical world of opera, oratorio, cantatas and composer. This led to future confusion, however, thanks to its strong rhythmic motives. The second were obscured over time by the additional four › Adagio 1:55 instrumental works had a profound influence on his because in switching around the solo instruments, a not movement is contrapuntal and has an urgent quality. “imposter” sonatas. Of these, the Sonata in A major, Violin Sonata in G major, HWV 358 4:46 fi Allegro 2:35 development. He interacted with colleagues such as uncommon practice, Walsh ‘gave away’ two violin The third movement depicts fragility and emotional HWV 372 and sonata in E major, HWV 373, which & Allegro 1:48 fl Largo 1:18 Domenico and Alessandro Scarlatti, Vivaldi, Albinoni sonatas to the oboe and flute. Furthermore, he added affects, and the final movement is graceful, with a both appeared in the early Roger audition, exude light * Adagio 0:43 ‡ Allegro 2:17 and Corelli. Handel had arrived in Italy a not yet fully two violin sonatas which were not authentic, in the nostalgic elegance. elegance and warmth. The Sonata in F major, HWV ( Allegro 2:15 formed composer, and left as a truly developed artist, Sonatas in A and E, HWV 372 and HWV 373. The The Sonata in G minor, HWV 364a, (ca. 1724) was 370, and Sonata in G minor, HWV 368, are greater in able expertly to combine and interweave the different copies of these in the British National Library bear the clearly written for the violin and in addition Handel scope but not deeper in meaning. Is it possible that Ensemble Vintage Köln European influences, especially the German note “NB. This is not Mr. Handel’s”. John Walsh indicated the solo part could be played by the viola da Handel composed them after all, in spite of the contrapuntal and Italian operatic styles, as his published a corrected version of the same instrumental gamba. Publisher Walsh delegated it to the oboe. This contrary evidence? Looking simply at the musical Ariadne Daskalakis, Baroque Violin instrumental sonatas demonstrate. sonatas a few years later, in which he removed the two work is particularly beautiful and well-crafted. It opens content, they are unquestionably beautiful works, Rainer Zipperling, Viola da gamba / Baroque Cello • Gerald Hambitzer, Harpsichord In 1710 Handel was appointed Kapellmeister to the imposter violin sonatas and replaced them with two with a gorgeous aria followed by an elegant which will still do justice to concert programmes. court of Hanover, an important post which he others, in G minor and F major (HWV 368 and 370). contrapuntal second movement. The third movement is However, in comparison with the undisputed sonatas,
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these are less stringent, less consistent in their writing; the impression will be subjective. If you hear no Ensemble Vintage Köln they are more repetitive and more unusual in a difference, that too is fine, and a compliment to the sometimes awkward way. We do not condemn these composer (whoever it was) and the interpreters. We HANDEL Ensemble Vintage Köln was founded in 2009 by Ariadne Daskalakis, Ursula Schmidt-Laukamp (recorder/traverse works; the problem is simply that they have “clouded enjoyed flexible use of the violoncello and viola da flute), Rainer Zipperling and Gerald Hambitzer, colleagues at the Hochschule für Musik Köln who share a wealth the waters”. Having been sold as Handel and included gamba in the basso continuo. Our choice to play this of experience in historical performance practice. Ensemble Vintage Köln ranges in size from trio sonata to a larger as such in respected publications, for a good two repertoire on baroque instruments is based on the ensemble with strings. Recent projects include performances for the German radio companies HR in Frankfurt and Complete Violin Sonatas centuries they deterred our ability to delve into and conviction that the original instruments still best do SWR in Baden-Baden, and a collaboration with Ensemble eX at the Festival for Early Music in Regensburg. grasp the essence of Handel. justice to the music that was written for them. Handel’s We have chosen to keep the authentic and non- wide range of colours and expression are Ariadne Daskalakis Ensemble Vintage Köln authentic sonatas separate in the programme order so complemented by subtlety and fragility, nuances for Ariadne Daskalakis has appeared with many leading orchestras, including the Akademie für Alte Musik Berlin, the that the listener might be able to notice the subtle which baroque instruments remain particularly Prague Chamber Orchestra, the Bavarian Radio Orchestra Munich and the English Chamber Orchestra. Prizewinner Ariadne Daskalakis differences. A practised ear may or may not discern a appropriate. of the 1998 International ARD Munich Competition, she is equally at home performing as recitalist as she is with Rainer Zipperling • Gerald Hambitzer slight shift in the musical language after the first five Ensemble Vintage Köln, the Manon Quartet Berlin or the Emanuel Piano Trio. Born in Boston, Ariadne Daskalakis sonatas and the two fragment movements; admittedly, Ariadne Daskalakis, 2010 holds degrees from Harvard University and the Hochschule der Künste Berlin. She is Professor of Violin at the Cologne Conservatory of Music and Dance.
