JET SET! Stephen Storace (1762 – 1796) Classical Glitterati Orchestration by 11 Aria “Domestic peace” * 5. 06 Carl Friedrich Zelter (1758 – 1832) from The Siege of Belgrade in E-flat major for and Simon Murphy, Viola (1740 – 1816) 1 Allegro con fuoco 8. 09 12 Aria “Nel cor più non mi sento” 1. 48 2 Adagio non troppo 6. 22 from La Molinara 3 Rondo Un poco moderato 9. 02 (1723 – 1787) Carl Friedrich Abel (1723 – 1787) in E-flat major op. 14 no. 2 (WK 26) * Symphony in C major op. 14 no. 1 (WK 25) * 13 Allegro 5. 09 4 Allegro 4. 22 14 Andantino 3. 45 5 Andante 1. 34 15 Tempo di Menuetto 5. 10 6 Allegro ma non Troppo 2. 35 Total playing time: 66. 09 (1756 – 1791) 7 Susanna’s Aria “Deh vieni, non tardar” 3. 18 Simon Murphy, Conductor & Viola from Le Nozze di Figaro Gudrun Sidonie Otto, Soprano The – on authentic instruments Johann Friedrich Reichardt (1752 – 1814) Symphony in G major * * world-première recording 8 Without tempo indication 3. 53 9 Andantino 3. 14 10 Presto 2. 37 New Dutch Academy JET SET! Garrick, the painter Gainsborough, designer Classical Glitterati Chippendale and inventor Merlin, are but Violin Tami Troman (Concertmaster), Ewa Chmielewska, Anna Franciska Hajdu, some of the high flyers who are celebrated Paula Pérez Romero, Fumiko Morie, Alba Encinas González by Simon Murphy through the album’s whirlwind, musical Viola Simon Murphy, Arabela Fernandez Sunyer, Nadine Henrichs * programme. Aleksandra Renska, Bartosz Kokosza Featuring works by Abel, Reichardt, Bass Clemens van der Feen Zelter, Storace, Mozart and Paisiello, this Exploring the intertwining stories of these Patricia Robaina González album follows the musical “jet set” of the leading lights as they criss-cross the Flute Emma Elkinson, Radka Kubínová 18th century as they “do” the splendid European Continent, the album watches Oboe Peter Tabori, Daniel Lanthier cosmopolitan cultural epicentres of the time, the sparks fly as they inspire each other Clarinet Maryse Legault **, Kayo Nishida ** including , Paris, Berlin, Vienna and St in this period abuzz with creative fervour, Bassoon Kim Stockx, Inga Maria Klaucke ** Petersburg. international cultural exchange and mind- Horn Ricardo Rodríguez, Esther Ackermann blowing talent. Legendary international 18th-century * second tutti viola on Zelter tracks 1 – 3 / ** on Paisiello track 12 personalities such as the scandalous Mrs Following on from our previous album, Cornelys, a.k.a. “The Empress of Pleasure” GRAND TOUR Road Trip (PTC 5186 and “Queen of Masquerades”; Mozart’s 668), JET SET! explores the next musical first Susanna, opera diva Nancy Storace; generation, highlighting the enormous progressive , publicist and richness, variety and diversity of musical politically highly controversial Prussian styles, personalities, dialects and movements Hofkapellmeister Reichardt; teacher of within the Classical period. In particular, the Mendelssohn and Bach-champion Zelter; album savours the delicacy and eloquence of and members of the incredibly multi- galant, rococo and pre-Romantic influences disciplinary circle around J.C. Bach and Abel with a highly personal and immersive in London – including actor and playwright soundscape to match.

