ImproviSatie Michael Gees ANTONIO VIVALDI Concertos for oboe, strings and basso continuo

Pauline Oostenrijk Jan Willem de Vriend Baroque Academy of The Symphony Orchestra

1 ANTONIO VIVALDI Concertos for oboe, strings and basso continuo

Pauline Oostenrijk Jan Willem de Vriend Baroque Academy of The Netherlands Symphony Orchestra

With thanks to: Alfredo Bernardini , Michael Talbot, Dorine Jansma, Aafke de Vries, Esther den Boer, Gerlieke Aartsen ANTONIO VIVALDI (1678-1741)

Concerto in a minor RV 463 Concerto in F major RV 457 [1] I Allegro 3:01 [13] I Allegro non molto 4:04 [2] II Largo 3:06 [14] II Andante 1:57 [3] III Allegro 2:49 [15] III Allegro molto 2:33

Concerto in C major RV 450 Concerto in d minor RV 454 [4] I Allegro molto 4:01 [16] I Allegro (moderato) 2:54 [5] II Larghetto 2:59 [17] II Largo 2:25 [6] III Allegro 2:56 [18] III Allegro 2:31

Concerto in a minor RV 461 Concerto in F major RV 455 [7] I Allegro non molto 3:43 [19] I (Allegro)* 3:12 [8] II Larghetto 2:02 [20] II (Grave)* 1:46 [9] III Allegro 2:28 [21] III (Allegro)* 2:33

Concerto in d minor per Archi e Cembalo RV 127 [10] I Allegro 1:17 total time: 54:38 [11] II Largo 1:08 [12] III Allegro 1:06 * no tempo indication in manuscript

4 5 Baroque Academy of The Netherlands Symphony Orchestra

1st violin cello Peter Bogaert René Geesing Joan Dillon Mariette Freijzer Janne Sörensen Roelof de Lange double bass Peter Jansen 2nd violin Robert Windak chitarrone Paul Hendriks Sören Leupold Margo van Vliet clavecimbel and organ viola Pieter Dirksen Marjolein Dispa Eva Suslikova Richard Wagner

6 7 OBOE GIRLS in Venice would know that they had a alcove. If not, she would have been whatever it was the institution (a small new resident. given the name at the institution once city unto itself) needed. To Pelegrina she had been taken in. Pelegrina. No But girls with musical talent could It was nothing but an alcove in the Did Pelegrina cry once she had been middle name. No family name. How- expect a different kind of future. The wall which had been covered with removed from the warmth of her ever, Pelegrina would most certainly Ospedale was acclaimed for its musi- latticework featuring decorative mother’s arms to be placed in the go on to acquire a surname! Child no. cal tuition, its choir and its orchestra. circles, octagons and a wreath motif. chilly alcove – when the wheel slowly I 1104 would eventually go down in Talented girls were trained to become Perhaps the latticework was intended started to turn and her mother’s face history as Pele-grina dall’ Oboè, or singers, organists, violinists, gambists, to help dispel any likeness to a prison. disappeared from view forever? Or ‘Pelegrina of the Oboe’. flautists and hornists – whatever the There was a large circle in the middle was she asleep? Was she wrapped orchestra required. Many girls played which was bigger than the others and in rags, or had her mother at least The Pio Ospedale della Pietà had long more than one instrument. The which was free of any wreath motif or enough money to buy a blanket for ceased to be just an orphanage. Chil- weekly concerts generated important other ornamentation. It was through her? Why was she left there? dren were left there for other reasons income for the institution. People that circle that you could put your Unfortunately, we will never know as well – because there was no money, would travel from far and wide to baby in the alcove. If you were lucky, the answers to these questions. Nor because they were illegitimate or Venice to attend the concerts given the little one would be sleeping, so will we even know if it was, in fact, her because they had some defect or in the Chiesa della Pietà. Eventually, that you wouldn’t be forced to carry mother who brought her to the Os- other. The Ospedale was not just the musical instruction given at the that last gaze of those angelic eyes pedale. What we do know is that from open to girls; boys were welcome, too, Ospedale became so renowned that with you for the rest of your life, that day – 16 May 1678 – forward, the and would stay until about the age of even wealthy patricians would send those angelic eyes that would widen eight-day-old girl was an orphan. She ten, when they could be apprenticed their daughters there. in surprise as you turned the wheel, was registered under the so-called somewhere. But girls often lived their The combination of music educa- slowly transporting your baby to the scaffetta (baby hatch) number I 1104. whole lives at the institution – unless tion and charity was typically Venetian; other side of the wall. Then you would Perhaps her name, Pelegrina, and her they married. They were trained to in fact, there were three other similar pull the cord to ring the bell, and the date of birth had been written on a become cooks, seamstresses, spice institutions in the city. Pietà would nuns at the Pio Ospedale della Pietà piece of paper left beside her in the vendors, chemists and sailmakers, eventually become the most famous, a

