Lisa Larsson Ladies First! by Joseph Haydn Jan Willem de Vriend Combattimento Consort Amsterdam

1 Lisa Larsson soprano Ladies First! Opera arias by Joseph Haydn Jan Willem de Vriend violin Combattimento Consort Amsterdam with the participation of Maarten Koningsberger baritone 4 5 Joseph Haydn (1732-1809)

[1] scena di , 12:17 L’isola disabitata, Hob. XXVIII:9 (1779) cantata for soprano and orchestra, Hob. XXIVa:10 (1795) [7] Overture 7:30 (2 violins, viola, cello, double , flute, 2 , 2 clarinets, 2 bassoons, 2 horns) (2 violins, viola, cello, double bass, harpsichord, flute, 2 oboes, 2 bassoons, 2 horns) [8] di Silvia - “Fra un dolce deliro” 4:18 Armida, Hob. XXVIII:12 (1783) (2 violins, viola, cello, double bass, harpsichord, flute, 2 oboes, 2 bassoons, 2 horns) [2] Overture 5:41 (2 violins, viola, cello, double bass, harpsichord, flute, 2 oboes, 2 bassoons, 2 horns) L’infedelta delusa, Hob. XXVIII:5 (1773) [9] Aria di Sandrina - “E la pompa un grand’imbroglio” 5:00 L’anima del filosofo, Hob. XXVIII:13 (1791) (2 violins, viola, cello, double bass, 2 oboes, 2 bassoons, 2 horns) [3] Recitativo di Euridice - “Numi possenti, aita!” 0:48 with the participation of Maarten Koningsberger baritone La Metilde ritrovata, Hob. XXXIVb:3 (1773) [4] Recitativo accompagnato di Euridice - “Dov’è, l’amato bene?” 2:24 [10] Aria di Nannina - “Quando la rosa non ha più spine” 1:57 (2 violins, viola, cello, double bass, harpsichord (rec), 2 oboes, 2 bassoons, 2 horns) (2 violins, viola, cello, double bass, flute, bassoon, 2 horns) [5] Cavatina di Euridice - “Del mio core il voto estremo” 3:04 (2 violins, viola, cello, double bass, harpsichord (rec), 2 oboes, 2 bassoons, 2 horns) L’infedelta delusa, Hob. XXVIII:5 (1773) [11] Aria di Vespina - “Trinche vaine allegramente” 2:03 [6] Arianna a Naxos, 18:02 (2 violins, viola, cello, double bass, harpsichord, 2 oboes, bassoon, 2 horns) cantata for soprano and orchestra, Hob. XXVIb:2 (1790) (2 violins, viola, cello, double bass) total time 63:09

6 7 violin harpsichord Jan Willem de Vriend Pieter Dirksen Ronald Hoogeveen Reinier Reijngoud flute Chris Duindam Leon Berendse Tijmen Huisingh Saskia Bos Johan Olof Bram Kreeftmeijer Quirine van Hoek Hans Wolters Melanie Jansen (only period 1) Vicki Laws (only period 2) Heleen Hulst (only periode 1) Peter Bogaert (only period 2) clarinet Frank van den Brink viola Marcel Geraeds Annette Bergman Marjolein Dispa bassoon Frans Robert Berkhout cello Jos Lammerse (only period 1) Wouter Mijnders Freek Sluijs (only period 2) Maartje Maria den Herder (only period 1) Mariette Freijzer (only period 2) horn Wouter Brouwer double bass Christiaan Boers Erik Olsman (only period 1) Fons Verspaandonk (only period 2) Peter Jansen (only period 2)

