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CHAN 0607 QUANTZ.Qxd 9/1/08 12:39 Pm Page 1 CHAN 0607 QUANTZ.qxd 9/1/08 12:39 pm Page 1 Chan 0607 CHACONNE Quantz Flute Sonatas Premier recordings RACHEL BROWN James Johnstone harpsichord CHANDOS early music Mark Caudle cello CHAN 0607 BOOK.qxd 9/1/08 12:41 pm Page 2 Johann Joachim Quantz (1697–1773) Sonata No. 275 for flute and continuo 10:38 in B flat major . B-Dur . si bémol majeur 1 I Allegro di molto 2:58 2 II Affettuoso – 4:27 3 III Vivace 3:11 AKG Sonata for flute and obbligato harpsichord 7:43 in E flat major . Es-Dur . mi bémol majeur 4 I Allegro 2:51 5 II Larghetto – 2:11 6 III Vivace 2:38 Sonata XIV for flute and continuo 10:14 in G minor . g-Moll . sol mineur 7 I Grave – 3:50 8 II Allegro 2:48 9 III Lento – 1:05 10 IV Tempo di menuetto 2:29 Sonata No. 348 for flute and continuo 8:35 in E flat major . Es-Dur . mi bémol majeur Johann Joachim Quantz 11 I Arioso – 2:52 12 II Allegro assai 3:14 13 III Presto 2:26 Sonata No. 231 for flute and continuo 10:15 in B minor . h-Moll . si mineur 14 I Larghetto – 3:35 15 II Allegretto 3:33 16 III Presto 3:04 2 3 CHAN 0607 BOOK.qxd 9/1/08 12:41 pm Page 4 Sonata for flute and obbligato harpsichord 8:51 in E minor . e-Moll . mi mineur Quantz: Flute Sonatas 17 I Adagio – 2:10 18 II Allegro – 2:01 19 III Grazioso – 2:02 In former times composition was not so little from orphaned blacksmith’s son to his 20 IV Vivace 2:38 esteemed as at present, but there were then position as probably one of the best-paid fewer bunglers encountered than nowadays… musicians of his day as flute teacher and 21 Minuetto for flute d’amour and continuo 2:11 Today almost anyone who knows how to play director of private chamber music to an instrument passably pretends at the same Frederick the Great. As an ambitious multi- Sonata No. 273 for flute and continuo 12:00 time to have learned composition. In talented young musician, Alessandro Scarlatti in G major . G-Dur . sol majeur consequence so many monstrosities come into procured for him a lucrative post in Portugal, 22 I Presto ma fiero 3:23 the world that it would be no surprise if music Handel prevailed on him to stay in England, 23 II Grave – 4:52 were to decline rather than progress. and he was even spotted as a trumpeter with 24 III Vivace 3:42 Barbed critical comments such as these fill potential; yet all these he declined, preferring TT 71:10 the pages of Johann Joachim Quantz’s a position as oboist alongside renowned Versuch einer Anweisung die Flöte traversiere Dresden musicians such as the lutenist Weiss Rachel Brown flute/flute d’amour zu spielen, published in 1752, earning him a and the violinist Pisendel. Quickly Mark Caudle cello reputation not only as a respected authority transferring to the flute, which offered him on all aspects of flute-playing and James Johnstone harpsichord far more opportunities, he came to the musicianship, but eventually also as a carping attention of Frederick, then Crown Prince of pedant, as his ideas became out-moded and Prussia, and a keen flautist himself. Due to a Rachel Brown two-keyed flute by Rudolf Tutz, Innsbruck, 1996, after he apparently resisted moving with the times. paternalist ban on all things musical and Quantz (1740) This is the view handed down to us by the artistic, flute lessons, undoubtedly well paid, flute d’amour by Rudolf Tutz, Innsbruck, 1993, after English music historian Charles Burney, who began in secret. Marriage afforded Frederick Denner (1720) encountered Quantz as a tiresome seventy- Mark Caudle cello by N. Chappuy (Paris), c. 1770 some private freedom and he collected James Johnstone double-manual harpsichord by Bruce Kennedy, 1992, after five-year-old, full of bombastic rhetoric, together a fine nucleus of musicians. Yet Michael Mietke (c. 1704), tuned by Claire Hammitt bitterly resented at the Prussian court by his Quantz rejected the offer of a job when colleagues who were rankled by years of Augustus II died in 1733, ‘not wishing to justifiable jealousy. change from horse to donkey’. As Frederick Quantz had carefully carved his career put it to his sister Wilhelmina: 4 5 CHAN 0607 BOOK.qxd 9/1/08 12:41 pm Page 6 You will find Quantz’s high opinion of himself display a remarkable variety of style and dating from Quantz’s period in Dresden, and modulate very far. Quantz considered the the more insupportable in that it is really form. Certainly, the sonatas in B minor draw an obvious comparison with those in more remote keys peculiarly expressive and without foundation. The only way to bring his No. 231 and E flat major No. 348 conform E flat and G minor attributed variously to the middle movement of Sonata No. 275, set haughtiness to an end is not to treat him too to the standard layout, but the