5 With several world-première recordings of classical in the U.S., the composer and superstar Continental performers to the Continent, visiting musical centres new discoveries alongside some well-loved of “Joy to the World”, and generator in the the British public. The Bach Abel including , , Paris and classics, this journey features music which American church, and school music would become the blueprint for the concert Potsdam, and having his works published abounds in enlightened positivity, radiance, traditions. Check out our world-première series formula now used by every symphony and distributed extensively. inventiveness, energy and inspiration. recording of the early of orchestra and concert hall in the world. Abel’s student, “The Dutch Haydn” Joseph Swinging 60s London Calling Schmitt (PTC 5186 039). In London, both at home and at work, Abel surrounded himself with a stunning In many ways, 18th-century London had I fell in love with the music of Carl Friedrich Abel’s father was Bach’s gamba and cello array of high flyers. Alongside Mrs Cornelys a magnetism to equal Hollywood and Abel (1723 – 1787) as a teenager, and player at the court in Koethen and the herself (singer, actress, courtesan, madam, L.A. in the 20th century. You went there he remains, hands-down, my favourite two families were very close. After the theatre director, impresario, and mother to make it big. Together with J.C. Bach composer – for his musical eloquence, early death of Abel’s father, Bach took the to Casanova’s daughter), the Bach/Abel/ and Mrs Cornelys, Abel certainly cleaned elegance, expressivity, poise, exquisite teenager into his household. After Mrs Cornelys circle included the designer up in post-Handel, 1760s and 1770s craftsmanship and painfully beautiful turn working at the court in in the 1740s Chippendale, playwright and actor Garrick, London. It was celebrity central and the of phrase. He is a true musical gentleman. and travelling through the Continent, Abel the painter Gainsborough (he exchanged lavish “Entertainments” or masked balls As a cultural figure, Abel’s musical pedigree ended up in the bustling cosmopolitan paintings for viola da gamba lessons with of Bach and Abel’s business partner Mrs is astounding, and he and his family metropolis of London, already a city of Abel), the step-mother of Smithson (of Cornelys were the place to be seen. With connect generations and continents. A more than one million inhabitants, in the Smithsonian museum), star soprano a guest list including half of the royal star Bach student, Abel became a mentor comparison to, for example, 300,000 in Martha Ray (also the partner of Lord family, peerage and aristocracy alongside to Mozart, was a teacher of the “Dutch Vienna, or 30,000 in Leipzig. Sandwich) and John-Joseph Merlin, celebrity members of the arts and (adult) Haydn” , and one of Abel’s inventor of, amongst other things, in-line entertainment communities, Mrs Cornelys great-nephews handed on their family’s Partnering with J.C. Bach, “The London skates, a.k.a. rollerblades. Check out his offered gambling, music, dancing, theatre fine musical knowledge, craft and tradition Bach”, and impresario Mrs Cornelys, Abel’s Silver Swan automaton on YouTube some and more in the various rooms of her even further afield, becoming the teacher legendary Bach Abel Concerts in 1760s and time. Abel himself continued to travel Carlisle House. of Lowell Mason, founding father of 1770s London introduced new compositions widely during his London period, touring