8 9 Haydn, the Opera Composer to composing chamber music and unlike for von Gluck, Mozart, Paisiello, Marionette Theatre, the focus being The of Joseph Haydn are far symphonies, four Italian comedies, Salieri, Sarti, Piccini, Gretry or any more on the comical and absurd less known today than those of his six German Singspiele and numerous other famous opera composer during instead of dramatic elements. This contemporaries Christoph Willibald Italian operas for his employers of the second half of the 18th century. can be clearly found in the rollicking von Gluck (1714 – 1787) and Wolfgang the Esterhazy dynasty. Furthermore Whereas their operas were mostly aria Trinche vaine allegramente, Amadeus Mozart (1756 -1791). In 1790 he also supervised all musical presented in public opera houses in whose text is a corruption of both Haydn was generally considered activities at the court including Prague, Paris and Vienna, Haydn’s Italian and German. the most famous composer of his yearly performances of more than works were composed for and age, but the relative obscurity of his 150 operas, many composed by his performed in the rural Schloßtheater The most vivid elements of the opera operas in comparison with his other contemporaries. As Kapellmeister in Esterhaza for a select audience seria can be found in the opera works today was also the case in the Haydn was not only responsible of Haydn’s aristocratic patrons and Armida, dating from 1784. Haydn 18th century. How is it possible that for musical direction of the operas their guests, including the above considered Armida his best operatic Haydn’s operas are still relatively but also for staging, contracting mentioned Empress Maria Theresia. work and it also happens to be the unknown, despite a remark Empress the singers and occasionally writing Haydn’s operas were created for a only opera performed respectively Maria Theresia expressed upon an extra aria as required, like the specific place and event: the joyous outside Esterhaza during Haydn’s hearing Haydn’s L’ Infeldelta Delusa in aria “Quando la rosa”. This aria was celebration of a “name day” (the lifetime. Alongside Armida, Haydn 1773; “If I want to hear good opera, I included in the performance of burlesque L’Infeldelta Delusa) also favoured L’Isola Disabitata (1779), am going to Esterhaza!” Guiseppe Anfossi’s opera La Metilde or opening of the newly rebuilt the first opera that made use of solely Ritrovata (1773). Esterhaza Theatre (La Fedelta orchestral recitativo accompagnato Between 1761 and 1790 Haydn Premiata). After performance, the and not secco- as was the was in the employment of Prince As Haydn’s operas were composed scores were stored away in archives norm. Paul von Esterhazy and his son and for Esterhaza, this meant they were only to be re-performed when the successor Prince Nikolaus, both not written for great singers of the Prince so wished. Some, namely the Haydn was conscious that the passionate music lovers. From 1766 day and the scores were not required Italian comedies and Singspiele, had dramatic element in some of his onwards, Haydn wrote, in addition to pander to a popular audience, been written especially for Esterhaza’s opera libretti was somewhat lacking,

10 11 especially in comparison to the like them in Paris, and perhaps not this opera likewise failed to develop of the piece perfectly supports the Mozart/Da Ponte operas. When asked even in Vienna. My misfortune is only a broad performance history. The mental deterioration of Berenice. by an impresario from Prague for one that I have to stay in the country.” intended premiere of 1791 was of his operas, Haydn replied that none thwarted by the closure of the King’s Without disregarding the status of his works created for the Esterhaza In 1790 Prince Nikolaus von Esterhazy Theatre due to rivalry between of great opera masters like von Theatre were suitable for public died and his successor dismissed all the King and the Prince of Wales, Gluck and Mozart, one can say presentation and additionally, he the Esterhaza musicians including similar to Georg Friedrich Handel’s that Haydn’s dramatic works have would be wary of trying to compete Haydn, although leaving him title and experience in London some sixty been wrongfully overlooked. Haydn artistically on Mozart’s territory. salary. This gave Haydn the freedom years previous. It wasn’t before 1951 is rightfully regarded as a great This did not mean that he doubted he had been longing for and he until the opera was finally premiered. symphonic composer but his genius the quality of his operatic music. accepted an invitation of London- also comes to life in his collection He simply found being confined based impresario Johann . Previous to and during his second of cantatas, opera aria’s and scenes. to Esterhaza a creative nuisance, For London Haydn notably created visit to London in 1795 Haydn wrote, His confinement to Esterhaza and substantiated by a letter he wrote to an orchestral accompaniment for his simultaneously with a further set lack of a powerful librettist like Da his publisher Artaria in May 1781: cantata Arianna a Naxos, originally of symphonies (nr. 99 – 104), the Ponte ensured that history didn’t for soprano and pianoforte, in Scena di Berenice, a new scene credit him a worthy composer of “Now something about Paris. (…) They which Ariadne laments her fate after for the greatest prima donna of opera. Nonetheless, his mastery of were very surprised that my vocal being left on an island following the time, Italian soprano Brigitta the symphonic genre in combination composition should be so exceedingly the departure of her lover Theseus. Giorgi Banti. In this operatic scene, with his ability to write elegant vocal complaisant; but I was not at all Haydn also wrote a new set of Berenice mourns the death of her lines and melodic text interpretation surprised, as they have not yet heard symphonies (the London Symphonies beloved Demetrio. She witnesses makes him an opera composer to be anything. If they were only to hear my nr. 93 – 98) and a new opera called the departure of his ghost to the thoroughly revered. operetta L’isola disabitata and my last L’Anima del Filosofo (also known as underworld and begs to be taken opera, La fedeltà premiata, I assure Orfeo ed Euridice). Although the only with him. The harmonic structure Marco Meijdam you that nothing has yet been heard opera not composed for Esterhaza,