8 9 fact which was due at least in part coro, the music department, and the Contralto, Candida dalla Viola and Athena and Her Aulos to the man who came to teach violin title of figlia privilegiata, bestowed Lucietta Organista*. But since Peleg- Girls who play the oboe: today, there there in 1704 and who held the post exclusively on the very best musicians rina was by far the most accomplished are many of them. Neither was it of head composer from 1713 – Antonio at the Ospedale, was conferred on oboist when Vivaldi worked at the taboo in Pelegrina’s Venice, appar- Lucio Vivaldi. He and Pelegrina were her a few months later. In this capac- Ospedale (the only other oboist ently. The ospedali were mainly home exactly the same age. ity, she taught music to daughters of mentioned in the archives is one to women, and an orchestra without the nobility and patricians. She even Susanna, in 1726), we can assume oboes was unthinkable. Yet I still be- The women sang and played in the served as a spiciera (spice vendor) for that a number of the oboe concertos lieve that a woman with such a thing in church behind a fence, which prevent- a time in her old age after the oboe featured on this CD were also written her mouth was considered unseemly, ed them from coming in contact with had become too demanding. for, and performed by, Pelegrina. And at least up until the middle of the their audiences. Yet it seems they did The archives tell us that from the that is why I would like to dedicate twentieth century. The image was, enjoy considerable freedom at the age of fifty-eight, she was allotted this recording to her. after all, probably too suggestive of Ospedale – when it came to meet- two extra measures of olive oil a week. To you, Pelegrina dall’ Oboè, who other things. And let’s be honest: it’s ing men, for instance. After all, a girl On 7 August 1754, Pelegrina died of came into this world with so little; but not exactly the most flattering instru- certainly couldn’t let an opportunity mal di petto, a chest ailment. She was who managed to breathe colour and ment to play, is it? That’s exactly why to marry a wealthy merchant who had seventy-six years old. lustre into life with that beautiful, yet the world’s very first oboist gave it up fallen in love with her clear soprano so obstinate, double-reed instrument; straight away. voice or virtuosic violin playing pass In Vivaldi’s oeuvre, there is only one and who inspired one of the greatest The world’s very first oboist? In- her by. composition of which we are totally Baroque composers to create little deed, and what’s more, she even Pelegrina, for her part, never certain it was written for Pelegrina. gems we can enjoy to this very day. invented it! According to Greek my- married. She learned to play the Above the manuscript of the Sonata violone and the oboe, and the latter for oboe, violin, chalumeau and organ, instrument would largely determine RV 779, Vivaldi wrote the names of the * The girls were named after the instrument or voice type at which they excelled, but the course of her life. At the age of girls for whom the piece was intended: often played other instruments as well. In the composition referred to here, for example, eighteen, she was initiated into the Pelegrina dall’ Oboè, Prudenza dal Prudenza dal Contralto played the violin, Candida dalla Viola the chalumeau.