6 7 Funnily enough for masked balls, Mrs Novalis, Brentano et al(!). I often visit His circle of colleagues and friends is Written in 1779, Zelter’s highly distinctive Cornelys ensured that everyone knew Reichardt’s grave in Halle to soak up this impressive to say the least. I find it viola concerto is certainly full of evocative exactly who was at her Entertainments. history and to commune. I love his musical personally very inspiring to think of him and musical conversation and beautifully Her post-event publicity rivalled that style – such inventiveness and exquisite his daughter sitting around the table at his presented musical ideas. Zelter’s love for of the Golden Globes or Oscars, with craftsmanship in such a broad oeuvre country estate, Reichardt’s Garten, writing the musical languages of Bach and sons extensive articles detailing who was there, including lieder, chamber, stage and and setting poems to music, together with is also clearly on display with the middle with whom, and what they were wearing. orchestral music. the host of literary greats who visited him movement appearing in a C.P.E./W.F. Engravings further displayed the guests’ there. Bach empfindsam style and with the last costumes, which ranged from Adams and Originally from Köningsberg (now movement featuring recitative moments in Eves, to animals and birds, through to Kaliningrad), Reichardt was awarded the As head of the Berlin Singakademie, a manner that evokes Bach’s St Matthew naughty nuns and even walking coffins, highly prestigious position of Prussian Carl Friedrich Zelter (1758 – 1832) was Passion. In his autobiography, Zelter says with my favourite being a Beyoncé-style, Kapellmeister in Potsdam in his early 20s instrumental in preserving much of the of the work that he wanted to create see-through “exotic princess” dress made by Frederick the Great. He fell in love with Bach family’s music in the 18th century a concerto imbued with real meaning, entirely out of jewels, said to be valued at and swiftly married Juliane, the daughter and was a central force in the Bach not just flashy technical display and a more than 30,000 pounds (then!). of court concertmaster Franz Benda. revival movement of the 19th century. A nice tune. He describes his approach to Working for a monarchy, Reichardt was just cornerstone figure in both Germanic and composing the work: “The first movement I Will Find My Love in Berlin a bit too publicly enthusiastic about the European music history, he is perhaps now would set the serious, worthy and ardent revolutionary French political ideas of the most famous for being the teacher of Felix mood, with the contrasting second being Johann Friedrich Reichardt (1752 – 1814) period, which resulted in a rather stormy Mendelssohn and Carl Loewe, amongst deeply moving and full of unrest, leading to has a massive place in my heart. Politically career path. Throughout his life he was others. Goethe found him to be such a a concluding, smiley, free and easy-going controversial, Reichardt was an innovative almost constantly on the move, visiting, relevant and interesting figure that he had rondo as the third. In order to make the and progressive composer, a widely amongst others, the cities of London, Paris, their correspondence published, saying of work a whole, I wove some material from travelled publicist, theorist, commentator Copenhagen, Stockholm and Vienna as well him that, “in conversation, Zelter is genial the second movement into the third, with and writer, and friend/colleague of Kant, as many cultural centres in . and always hits the nail right on the head”. these sections being in the recitative-style.” Goethe, Schiller, Herder, Jean Paul, Hölty,

8 9 10 11 I first happened across a modern copy of Figaro. Once they were back in London, the concerto as a teenager in one of the Stephen wrote the virtuoso, show-stopper conservatorium libraries back in . aria “Domestic peace” for Nancy as part of It means a lot to me to be now presenting one of his many operas for Sheridan’s Drury it here in what is the first on-authentic- Lane Theatre, at which the brother and instruments-recording of this classic, but sister duo were regular fixtures. surprisingly lesser-known gem. Check out my website for an article on the rather To with Love comical story surrounding the composition of this concerto – featuring pigeons. One of the most celebrated, international musical figures of later 18th-century , Vienna, City of My Dreams Giovanni Paisiello (1740 – 1816) was (but) one of the many superstar Italian Celebrated London soprano Nancy Storace opera maestri summoned to St Petersburg (1765 – 1817) came from a highly musical by Catherine the Great. His music was family. Her father worked as director of performed all over the Continent both in music for the London pleasure gardens lavish court opera houses as well as in the as well as with the above-mentioned more Volkstheater-type houses. Mrs Cornelys. Together with her brother, composer Stephen Storace (1762 – 1796), His aria “Nel cor più non mi sento” Nancy embarked on a tour of the Continent (presented here in an encore-style, short and, after studying in Italy, ended up in version for soprano solo – originally it was a Vienna where the pair befriended Mozart. duet) from the opera La Molinara puts us Nancy subsequently appeared as Susanna in direct contact with the popular music of in the première of Mozart’s Le Nozze di the later 18th century. For the purposes of