12 13 Lisa Larsson Equally at home on the concert plat- the Nederlands Philharmonics, the Challenge Classics. Previous releases Following an early career as a flau- form, Lisa Larsson is internationally Hong Kong Philharmonics and the include a recording of Strauss’ tist, Swedish soprano Lisa Larsson renowned for her diversity and artistry. NHK Orchestra, Tokyo. “Vier letzte Lieder” under Douglas studied singing in Basel, Switzerland. Recently added repertoire includes Boyd, Mahler’s Symphony No. 8 under During her first engagements, at the works by Brahms, Berlioz, Mahler, In the field of Early Music she has fre- David Zinman, the Mozart operas Zurich Opera, she worked with con- Richard Strauss, Britten, Stravinsky as quently performed with many of the “Don Giovanni” under Daniel Harding, ductors such as Franz Welser-Möst well as contemporary composers. leading period instrument orchestras “Mitridate” under Adam Fischer, “Il and . After her She has performed with many of and their conductors, including sognio di ” under Gottfried debut with Riccardo Muti at La Scala today’s most notable conductors, , Sir John Eliot Gardiner, van der Goltz, Händel’s “Jeptha” di Milano, she quickly established including , Sir Colin Frans Brüggen, Richard Egarr, under David Stern as well as numer- herself internationally, in particular Davis, David Zinman, Edo de Waart, , Trevor Pinnock, ous Bach Cantatas under both Sir as a Mozart interpreter, performing Daniel Harding, Adam Fischer, Mikhail Andrea Marcon, Gottfried von der John Eliot Gardiner and Ton Koopman. Pamina, , Ilia, Zerlina, Zaide, Pletnev, , Goltz, Emanuelle Haïm, Sir Roger With the latter she also recorded Servillia, Fortuna and Ismene. She Lawrence Renes, Massimo Zanetti, Norrington. Bach’s Christmas and Easter Oratories has appeared at renowned European Louis Langrée, , as well as the Magnificat. opera-houses including the Royal Douglas Boyd, Juanjo Mena and The 2013/14 season sees two major Opera House Covent Garden, Teatro Vassily Sinasky, in collaborations with additions to her extensive discogra- la Fenice, the Bavarian State Opera, orchestras such as the Berlin Philhar- phy: a Haydn album with the the Grand Théatre de Génève, the monics, the Frankfurt Radio Symphony Combattimento Consort Amsterdam Opéra de Monte Carlo, the Leipzig Orchestra, the Munich Philharmonics, under the direction of Jan Willem Opera, the Theater Basel, the Royal the Zurich Tonhalle Orchestra, the de Vriend, followed by a Berlioz pro- Swedish Opera, the Royal Danish Vienna Symphony Orchestra, the gram with the Arnhem Philharmonic Opera as well as at the Salzburg Orchestre Philharmonique de Radio Orchestra conducted by Antonello Festival, the Lucerne Festival, the France, the Orchestre National de Manacorda, both released by Glyndebourne Festival and the Lyon, the Stockholm Philharmonics, Festival d’Aix-en-Provence.