10 11 thology, that is. The goddess Pallas of these had finger holes, on which auloi paedikoi (for youths), the auloi not share this opinion, thinking little Athena (more about her later) created the melody was played. The other teleioi (for adults) and the auloi hy- of the instrument and even proposing the very first aulos, a precursor of the pipe produced an uninterrupted perteleioi (for the real professionals). to ban the noisemaker. oboe. The aulos was a pipe made of drone, the so-called bourdon. Ac- That’s right, a special oboe for girls! wood, reed, bone or ivory fitted with cordingly, this instrument had a In Sparta, aulos players were But back to our story about Pallas a mouthpiece which consisted of two limited number of notes, and the deployed in wartime to keep the Athena and her creation of the very thin blades of cane attached to each player was invariably tied to one par- troops together. The aulos was also first oboe. It just so happens that she other through which the player would ticular key. These double oboes were used in Greece in sacrificial rites, invented the aulos when trying to imi- blow. The oboe’s key attribute has used in ceremonies such as weddings, stage performances and wrestling tate the plaintive, all-pervasive sound always been its double reed, which worship services, harvests and mourn- and discus events. of Medusa, one of three mythological oboists themselves make from a ing ceremonies. Their piercing sound The aulos was also a subject to monsters called Gorgons. Well, god- special kind of bamboo. Just imagine made it possible to rally and stir great which the great Greek writers turned desses have to occupy themselves how much time and energy that takes, masses all at once. their attention. Even Homer refers to somehow, don’t they? She cobbled especially considering that a reed will Early double oboes have been the instrument, as does Herodotus, together her first oboe from the bone last only a week or two, not found in various countries, the oldest, who also alludes to the profession of of a stag, made another one and then to mention that only a portion of all dating from 2800 BCE, having been aulos player. Aristotle expounds upon blew into both at the same time. She the reeds an oboist makes will pro- unearthed at the Royal Cemetery at the double reed, remarking, ‘It must was very pleased with the result. But vide the proper flexibility and tone Ur in Mesopotamia. The double oboe be compact, even and symmetrical what upset her was that the other quality for performance. The double reached the ancient Greeks from so that its sound will also be compact gods on Mount Olympus would laugh reed is an oboist’s biggest worry, Mesopotamia via Egypt. Auloi existed and equal. The reed must also be suf- uncontrollably whenever they saw her requiring attention every single day. in a variety of sizes and registers – a ficiently moist prior to playing, there- playing her aulos. There they would bit like how flutes are categorised (e.g. by softening the tone.’ Duly noted! stand guffawing and pointing at her. Early oboes were usually so-called soprano, alto, tenor and bass). How- He goes on to call the aulos the most One morning, when she caught a double oboes, consisting of two ever, they were given different names: titillating and emotional instrument glimpse of her reflection in a pond, pipes, one for each hand. Only one the auloi parthenioi (for maidens), the there is. Plato, however, certainly did she understood why. When she blew,