Larghetto and J.S. and C.P.E. Bach. Carl Philipp Emanuel in F minor, is one of his most beautiful. much like a grand gentleman. Arioso movements, whilst sharing the was somewhat unappreciated in Berlin and Apparently Frederick once performed one of Perhaps Dresden’s musical life was too good repeated-note bass lines so typical of the he and Quantz differed on some stylistic his own sonatas containing the shocking to exchange for the cultural backwater and Berlin school, show a marked transition from points, but Quantz admired Johann interval of a diminished fifth. Quantz was isolation of Ruppin at that time. At any rate, the baroque to the galant. The B minor’s fast Sebastian’s skills as an organist and heard to cough disapprovingly. C.P.E. Bach when Quantz eventually accepted, after movements emulate some of the quirkiness improviser, yet records no appreciation of (long-suffering court accompanist), however, Frederick’s accession to the throne, it was on of C.P.E. Bach, whilst the E flat major’s him as a composer, nor mentions his visit to cleverly imitated it in the accompaniment, the most propitious terms, far exceeding the Allegro assai is a bravura display of coloratura, Potsdam in 1747. The uncanny structural, and the embarrassed listeners squirmed. salaries of the other musicians. With extra and the Presto, a cheeky classical rondo. The thematic, modulatory and motivic likenesses Afterwards, Frederick thought it best to payments for every new piece, Quantz Handelian G minor Sonata XIV in four between the two sonatas in E flat for flute amend his sonata, joking that they had better became extraordinarily prolific, amassing movements contains a fugue, relatively rare and obbligato harpsichord by both not aggravate Quantz’s cough! three hundred concertos and even more for Quantz, and a recitative, imitated by composers suggest at least one of them knew The other main features of Quantz’s flute sonatas, all performed at the evening Frederick in several of his own pieces. By the other’s work. were a tuning-slide in the head-joint, concerts, six or seven pieces each day – ample contrast the sonatas in G major No. 273 and Flat keys are unusually predominant in enabling the flute to be lengthened or room, therefore, to include the compositions B flat major No. 275, from a group of six, Quantz’s works, somewhat facilitated by the shortened at will, and its enormous internal of the other gifted court musicians, yet they more akin to his concertos, have fast outer two-keyed flute of his own design, making bore: wider than other baroque flutes over its were almost always excluded. Quantz’s movements, (opening, virtuosic, Sturm und quite separate notes for the D sharp and E entire length, but especially in the head-joint, manipulation of his position deprived him of Drang type; closing, more lighthearted), flat and other unidentical enharmonic notes, producing a very sonorous low register, most his colleagues’ respect. He was criticized for framing slow movements in tonic minor or (a ninth of a whole tone apart). Flats were closely resembling a contralto voice. In the his predictability: almost all the sonatas are subdominant minor keys. Quantz devotes always higher than sharps, since the sharps Versuch Quantz extols the virtues of the flute in three movements in the same key, with whole chapters in his Versuch to playing the usually fall as the major third of a chord d’amour, sounding a minor third lower. This slow–fast–fast tempi, following many of the adagio, and to its correct manner of where the harmonic is naturally low. For noble instrument has almost no repertoire of same structural and modulatory patterns as ornamentation, yet he warns against the example D sharp appears most often as the its own, so we have taken Quantz’s well as sequences in the passage-work which danger of adding too much, and notes that third in the chord of B major. This means suggestion and transposed a simple minuet were dubbed ‘sugar loaves’ because of their the arioso types need fewer graces. that ideally the harpsichord should be from one of Frederick’s practice books. appearance on the page. The sonatas with obbligato harpsichord retuned for different tonalities, which Little is known of Quantz’s personal life. Yet the sonatas chosen for this recording are reworkings of trio sonatas probably explains why Quantz’s compositions rarely His autobiography recalls an attempt on his 6 7 CHAN 0607 BOOK.qxd 9/1/08 12:41 pm Page 8 life by the jealous admirer of one of his terrorizes Frederick who terrorizes everyone and was for many years principal cello of the James Johnstone graduated from Sussex wealthy female pupils, and rather enigmatic- else’! Academy of Ancient Music.
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