14 15 16 17 Combattimento, international years to Germany, Spain, Central Heinrich Ignaz Franz von Biber. top class from Amsterdam Europe, South America, Japan, Over the years, it has developed a Combattimento Consort Amsterdam Russia and the United States. It has distinctive style of playing, which has, over the past 30 years, estab- recorded more than 35 CDs and has even come to be known as the lished a strong national and interna- DVDs – this year, its CD of Handel’s “Combattimento School” of perfor- tional reputation. The ensemble is Concerto Grossi op. 6 will be re- mance. Recognizable and energetic, famous for the high quality and leased. The ensemble has worked inventive, style-conscious and inspir- energy of its performances. That, with prominent soloists such as ing. The ensemble presents itself as together with its varied and often Barbara Bonney, Andreas Scholl a “consort”, but with the visibility of surprising and unfamiliar repertoire, and Sol Gabeta, Thomas Zehetmair the “individual”. Jan Willem de Vriend for formations ranging from chamber and Sabine Meyer, as well as with leads the Combattimento Consort ensemble to chamber orchestra, and the Netherlands Chamber Choir, from the “first chair”, appearing as from to operas, has made the Nationale Reisopera and a conductor only in the larger pro- it one of the most successful Baroque Cappella Amsterdam. ductions (operas and oratorios). ensembles in the world. The Combat- The instrumental soloists are in most timento Consort’s roughly 60 perfor- The spearhead of its artistic direction cases members of the ensemble. mances a year are distinguished by the is the performance of unfamiliar and originality of the ensemble’s presenta- as yet unpublished repertoire. Innu- tion, led by one of the trend-setting merable searches through libraries, conductors in Dutch musical life, Jan churches and cloisters over the past Willem de Vriend, who in November 30 years have resulted in a notable 2012 received the Radio 4 Prize. collection of remarkable performanc- es. In 2007, for example, Combatti- The Combattimento Consort has mento Consort Amsterdam presented gone on a number of tours in recent , the only surviving opera of

18 19 1. Scena di Berenice Aspetta, anima bella: ombre compagne Wait, fair soul: Let us go to Lethe together. a Lete andrem. Se non potei salvarti If I was unable to save you, at least I will Recitativo potrò fedel... Ma tu mi guardi, e parti? faithfully… But, you see me and leave? Berenice, che fai? Muore il tuo bene, Berenice, what are you doing? stupida, e tu non corri? Oh Dio! Vacilla Your beloved is dying and you, daze, do not run? Aria Air l’incerto passo; un gelido mi scuote Oh God, my uncertain steps vacillate; Non partir, bell’idol mio: Do not leave my love: insolito tremor tutte le vene, a cold unfamiliar tremor shakes my veins, per quell’onda all’altra sponda across the waves to the other bank e a gran pena il suo peso il piè sostiene. and only barely can my feet sustain my body. voglio anch’io passar con te. I want to go with you.

Dove son? Qual confusa Where am I? What confused Recitativo Recitative folla d’idee tutte funeste adombra crowd of sad thoughts darken my reason? Me infelice! Che fingo? Che ragiono? But what, in my unhappiness, am I imagining? la mia ragion? Veggo Demetrio: il veggo I see Demetrio: I see him about to wound me… Dove rapita sono What am I thinking? che in atto di ferir... Fermati! Vivi! Stop! Live! dal torrente crudel de’ miei martiri? Where am I being abducted D’Antigono io sarò. Del core ad onta I will be Antigono’s. Despite my heart I rush to Misera Berenice, ah, tu deliri! By the cruel torrent of my agony? volo a giurargli fè: dirò che l’amo; swear fidelity to him; I will say I love him; Unhappy Berenice, you are delirious! dirò... I will say… Aria Air Misera me, s’oscura il giorno, Woe is me, the day grows dark, Perché se tanti siete, Why, if you are so numerous balena il ciel! L’hanno irritato i miei the sky flashes! My intended lies have angered it. che delirar mi fate, that you make me rave, meditati spergiuri. Ahimè! Lasciate Alas! Let me help my love you cruel Gods. perché non m’uccidete, don’t you kill me, ch’io soccorra il mio ben, barbari Dei. While you keep me here, affanni del mio cor? emotions of my heart? Voi m’impedite, e intanto perhaps a sudden blow… forse un colpo improvviso... Ah, you will be pleased; here he is, dead. Crescete, oh Dio, crescete Increase, oh God, increase Ah, sarete contenti; eccolo ucciso. finché mi porga aita Until you can offer me help con togliermi di vita By taking away life’s l’eccesso del dolor. Excessive sadness