12 13 she started to look like a Gorgon hear this! What am I saying? Apollo to a tree and flays him alive. History is the conservatory in , the herself! A contorted, twisted red face himself has to hear this. Apollo, the silent on what happens to his aulos. ratio of male to female students was with bulging eyes, puffed out cheeks, god of music. He’ll be dumbfounded!’ almost equal. Now women, at least in her neck twice as thick and veins pro- So what does the idiot do? But now we’ve strayed quite far in- the Netherlands, far outnumber men. truding. Hideous! Furious, she flung He challenges Apollo to a contest. Yes, deed from our oboe girls. As far as her aulos far off into the distance, off he challenges the god of music to a I know, no women besides Athena Room 224 of Mount Olympus, cursing the one contest! He on his aulos, and Apollo and Pelegrina won acclaim as oboe As an oboe girl, I studied with Koen who might find the instrument. on the kithara - a plucked instrument players until the twentieth century. In van Slogteren from the age of four- - to determine who is the more ac- the 1930s, English women oboists teen to nineteen. Koen was a leading The unfortunate discoverer is Mars- complished. ‘Fine,’ Apollo says, ‘count set in motion a process of emancipa- representative of the Dutch oboe yas, a satyr: half goat, half man. ‘Hey, me in, but only on one condition: the tion in this area by securing positions school, founded by the renowned what a funny-looking thing lying winner can do as he pleases with the in professional orchestras, to which oboist Jaap Stotijn, with whom he there in the grass! What could it be? loser.’ That is music tot Marsyas’ ears. women had not been admitted himself had studied. As a performing Can you eat it? Ouch! No, that can’t be Like a true satyr, he thinks Apollo is up to that time (except to play the musician, Koen was best known as the right. Let’s have a look. Well, you can talking about sex. ‘An exciting sug- harp, since no man in his right mind oboist of the successful Danzi Quintet. use it to scratch your back. Oh, hold gestion,’ he thinks. The Muses are would ever do that). These women Later he devoted himself to teaching. on a minute... Those holes there, and enlisted to act as adjudicators. also worked tirelessly as soloists and He knew better than anyone how to that little reed on top...’ Guess who the winner turns out to teachers to promote equality in the explain the workings of a good breath- Marsyas starts to blow and in- be: Apollo. Why? Because he can also profession. Natalie James, née Caine ing technique and had no qualms stantly falls in love. ‘Sounds good - play his kithara upside down, some- (b. 1909, d. 2008), Evelyn Barbirolli, about showing you just how some- fantastic!’ Playing the instrument, he thing Marsyas obviously can’t do with née Rothwell (b. 1911, d. 2008), Joy thing should feel. We oboe girls used wriggles his misshapen body like a his aulos, thanks to that dratted dou- Boughton (b. 1913, d. 1963) and Mar- to giggle, telling one another and our snake charmed by the alluring sounds ble reed on the wrong side. What then garet Eliot (b. 1914) all paved the way friends how he would come right up of his own aulos, winding his way happens to poor Marsyas has nothing for future generations of oboe girls. behind you and put his hands on your upwards in a trance. ‘Everyone has to at all to do with sex. Apollo ties him At the time I myself was studying at sides before you would breathe to

14 15 make sure you built a proper breath examination and hadn’t managed to gebouw to the left. In all the years the have the chance to play as beautifully support. If necessary, he would firmly produce the right reed, I was always conservatory was located in that build- as possible for Koen just one more press a few fingers against your ab- welcome to drop in on him at home ing, which used to be the Head Post time in that beautiful church. domen right where you needed to for extra help. He also had a vast Office, that room always remained the When I won the Dutch Music Prize tighten your muscles to give the note knowledge of the repertoire and not oboe room, even when I later taught a few years later, Koen’s widow, Marian the right degree of intensity. When only introduced me to the standard there myself. When Koen retired, we – Jaspers-Fayer, presented me with his he retired from his position and was works, but would also regularly show his students – christened it the ‘Koen vast collection of sheet music, consist- succeeded by Jan Spronk, we won en- me the most marvellous pieces by van Slogteren Room’. We had a beauti- ing of over 1,000 scores. I continue to thousiastic applause – especially from composers whom I had never heard ful plaque made with his name on it, enjoy rummaging through these, and his former female students – by acting of. He would help me analyse the unveiling it with great pomp and affix- they never cease to fill me with a sense out in detail such a lesson. most difficult musical notation to help ing it to the door on the day he retired. of wonderment. As a token of thanks, I me eventually understand a piece A few months later, the plaque was organised a commemorative concert Koen meant so very much to me. He completely, much to my own amaze- removed. Perhaps by another oboe at the Concertgebouw in Amsterdam, provided me with a solid foundation ment. From Koen, I learned never to teacher whose ego couldn’t handle on which I performed compositions and gave me a tremendous amount shy away from anything and to always Koen’s name on the door? from the collection with pianist Ivo of self-confidence. He taught with his push my own boundaries. But beyond Janssen. I still discover exciting pieces heart and his soul: if he believed in that, he was like a grandfather who At the age of seventy-three, Koen in the collection and frequently come you, he would give you everything he was really there for me on a personal suddenly died as a result of an ill- across Koen’s notes in a score or a had. He would even agree to teach level when I needed it. fated accident. His funeral was held at work dedicated to him by a particular me at the most inconvenient times. The oboe room, room 224, at the Westerkerk in Amsterdam, where he composer. And then it’s just as if he’s As an oboe student, you have to learn Amsterdam conservatory (then still had lovingly played in the Bach or- still here. to make your own reeds, and it takes called the Sweelinck Conservatorium) chestra for many years. Together with quite a few years before you can actu- looked out on to the busy Van Baer- a number of other former students, I During the years I taught at the con- ally stand on your own two feet. If I lestraat. If you stuck your head out the played during the ceremony. It was dif- servatories in Amsterdam and The had a concert, a competition or a final window, you could see the Concert- ficult, but also comforting in a way to Hague, the majority of my students