Rainer Zipperling Ensemble Vintage Köln Rainer Zipperling studied viola da gamba and cello at the Royal Conservatory of The Hague. Finishing his studies in 1980 he joined groups such as the Orchestra of the 18th century, La Petite Bande, the Ricercar Consort and Camerata Köln. He regularly performs with John Eliot Gardiner and the English Baroque Soloists as principal cellist and gambist and has performed the Brandenburg Concertos with Claudio Abbado and his Mozart Orchestra. Today he is highly regarded as a teacher at the Cologne Conservatory of Music and Dance and the Lemmensinstitut in Leuven, Belgium. His recent recording of Bach’s Cello Suites received excellent press reviews.
Gerald Hambitzer Gerald Hambitzer studied harpsichord at the Cologne Conservatory of Music and Dance and while still a student was engaged as harpsichordist with the Concerto Köln. He is a regular guest on various radio stations and has been involved in more than sixty CD productions. His recordings as a soloist in harpsichord concertos by J.S. Bach, C. Ph. E. Bach and F. Durante have earned him international recognition. In 1999 Gerald Hambitzer was appointed Professor and Head of the Institute of Early Music at the Cologne University of Music. Ariadne Daskalakis, Baroque Violin Photo: Frank Niemetz Gerard Hambitzer, Rainer Zipperling, Harpsichord Viola da Gamba / Baroque Cello
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these are less stringent, less consistent in their writing; the impression will be subjective. If you hear no Ensemble Vintage Köln they are more repetitive and more unusual in a difference, that too is fine, and a compliment to the sometimes awkward way. We do not condemn these composer (whoever it was) and the interpreters. We HANDEL Ensemble Vintage Köln was founded in 2009 by Ariadne Daskalakis, Ursula Schmidt-Laukamp (recorder/traverse works; the problem is simply that they have “clouded enjoyed flexible use of the violoncello and viola da flute), Rainer Zipperling and Gerald Hambitzer, colleagues at the Hochschule für Musik Köln who share a wealth the waters”. Having been sold as Handel and included gamba in the basso continuo. Our choice to play this of experience in historical performance practice. Ensemble Vintage Köln ranges in size from trio sonata to a larger as such in respected publications, for a good two repertoire on baroque instruments is based on the ensemble with strings. Recent projects include performances for the German radio companies HR in Frankfurt and Complete Violin Sonatas centuries they deterred our ability to delve into and conviction that the original instruments still best do SWR in Baden-Baden, and a collaboration with Ensemble eX at the Festival for Early Music in Regensburg. grasp the essence of Handel. justice to the music that was written for them. Handel’s We have chosen to keep the authentic and non- wide range of colours and expression are Ariadne Daskalakis Ensemble Vintage Köln authentic sonatas separate in the programme order so complemented by subtlety and fragility, nuances for Ariadne Daskalakis has appeared with many leading orchestras, including the Akademie für Alte Musik Berlin, the that the listener might be able to notice the subtle which baroque instruments remain particularly Prague Chamber Orchestra, the Bavarian Radio Orchestra Munich and the English Chamber Orchestra. Prizewinner Ariadne Daskalakis differences. A practised ear may or may not discern a appropriate. of the 1998 International ARD Munich Competition, she is equally at home performing as recitalist as she is with Rainer Zipperling • Gerald Hambitzer slight shift in the musical language after the first five Ensemble Vintage Köln, the Manon Quartet Berlin or the Emanuel Piano Trio. Born in Boston, Ariadne Daskalakis sonatas and the two fragment movements; admittedly, Ariadne Daskalakis, 2010 holds degrees from Harvard University and the Hochschule der Künste Berlin. She is Professor of Violin at the Cologne Conservatory of Music and Dance.