12 13 illustration here, it could have as much in theatres across the Continent. This was ensemble of a scale matching and used for this recording, which is in contrast been one of the other hit arias of Cimarosa, Stephen Storace’s success formula at the supporting this music’s aesthetic – big to the larger (symphony) of Dittersdorf, Salieri or a small handful of Drury Lane Theatre in London, alongside enough to have a sense of the symphonic the period, the most famous being the others, but in any case, “Nel cor più non his own operas. Their tunes became the but small enough to be personal and Mannheim court orchestra. To compare and mi sento” was one of the most famous soundscape of the day – a kind of shared, intimate and to support a soundscape of a contrast, you could listen to some of our household melodies of the day – one of the pan-European cultural currency. delicate and subtle palette. albums of the (rather excellently bombastic) tunes that one might hear being whistled early string symphonies by iconic founders in the street, played by a carillioneur or as Soundscape, Scale and Experience Thinking about the circles these of the Mannheimer Schule, Stamitz and one of the melodies on a musical clock. So moved in, we also wanted to invoke the Richter (PTC 5186 028 and PTC 5186 029), popular, it was used as a staple for the much- The music featured on this album, most sense of exciting intimacy that the very recorded with a larger scale, Mannheim- loved (and, in print, for domestic use, highly especially the Abel and Zelter, is of a style first performances of these kinds of works style orchestra. lucrative) instrumental Theme and Variations which doesn’t rely on bombast or sheer must have had – performances that may genre by, amongst others, Vanhal, Hummel, power to impress. Instead, it focusses on have taken place in the apartments of the With this artistic choice, we want to Beethoven and Paganini. sensibility and eloquence to convey its composers themselves, or the sumptuous emphasise the wide variety of musical message and does so in a highly personal salons of members of their circles, or in aesthetics and the fact that orchestras and Whether it be Paisiello’s La Molinara or manner. It is deeply human and gains its concerts by the smaller court or theatre halls were not standardised at the time, with Nina, Cimarosa’s Il Matrimonio Segreto, strength through daring to be open and orchestras dotted throughout Europe. The each city and region having its own flavour Dittersdorf’s Doktor und Apotheker, or vulnerable, thereby achieving a beautiful but latter is as most people would have first and way of doing things, even within this Mozart’s Figaro, this is what people across also sometimes confronting purity, intimacy, heard this music, very much a chamber vibrant period of internationalism and active Europe grew up on – in many ways 18th- honesty and warmth. To bring this to life symphony setting, with an orchestra cultural exchange. This is exactly also part century Hollywood. These highly appealing through this album, our aim was to create, as comprising somewhere between 14 to 20 of the sense of excitement, adventure and musical romcoms were lapped up, appearing much as possible, an authentic soundscape musicians, in a room or small hall with an discovery that one gets from the writings of in countless productions, often partly or and musical experience, not only by using the audience of a couple of dozen to, maximum, musical travellers of the period, for example wholly translated into local languages, authentic instruments themselves but also two or three hundred. This is the scale and Charles Burney, as they experience and savour and sometimes also musically adapted, employing them in a venue and with an instrumentation of the orchestra we have the local differences throughout Europe.

14 15 In choosing the temperament for the giving yourself over to its delicacy, intricacy, harpsichord for the recording project, we poise and finesse in what I hope will be wanted to find something with enough for you an intimate, immersive and highly colour but also reasonably practical, given personal experience. the wide range of keys in the programme – Zelter modulates into E-flat minor, for Mile High example. Given the Bach connections of many of the composers on the programme, In the 18th century, international travel we tried the recently rediscovered/ was of course considerably more arduous realised Bach (Well-Tempered Clavier) and physical than in the jet age. To me, temperament. Perhaps unsurprisingly, it that makes the internationalism of the worked rather well. 18th century and the period’s tangible fervour for travel, its inquisitiveness, Within this intimate, chamber symphony adventurousness, thirst for knowledge, and setting, we hope that you thoroughly enjoy enthusiasm for cultural exchange all the the resulting soundscape and experience, more impressive. The resulting sparks and and feel as if you are almost part of the artistic achievements of these composers orchestra. Please feel very welcome – it has and cultural figures, including the music been a joy to create this soundworld for presented here, are indicative of that you and it is our pleasure to have you here industrious, hands-on 18th-century nature as our guests and to share this musical and can-do attitude. On the other hand, experience with you through the magic of the 18th century is also a great age of recording. In doing so, I hope you can simply imaginary travel, for example Jonathan revel in being part of the music-making, Swift’s Gulliver’s Travels. In this vein, I hope allowing the music to envelop you and that the musical journey of this album