16 17 were female. By that time, the ratio plaque, a familiar plaque. It bore the of men to women was about one to number 224. It was the oboe room Pauline Oostenrijk three. I started teaching at the age of plaque! The room in which I worked twenty-one, so in my first years, I was towards, and dreamed about, my hardly older than my students. In fact, future as an oboe girl. And where I the conservatory’s door supervisor later tried to impart everything that would regularly ask to see my student Koen and my subsequent teachers pass when I would come to pick up the gave me, my experience and my love key to room 224. of the oboe and its repertoire to new generations. Recently, I saw one of my last oboe ‘When the old conservatory build- girls, Gerlieke. When I decided in 2007 ing was cleared out, I went back and to stop teaching (for the time being), salvaged it for you.’ she had just begun her second year of My dear oboe girl, you couldn’t study. She had a new teacher but oc- have given me a better present. casionally drops in to play for me – her examination programme, for instance. Pauline Oostenrijk – August 2010 The Amsterdam conservatory had Translation: Josh Dillon/Muse Translations moved to a new building near Central Station since I had stopped teaching. ‘I have something else for you,’ said Gerlieke, who was just about to leave. ‘I saved it specially for you.’ She dug a paper bag out of her rucksack. Inside was a rectangular

18 19 Jan Willem de Vriend Mahler tradition is being continued in rovision Young Musician of the Year recitals with pianist Ivo Janssen, and Jan Willem de Vriend is the chief con- recordings and tours. Contest (1986), the first prize in the performs regularly with her sister, ductor and artistic director of The Tromp oboe competition (1988), the soprano Nienke Oostenrijk, in the Netherlands Symphony Orchestra In addition to being the chief conduc- Decoration of the Friends of the Con- Ensemble Oostenrijk-Jansen (with since 2006 and the artistic director of tor of The Netherlands Symphony Or- certgebouw (1989), the Philip Morris cembalo-player David Jansen and Combattimento Consort Amsterdam. chestra , De Vriend is the regular guest Art Prize (1993), a second prize in the cellist Maarten Jansen). She is a mem- conductor of the Brabant Orchestra. International Music Competition in ber of the Orlando Wind Quintet and Since De Vriend was named chief con- He has conducted many distinguished Rome (with harpist Manja Smits), and the ensemble Nieuw Amsterdams ductor, The Netherlands Symphony Dutch orchestras, including the Royal the first prize in the Fernand Gillet Peil. Orchestra has become a notable phe- Concertgebouw Orchestra, the Neth- oboe competition in Baltimore (1991), As a soloist she performed with nomenon on the Netherlands’ musical erlands Radio Philharmonic Orchestra resulting in a recital in Carnegie Hall. orchestras like the Residentie Orkest, scene. It has presented semi-scenic and Philharmonic Orches- Radio Filharmonisch Orkest, Radio performances of works by Mozart, tra. De Vriend is also a welcome guest She studied at the Conservatorium Kamer Orkest, Amsterdam Sinfonietta, Beethoven, Strauss and Mendelssohn. internationally and has conducted van Amsterdam with Koen van Brabants Orkest, Orkest van het There were premieres of works by orchestras in China, Germany, Austria, Slogteren and Jan Spronk, and con- Oosten (The Netherlands Symphonie Offenbach, Say and Mahler. And by and France. tinued her studies with, among Orchestra), WDR Sinfonieorchester substituting period instruments in others, Thomas Indermühle and Han , Orchestre d’Auvergne, the brass section, it has developed Pauline Oostenrijk de Vries. At the same time she Salzburger Kammerorchester and its own distinctive sound in the 18th In 1999 Pauline Oostenrijk received completed her piano studies with Sonora Hungarica. and 19 th century repertoire. Recently, the Music Prize of The Netherlands, Willem Brons. Since 1993, Pauline the orchestra caused quite a stir by the highest State Award for classical is solo oboist of the Residentie Until 2007 Pauline was a professor performing music by Schumann at music. Before that, she had already Orchestra in The Hague. Her activi- of oboe at the conservatories of festivals in Spain. It is currently record- won numerous prizes on national and ties as a soloist and chamber musi- Amsterdam and The Hague, a posi- ing Beethoven’s complete symphonies international competitions, such as cian were recorded on a number tion she laid down in order to have conducted by De Vriend. Its long the Dutch representation in the Eu- of highly acclaimed cd’s. She plays more time for her performing activi-