20 21 3-6. L’anima del filosofo EURIDICE EURIDICE Dov’è l’amato bene? Where is my love? Recitativo Recitative Sostenetemi. Oh pene! Oh cease, dread pain! EURIDICE EURIDICE Come i flutti di Lete Like the waters of Lethe, Numi possenti, aita! O mighty Gods, protect me! Già l’onda mia vital lenta si muove. The floods have quenched my life’s spark. CORISTA CORISTA Ah, mai più, sventurata, I go slowly to death! Deh, vieni! Come! Non potrò rimirar il mio tesoro! Oh, wretched lover that I am, never again EURIDICE EURIDICE M’abbandona il respiro; io manco, io moro. shall I see my love. Ahimè! Oh, woe is me! My breath fails me! I fail, I die! CORISTA CORISTA Che avvenne? What see we here? Cavatina Cavatina EURIDICE EURIDICE Del mio core il voto estremo The last desire of my heart Quell’angue che colà strisciar mirate, The serpent that there creeps, Dello sposo io vo’ che sia. is for my Beloved. Mi punse in quest’istante. His fangs did pierce me! Al mio ben l’anima mia To him I vow my last sighs! CORISTA CORISTA Dona ‘ultimo sospir. O sventura! Oh, wretched fate! EURIDICE EURIDICE Nel sangue The subtle poison spreads Io temo che non m’abbia troughout my veins Infuso il suo feroce aspro veleno. I fear Già sentomi nel core A thousand beats weary my heart Cento palpiti e cento A thousand fears assail my soul. Amari di terrore Recitative accompagnato Ch’assediano il mio core. Recitativo accompagnato

22 23 6. Arianna a Naxos Aria (largo) Air Dove sei, mio bel tesoro, Where are you my sweet treasure? Adagio Adagio chi t’invola a questo cor? Who tore you from my breast? mio ben, dove sei? Dove sei tu? Theseus, my love! Where are you? Se non vieni, io già mi moro, If you do not come, I shall die, Vicino d’averti mi parea, I thought you were beside me, né resisto al mio dolor. I cannot bear such grief. ma un lusinghiero sogno fallace m’ingannò. But it was only a sweet, false dream. Se pietade avete, oh Dei, If you are merciful, oh gods, Già sorge in ciel la rosea Aurora, The rosy dawn rises in the sky secondate i voti miei, hear my prayer, e l’erbe e i fior colora Febo Pheobus tinges grass and flowers a me torni il caro ben. And send my beloved back to me. uscendo dal mar col crine aurato. As he rises, golden, from the sea. Dove sei? Teseo! Where are you? Theseus! Sposo, sposo adorato, dove guidasti il piè Dear husband! Where are you? Dove sei? Where are you? Forse le fere ad inseguir Perhaps the chase has called, ti chiama il tuo nobile ardor. Tempting your brave spirit! Recitativo Recitative Ah vieni, ah vieni, o caro, Oh, come, my love Ma, a chi parlo? Gli accenti Eco ripete sol. Echo alone repeats my words. ed offrirò più grata preda ai tuoi lacci. And find a sweeter prey for your snares. Teseo non m’ode, Teseo non mi risponde, Theseus neither hears nor responds Il cor d’Arianna amante, che t’adora costante, Ariadne’s loving heart, constant and adoring, e portano le voci e l’aure e l’onde. Winds and waves silence my voice. stringi, stringi con nodo più tenace, Binds with ever tighter bonds Poco da me lontano esser egli dovria. He cannot be far away from me. e più bella la face splenda del nostro amor. And our radiant flame burns brightly with Salgasi quello che più d’ogni altro If I climb that cliff that rises above the rest, Soffrir non posso d’esser da te divisa un our love. s’alza alpestre scoglio; ivi lo scoprirò. I shall see him from there. sol istante. I cannot be separated from you for a Che miro? Oh stelle, misera me, What is this? Alas! Woe is me! Ah di vederti, o caro, già mi strugge il desio; single moment quest’ è l’argivo legno! That is the Argive ship! Those men are Greeks! ti sospira il mio cor, vieni, vieni idol mio. Ah! I am seized, my love, with the desire to Greci son quelli! Theseus! He is at the prow! see you Teseo! Ei sulla prora! Oh, I may be mistaken... My heart sighs for you. Come, my beloved idol! Ah m’ingannassi almen ... No! There is no mistake. no, no, non m’inganno. He flees, and leaves me behind, abandoned. Ei fugge, ei qui mi lascia in abbandono. All hope is gone, I am betrayed. Più speranza non v’è, tradita io sono.