16 17 fires your imagination, nourishes your In closing, I would like to thank all those spirit and elevates your soul. Now, in the who have helped make this album possible time of climate change action and as we – the musicians, the recording team, the embrace sustainability, this is one whirlwind NDA organisation, the Council of State, jet-setting journey that you can enjoy and especially our crowdfunders. Special completely guilt-free, especially if you’ve thanks to my colleagues cellist Aleksandra downloaded the album (for example, in Renska (seen in the pictures here) and high resolution from the PENTATONE site) harpsichordist Patricia Robaina González and are enjoying listening to it using green for being such good sports during the power. photo and video shoots for the album, which involved a challenging combination Alongside its intrinsic artistic beauty, what of snowstorms, evening gowns, limited most speaks to me about the music on this heating, historic buildings and antique album is how it conveys such an enormous aeroplanes. Finally, a long overdue and sense of positivity – how, through it, the very special thanks to Petra Burmann for composers proclaim such a strong sense of helping me connect with the very special hope, such a unfaltering belief in the future atmosphere of all sorts of historic locations and in humanity. Their work is visionary, related to figures such as Abel and genuine, pure and authentic – and they do Reichardt, as well as other aspects of the all of that with such eloquence and poise. astoundingly culturally rich world of north- My drive in creating this album is to share eastern Germany. that gift with you. I feel in many ways that we have never needed the message of Thank you all. Enjoy. these composers more than we do now.

18 19 The Affects Simon Murphy educated by the leading lights of the Dutch Conductor & Viola movement, studying Baroque According to 18th-century sources, the keys appearing here explore and represent the viola with Alda Stuurop at the Utrecht following affects: “Murphy is a musician with guts: a Conservatorium and performing extensively conductor with the passion and conviction with legendary figures Frans Brüggen and C major – lovely innocence, complete purity, pure happiness, state of nature, young joyful of a born missionary.” – De Volkskrant, NL . life, the fundamental key where heart and ear find the most complete satisfaction “Breathtaking. Compelling, technically Performing at the world’s most E-flat major – beautiful, majestic and honest, noble and ardent, the key of devotion, of brilliant and unusually effervescent! prestigious halls and festivals, Murphy intimate conversation with God Murphy has it all – verve and pulsating has won international recognition for temperament – presented with the finest delivering fresh perspectives on classic C minor – lovely but sad, languishing, the longing and sighing of the lovesick soul finesse.” – Concerto, D symphonic repertoire and for bringing newly rediscovered masterworks to life. F major – expresses with ease and facility the most beautiful sentiments in the world – Simon Murphy (Sydney, 1973) is an France’s Diapason reported “The repertoire generosity, steadfastness, love or whatever stand high on the list of virtues; it has, as the international award-winning, Dutch-based, refresher, conductor Simon Murphy radiates French say, bonne grâce Australian conductor and violist with a joie de vivre. His interpretation distinguishes special focus on music of the 18th and itself by its enthusiasm and his approach G major – pleasing, rustic, idyllic, lyrical, calm and satisfied passion, tender gratitude for early 19th centuries. He is the founder and possesses a classic élan, displaying delicate true friendship and faithful love artistic director of The Hague’s Baroque sensitivity.” orchestra, The New Dutch Academy. G minor – sadness, plaintiveness, sweet and tender Working with both specialist baroque and After studying viola with Leonid Volovelsky modern symphony orchestras, Murphy’s and early music performance with Hans- technique was described by the Dieter Michatz and at BBC Music Magazine as “the best of both the , he was further worlds”. He has performed throughout