20 21 ties, and for writing. In 2006 her in the baroque repertoire. It strives to tra its unique and highly individual and in great demand, and have first book with musical short stories faithfully reproduce the original sound character. established the orchestra’s national was published. of the baroque repertoire using peri- and international reputation. The od instruments such as baroque trum- Performing concert series in towns Netherlands Symphony Orchestra Several composers dedicated works pets, natural horns, wooden flutes across Overijssel, in Amsterdam, was recently awarded the Edison to her, among them Louis Andriessen and bowed string instruments , and other major Klassiek Luister Publieksprijs 2010 (To Pauline O for oboe solo). with gut strings. cities, and concert tours abroad, the for its recording of Paganini’s vio- Occasionally, Pauline writes composi- Netherlands Symphony Orchestra lin concertos 1 and 2 with violinist tions herself. For the occasion of the BANSO is affiliated with The Nether- acts as a cultural representative Rudolf Koelman.Concerts by The silver jubilee of Queen Beatrix of The lands Symphony Orchestra, a multi- for the Province of Overijssel. The Netherlands Symphony Orchestra Netherlands, she composed a piece faceted orchestra that manifests its orchestra works with the Nationale are enjoyed by a wide audience. The for English horn and small ensemble, musical expertise in a number of Reisopera and regional choirs, and orchestra has the privilege to work which she performed for Her Majesty ensembles and orchestras. has undertaken successful tours to with the world’s best musicians. Its in November 2005. The Netherlands Symphony Or- the Unites States, Canary Islands, commitment to expanding its social chestra (Orkest van het Oosten) is Spain and the UK. relevance is reflected in its involve- Baroque Academy of The the symphony orchestra of and for ment in a number of extraordinary Netherlands Symphony Orchestra the province of Overijssel, bringing Directed by chief conductor Jan projects in which education forms a The Baroque Academy of The Nether- passion, commitment and virtuos- Willem de Vriend and first guest key element. lands Symphony Orchestra (BANSO) ity to its audience. Performing at conductor Mark Shanahan, the or- was founded by Jan Willem de Vriend, an international level, the orchestra chestra’s unique reputation contin- In addition to its extensive sym- Chief Conductor and artistic leader is firmly rooted in society. Its bal- ues to grow, in both the Netherlands phonic programming, The Nether- of The Netherlands Symphony Or- anced programming offers inspiring and abroad. CD recordings of music lands Symphony Orchestra has also chestra. BANSO comprises mostly elements while the use of period by Ludwig van Beethoven and Dutch inspired the creation of a number musicians from The Netherlands instruments in the performance of its composers including Jan van Gilse of ensembles, such as chamber or- Symphony Orchestra and specialises classical repertoire gives the orches- and Julius Röntgen are acclaimed chestra Sinfonietta Aurora, the Ba-

22 23 roque Academy of the Netherlands Jan Willem de Vriend Symphony Orchestra and various chamber music ensembles. Many of the orchestra’s musicians play a key role in the region’s music activities and society, either as teachers at schools and academies of music, or as musicians in ensembles and other projects. The Netherlands Symphony Orchestra is financially supported by the Dutch Ministry of Education, Cul- ture and Science, the Province of Overi- jssel, the Municipality of Enschede and the Municipality of Hengelo, as well as annual contributions from sponsors.