Rainer Zipperling Ensemble Vintage Köln Rainer Zipperling studied viola da gamba and cello at the Royal Conservatory of The Hague. Finishing his studies in 1980 he joined groups such as the Orchestra of the 18th century, La Petite Bande, the Ricercar Consort and Camerata Köln. He regularly performs with John Eliot Gardiner and the English Baroque Soloists as principal cellist and gambist and has performed the Brandenburg Concertos with Claudio Abbado and his Mozart Orchestra. Today he is highly regarded as a teacher at the Cologne Conservatory of Music and Dance and the Lemmensinstitut in Leuven, Belgium. His recent recording of Bach’s Cello Suites received excellent press reviews.
Gerald Hambitzer Gerald Hambitzer studied harpsichord at the Cologne Conservatory of Music and Dance and while still a student was engaged as harpsichordist with the Concerto Köln. He is a regular guest on various radio stations and has been involved in more than sixty CD productions. His recordings as a soloist in harpsichord concertos by J.S. Bach, C. Ph. E. Bach and F. Durante have earned him international recognition. In 1999 Gerald Hambitzer was appointed Professor and Head of the Institute of Early Music at the Cologne University of Music. Ariadne Daskalakis, Baroque Violin Photo: Frank Niemetz Gerard Hambitzer, Rainer Zipperling, Harpsichord Viola da Gamba / Baroque Cello
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CMYK NAXOS NAXOS Handel’s violin sonatas have been staples of the repertoire for generations, but there has been considerable confusion about their authenticity. Early editorial practice saw to it that several authentic works were published for instruments such as flute and oboe, but more recent scholarship has established that originally they were written for the violin. All the sonatas are full of Handel’s dashing bravura and his gift for expressive slow movements, providing a series DDD HANDEL: HANDEL: of beautifully proportioned masterpieces. Ariadne Daskalakis’s recording of the Tartini Violin Concertos (8.570222) was welcomed with acclaim for its ‘grace and lyrical poetry’. (MusicWeb 8.572245 International) Playing Time George Frideric 77:23 opeeViolin Sonatas Complete opeeViolin Sonatas Complete HANDEL (1685–1759) 1-4 Violin Sonata in D major, HWV 371 11:05 5-8 Violin Sonata in A major, HWV 361 7:24 9-@ Violin Sonata in D minor, HWV 359a 7:12 #-^ Violin Sonata in G minor, HWV 364a 6:17 &-( Violin Sonata in G major, HWV 358 4:46 ) Andante in A minor, HWV 412 2:14 ¡ Allegro in C minor, HWV 408 3:07 Naxos Rights International Ltd. www.naxos.com Made in Germany Booklet notes in English ൿ ™-∞ Violin Sonata in F major, HWV 370 10:48 §-ª Violin Sonata in G minor, HWV 368 8:45 2010 & º-‹ Violin Sonata in A major, HWV 372 7:42 ›-‡ Violin Sonata in E major, HWV 373 8:05 Ꭿ
Ensemble Vintage Köln 2011 Ariadne Daskalakis, Baroque Violin Rainer Zipperling, Viola de Gamba / Baroque Cello • Gerald Hambitzer, Harpsichord
Recorded at Hessischer Rundfunk, Frankfurt am Main, Germany, from 25th to 28th May, 2009 Executive Producer: Astrid Gubin • Producer: Christoph Claßen • Engineer: Thomas Eschler 8.572245 Editing: Bernhard Bätzing and Christoph Claßen • Booklet notes: Ariadne Daskalakis 8.572245 A co-production with Hessischer Rundfunk • Please see page 2 of the booklet for a detailed track list Tuning: a' = 415 Hz • Violin: Januarius (or Gennaro) Gagliano from 1732 Harpsichord: copy after Johannes Ruckers, Antwerpen, 1640, built by Lutz Werum, 2001 Viola da Gamba: François Bodart 1992 after Barbey • Baroque Cello: English? Around 1690 Cover Picture: Chrysanthemum Flowers (© Jaggat / Dreamstime.com)