20 21 Europe, the US, Canada, Russia, and Gudrun Sidonie Otto Her stage appearances have included New Dutch Academy Australia. Recent concert highlights include Soprano major roles at the Komischen Oper in Berlin, cycles of Mozart, Haydn, Beethoven and Staatsoper Hannover, Theater Würzburg, “Fresh and compelling, technically brilliant, Mendelssohn symphonies for Dutch radio at On both the opera and concert stage, Staatstheater Nürnberg and Staatstheater unusually effervescent … The NDA opens up The Hague’s Philipszaal and Amsterdam’s German soprano Gudrun Sidonie Otto am Gärtnerplatz in München, as well as fascinating new musical worlds” Het . European festival (Rostock, 1979) is one of Europe’s most the title role of Dido in Purcell’s Dido and – Concerto, D appearances include productions for the exciting, younger generation singers, Aeneas at the Händel Festspiele in Halle. Händel Festspiele Halle and Bachfest praised by the European press for her Other major festival appearances have “sumptuous ... swinging rhythms ... stylish Leipzig. expressive stage presence and stylish included productions at the Schleswig- ornamentation ... inventive extemporisation performances, gripping dramatic Holstein Music Festival, Schwetzinger … The NDA is a big band playing on period Murphy is recognised as a world authority presentations, radiant timbre, musical Festspiele, International Chiemsee Festival, instruments ...” – BBC Music Magazine, UK on the early, classical symphony. His eloquence and voice of exquisite delicacy. Beethovenfest Bonn, Dresden Music Festival discography includes first recordings Following her studies in Zwickau, Dresden and Holland Festival, under conductors “Vibrant, energetic and wonderfully secure of symphonies by Stamitz, Schmitt and Weimar, Otto won first prize in the such as Sir Neville Marriner, Helmuth Rilling, playing” – Gramophone, UK (“The Dutch Haydn”), Graaf and Zappa International Voice Competition at Schloss Ivor Bolton and Thomas Hengelbrock. (PENTATONE). His groundbreaking Rheinsberg in 2007. “Soprano Otto was the Recent concert engagements have seen her “The NDA plays with great love, conviction recording of Corelli’s Concerti Grossi was highlight of the evening – crystal clear and appear at the Konzerthaus Berlin, Alte Oper and imagination” – NRC Handelsblad, NL voted one of the top five highlights in the deeply expressive” stated the Hamburger Frankfurt, Konzerthaus Wien, Festspielhaus 30 year history of the Holland Festival of Abendblatt. “With her clear and perfectly Baden-Baden, Gewandhaus Leipzig and at “daring and full of character ... fantastic Early Music Utrecht. projected voice, Otto displayed complete the Salzburger Festspielen. flair ... energising performances” – www.simonmurphyconductor.com mastery of the part’s challenging www.sidonie.at Haagsche Courant, NL coloraturas, producing rhythmically lively, beautifully accentuated results” “18th century Rock ‘n Roll!” – Luister, NL (Volksstimme).