24 25 Teseo, Teseo, m’ascolta, Teseo! Theseus! Hear me! 8. L’isola disabitata: Aria di Silvia Ma oimè! vaneggio! But alas, I shall go mad! I flutti e il vento lo involano per He is swallowed by wave and wind Fra un dolce deliro Through a sweet delirium sempre agli occhi miei. Forever before my very eyes. son lieta e sospiro I am happy and I sigh. Ah siete ingiusti, o Dei, Oh! Gods, you are unjust quel volto mi piace, That face pleases me, se l’empio non punite! Ingrato! If you do not punish the traitor! Ungrateful man! ma pace non ho but I have no peace. Perchè ti trassi dalla morte Why ever did I bother to save your life? Di belle speranze Of beautiful hopes dunque tu dovevi tradirmi! For you to betray me? ho pieno il pensiero; my thoughts are full; E le promesse, e i giuramenti tuoi? And your promises? Your vows? e pur quel ch’io spero and yet what I hope for Spergiuro, infido! hai cor di lasciarmi. Faithless one! Deceiver! conoscer non so I do not know. A chi mi volgo, da chi pietà sperar? Have you the heart to leave me? Già più non reggo, To whom shall I turn? il piè vacilla, e in così amaro istante From whom seek compassion? 9. L’infedelta delusa: Aria di Sandrina sento mancarmi in sen cannot stand, my knees tremble l’alma tremante. And the bitterness of this wretched moment È la pompa un grand’ imbroglio Luxury is a great burden Makes my heart quiver in my breast. Per un’alma, che disprezza For my soul who scorns Fasto, onor, e la ricchezza Pomp, glory, and riches. Aria Air Io non cerco, ed io non voglio I don’t search for, and I don’t want A che morir vorrei in sì fatal momento, In this dreadful hour Che la pace del mio cor But for peace in my heart ma al mio crudel tormento But heaven cruelly decrees mi serba ingiusto il ciel. My continued suffering. Misera abbandonata non ho chi mi consola. Poor abandoned one, with no one to console her, Chi tanto amai s’invola barbaro ed infedel. My beloved has fled, cruel and disloyal.

26 27 10. La Metilde ritrovata: Aria di Nannina

Quando la rosa When the rose Non ha piu spine has no more thorns, E d’erbe spogliansi and the fields and slopes Prati, e colline are stripped of green Allor quel core then this heart Ch’io serbo in petto within my breast Per altro oggetto will belong Si cangerá to another

11. L’infedeltá delusa: Aria di Vespina

Trinche vaine allegramente Drink wine cheerfully che patrone oggi sposar Because the patron marries today Tu ballare, tu cantar, Dance, sing, Je! foller imbriacar Je! Follow drunkenness Lustig, lustig paesan Be merry friend Spaisen vol non paghar niente Enough food, don’t pay anything Paesan allegramente, Quickly friend che patrone far scialar Because the patron is going to enjoy

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32 33 This High Definition Surround Recording was Produced, Engineered and Edited by Bert van der Wolf of NorthStar Recording Services, using the ‘High Quality Musical Surround Mastering’ principle. The basis of this recording principle is a realistic and holographic 3 dimensional representation of the musical instruments, voices and recording venue, according to traditional concert practice. For most older music this means a frontal representation of the musical performance, but such that width and depth of the ensemble and acoustic characteristics of the hall do resemblance ‘real life’ as much as possible. Some older compositions, and many contemporary works do specifically ask for placement of musical instruments and voices over the full 360 degrees sound scape, and in these cases the recording is as realistic as possible, within the limits of the 5.1 Surround Sound standard. This requires a very innovative use of all 6 loudspeakers and the use of completely matched, full frequency range loudspeakers for all 5 discrete channels. A complementary sub-woofer, for the ultra low frequencies under 40Hz, is Executive producers: Anne de Jong & Marcel van den Broek highly recommended to maximally benefit from the sound quality of this recording. Recorded at: Singelkerk, Amsterdam (NL) Recording dates: 10-11 January 2012 (period 1) & 26-27 August 2012 (period 2) This recording was produced with the use of Sonodore microphones, Avalon Recording: Northstar Recording Services Acoustic monitoring, Siltech Mono-Crystal cabling and dCS Converters. Recording producer, engineer & editing: Bert van der Wolf A&R Challenge Records International: Wolfgang Reihing Liner notes & translation texts: Marco Meijdam Booklet editing: Wolfgang Reihing Cover photo: Merlijn Doomernik Art direction: Marcel van den Broek, newartsint.com www.northstarconsult.nl www.challengerecords.com www.lisalarsson.info / www.combattimentoconsort.com

34 35 CC72622