24 25 Consulted sources Also available on Challenge Classics PAULINE OOSTENRIJK check www.challengerecords.com for availability • Alfredo Bernardini The Oboe in the Venetian Republic, 1692–1797 CC72109 J.S. BACH, C.P.E. BACH, J.C. BACH published in Early Music, August 1988 Oboe Concertos Pauline OostenrijkJaap ter Linden • Alan Kendall Nieuw Sinfonietta Amsterdam Vivaldi, Venetië en zijn muziek (1979) Han Schoo, trans., Ton Koopman, ed.; CC72049 ROBERT SCHUMANN De Gooise Uitgeverij, Bussum Romanzen – Works for oboe and piano Pauline Oostenrijk oboe - Ivo Janssen piano • Micky White Biographical Notes on the Figlie di coro of the Pietà CC72062 SAINT-SAËNS, POULENC, DUTILLEUX, Contemporary with Vivaldi SHINOHARA, MIHALOVICI published in Informazioni e studi vivaldiani, 21 (2000), pp. 75–96. Oboesession Pauline Oostenrijk oboe - Ivo Janssen piano

26 27 Also available on Challenge Classics JAN WILLEM DE VRIEND THE NETHERLANDS SYMPHONY ORCHESTRA check www.challengerecords.com for availability

CC72198 LUDWIG VAN BEETHOVEN CC72361 LUDWIG VAN BEETHOVEN Egmont / Wellingtons Sieg (SACD) Symphonies nos. 4 & 6 - Complete Symphonies Vol. 1 (SACD) The Netherlands Symphony Orchestra The Netherlands Symphony Orchestra Jan Willem de Vriend conductor Jan Willem de Vriend conductor Cora Burggraaf mezzosoprano - Wim T. Schippers narrator CC72364 LUDWIG VAN BEETHOVEN CC72343 NICCOLÒ PAGANINI (Edison Audience Award 2010) Symphonies nos. 1 & 5 - Complete Symphonies Vol. 2 (SACD) Violin Concertos nos. 1 & 2 (SACD) The Netherlands Symphony Orchestra The Netherlands Symphony Orchestra Jan Willem de Vriend conductor Jan Willem de Vriend conductor - Rudolf Koelman violin

CC72355 GUSTAV MAHLER Symphony no. 1 (Hamburg 1893 version) (SACD) The Netherlands Symphony Orchestra Jan Willem de Vriend conductor

28 29 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 an optimal realistic and holographic, 3 dimensional representation of the musical instruments, voices and recording venue, according to traditional concert practice. For most historic music this means a frontal representation of the musical performance, nevertheless such that width and depth of the ensemble and acoustic characteristics of the hall do resemblance ‘real life’ as much as possible. Some compositions in history, and many Executive producer: Anne de Jong contemporary works do specifically ask for placement of musical instruments and voices Recorded at: Muziekcentrum Enschede (NL) all over the 360 degrees sound scape however, and in such cases this is also recorded Recording dates: 9-11 June 2010 as realistic as possible within the possibilities of the 5.1 Surround Sound standard. Recording producer: Bert van der Wolf This all requires a very innovative use of all 6 loudspeakers and the use of fully Recorded by: NorthStar Recording Services equal and full frequency range loudspeakers for all 5 discrete channels, and a A&R Challenge Records International: Wolfgang Reihing complementary sub-woofer for the ultra low frequencies under 40Hz, is highly Liner notes: Pauline Oostenrijk recommended to optimally benefit from the sound quality of this recording. Translations: Josh Dillon/Muse Translations Booklet editing: Wolfgang Reihing This recording was produced with the use of Sonodore microphones, Avalon Photograhpy: Marco Borggreve Acoustic monitoring, Siltech Mono-Crystal cabling and dCS Converters. Image Aulos player: Attic red-figured kylix, ca. 490 BC. From Vulci – Canino Collection, 1850 Art direction: Marcel van den Broek, new-art.nl

www.challengerecords.com www.paulineoostenrijk.com www.janwillemdevriend.com www.orkestvanhetoosten.nl

30 31 CC72389

32