22 Founded by conductor and violist Simon recordings, streaming and broadcasts, works closely with the Dutch Ministry of Bienfait, Arent van Wassenaer, Jan and Murphy, The New Dutch Academy (NDA) is digital applications, multi-disciplinary Foreign Affairs, promoting Dutch cultural Susan Zijderveld, Aleksandra Renska and an award-winning group of international, presentations and international touring. heritage, on bilateral cultural diplomacy René Louter. young, highly engaged, specialist musicians projects and state visits with recent from around the world who gather in The In concert, the NDA orchestra regularly performances in Beijing, Sydney, Vancouver, Simon Murphy would also like to express Hague to explore and perform 18th-century appears at the leading international Rome, Ankara and New York. his personal thanks to his teachers and music in all its forms. Performing exclusively festivals including the Holland Festival www.newdutchacademy.nl mentors, to the NDA board members, on authentic instruments, and appearing in of Early Music Utrecht, Flanders Festival, friends and volunteers, to the musicians its two forms – Chamber Soloists (4 to Händel Festspiele Halle and the Bachfest who’ve made this album a reality, as well as 12 musicians) and Chamber Orchestra Leipzig. Tours have taken the NDA NEW DUTCH ACADEMY ORGANISATION to other close personal friends for their help (20 to 40 musicians) – the NDA has won throughout Europe, Russia, America, Asia and support over the years. international acclaim for its fresh, vibrant and Australia. Recent highlights in the Artistic Director Simon Murphy and dynamic performance style, ever since include Handel’s The Water Board Wilfred Mohr, Lia Jansen, Val Brock, Special thanks to all who supported the its establishment in 2002. Music at The Concertgebouw and series Corry Klugkist, Marine de Chabot NDA’s crowdfunding campaign including of the symphonies of Mozart, Haydn Publicity Bep Verstallen Louise van Wassenaer, Renate Kroese, The NDA’s innovative programming of and Beethoven for Dutch radio. Other Webmaster Reinoud Glotzbach Richard Noble, Miriam de Bondt, Peter classic as well as newly rediscovered international highlights have included Designer Crisja Ran Schrier, Jonathon Ball, Robert Butler, Raads 18th-century masterworks offers modern performances at the Getty Center in L.A., Welvaadt, Paul Pasman, Roel Jansen, audiences inspiring new insights into the Istanbul Music Festival, Sydney Festival and Simon Murphy and the NDA would like to Bernadette de Wijs, Jake Knoppers, Betty music of composers such as Bach, Mozart, Première Performances Hong Kong. thank all of those who have helped make Renssen, Bep Verstallen, Martin de Lang, Beethoven and their contemporaries. The this project possible. Special thanks to the Yvonne Scheepers, Rico Blees, Nico Brabers, NDA’s musical activities celebrate the The NDA’s recordings (PENTATONE) have NDA volunteers including Bep Verstallen, Wiebo Vaartjes, Celia Murphy, Val Brock, rich and vibrant nature of 18th-century presented the vibrant symphonic works of Betty Renssen, Jenny Ytsma and Els van’t Jenny Ytsma, Corry Klugkist, Wilfred Mohr, music, presenting this through symphonic, many rediscovered 18th-century composers Loo. Thanks also to Kasteel Duivenvoerde, Frits Bienfait, Els van ’t Loo, Reinoud Baroque and chamber concerts, album to the world for the first time. The NDA Aviodrome, Studio Noordeinde, Frits Glotzbach and Hans Poulis.

24 Acknowledgments

PRODUCTION TEAM Producer Karel Bruggeman Recording engineering Jean-Marie Geijsen What we stand for: Post-production Polyhymnia International B.V.

Album title, concept, programming & musical direction Simon Murphy Photos and photos post-production Aleksandra Renska, Crisja Ran, The Power of Classical Music Simon Murphy & René Louter PENTATONE believes in the power of classical music and is invested in the Design Zigmunds Lapsa philosophy behind it: we are convinced that refined music is one of the most Product management Kasper van Kooten important wellsprings of culture and essential to human development.

This album was recorded at the Gothic Hall of the Council of State, The Hague, True Artistic Expression the Netherlands, in May 2017. Pitch A = 430 Hz. Harpsichord Temperament Bach. We hold the acoustic tastes and musical preferences of our artists in high regard, and these play a central role from the start to the end of every recording project. This ranges from repertoire selection and recording technology to choosing cover art and other visual assets for the booklet.

Sound Excellence PENTATONE stands for premium quality. The musical interpretations delivered by our artists reach new standards in our recordings. Recorded with the most PENTATONE TEAM powerful and nuanced audio technologies, they are presented to you in the most Vice President A&R Renaud Loranger | Director Simon M. Eder luxurious, elegant products. A&R Manager Kate Rockett Head of Marketing, PR & Sales Silvia Pietrosanti

27 Sit back and enjoy

28