TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS Bach, Handel Telemann, Vivaldi Van Wassenaer GRAND TOUR Baroque Road Trip SIMON MURPHY New Dutch Academy TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS Grand Tour – Baroque Road Trip George Frederick Handel (1685 – 1759) Myrsini Margariti, Soprano 1 Aria “Tornami a vagheggiar” 4. 49 Georg Philipp Telemann (1681 – 1767) Concerto in G for Viola, Strings and Basso Continuo Simon Murphy, Baroque Viola 2 Largo 3. 18 3 Allegro 2. 57 4 Andante 3. 48 ← ← 5 Presto 3. 30 Antonio Vivaldi (1678 – 1741) Concerto in D for Lute, Strings and Basso Continuo Karl Nyhlin, Gallichon 6 Without tempo indication 3. 18 7 Largo 4. 44 8 Allegro 2. 11 Bach, Handel Grand Tour – Baroque Road Trip Johann Sebastian Bach (1685 – 1750) George Frederick Handel (1685 – 1759) Grand Tour – Baroque in the importance of sharing passion, the rich and varied Baroque Concerto (and life itself), it makes it even more instrumentation of Bach’s 6th violins. Van Wassenaer incorporates old I first met Greek mega-diva Myrsini On the album he performs Vivaldi’s for me, in my own personal story. As a feature in Van Wassenaer’s Concerto The Affects E flat – beautiful, majestic and honest, Yeah Baby! a kid, I fell in love with Baroque music, Telemann, Vivaldi Brandenburg Concerto no. 6 in B flat, BWV 1051 Myrsini Margariti, Soprano Road Trip nourishment and inspiration. genre across the continent. Both in amazing when the music transcends Brandenburg Concerto. Scored for 7 school styles such as the church style Margariti in the mid-00’s when she classic Lute Concerto in D, recorded teenager, I auditioned with it (a lot!) Armonico. noble and ardent, the key of devotion, largely because of the totally captivating Van Wassenaer George Frederick Handel (1685 – 1759) Simon Murphy & Annegret Meder, Baroque Violas 19 Aria “Brilla nell’alma” 6. 21 the musical performance and in the this all. It’s been a great pleasure to independent parts – two violas, two viola opening (“da capella”) mixed with more was singing at the opera in Handel’s here quite possibly for the very first time and won the music scholarship which According to 18th century sources, of intimate conversation with God The programme and concept of the soundscape of the original instruments Myrsini Margariti, Soprano 9 Without tempo indication 7. 34 by Simon Murphy And that’s exactly what I’d like to do sound/mix for this album, we’ve gone work with the musicians and the team da gambas, cello and basso continuo traditionally instrumental and Italianate birth-city of Halle, Germany. I was on the lute-family instrument for which gave me the opportunity to get the the keys appearing here explore and album takes its inspiration from the on the pioneering early music LPs by 1 Aria “Tornami a vagheggiar” 4. 49 10 Adagio, ma non tanto 5. 09 Total playing time: 78. 39 with this album, just with music instead for a highly personal approach where from Polyhymnia International, producer (violone and in our case harpsichord elements such as the Giga last immediately struck by her beaming it was actually written, the Gallichon. kind of music lessons I needed and represent the following affects: C major – lovely innocence, complete contagious delight of 18th century Leonhardt and Harnoncourt from the 11 Allegro 7. 01 I grew up in the inner-city of Sydney, in of food. I would love to share my you as the listener are almost part of Karel Bruggeman and sound engineer and lute), Bach’s Brandenburg 6 movement. The hovering solos above, smile and Mediterranean warmth. It which set me on the path to becoming purity, pure happiness, state of nature, musical travellers and diarists such 50’s and 60’s. I just loved the realness, Georg Philipp Telemann (1681 – 1767) Simon Murphy, Conductor & Baroque Viola the largely Greek and Italian harbour- passion for the wonderful, nourishing the ensemble, nice and close to the Jean-Marie Geijsen, to achieve this. features a soundscape inspired by 17th and contrasting with, the staccato is such a delight to feature her in two I was immediately taken by the sparkle, a professional musician. It’s therefore B flat major – masculine energy, young joyful life, the fundamental key as Charles Burney in their musical honesty and authenticity of the sound, Concerto in G for Viola, Strings and Basso Continuo Unico van Wassenaer (1692 – 1766) Myrsini Margariti, Soprano suburb of Balmain. As a child of 5 or and inspiring flavours, textures and action. In this intimacy, we’ve aimed to century old school northern European ostinato in the third movement is arias by Handel “Tornami a vagheggiar” engagement and enormous positivity so lovely, now, some 30 years later, cheerful love, clear conscience, hope, where heart and ear find the most explorations in the period of the Grand how the Baroque musical language Simon Murphy, Baroque Viola Concerto Armonico no. 1 in G The New Dutch Academy – on authentic instruments 6, I remember the delighted smiles tastes of the European Baroque with create a musical experience where you Exploring and profiling just how varied consort writing combined with Baroque simply breathtaking. Interestingly, Van from Alcina and “Brilla nell’alma” from of German recorder virtuoso Elisabeth on the other side of the world, to be aspiration for a better world complete satisfaction Tour, the road trip of then. Fantasising and experience connected the earthy 2 Largo 3. 18 (formerly attributed to Pergolesi) and warm embraces one received you, on a musical adventure, together can really feel the human physicality the rich musical flavours of Baroque Italianate concerto elements and more. Wassenaer writes in the (autograph) Alessandro. Both arias display the Champollion when I first heard her play able to record this piece, on authentic about the impending sights and sounds, with the heavenly, the physical with the 3 Allegro 2. 57 Rachael Beesley & Sonoko Asabuki, Baroque Violins Oboe, Peter Tabori upon stepping into the local Italian with some very dear musical friends. involved in the music being made and Europe are, right from very earthy Check out our mini-Baroquementary on manuscript at the beginning of this influence of the Baroque instrumental in Bremen in 2012. She stars here in instruments, with my Baroque G major – pleasing, rustic, idyllic, lyrical, E major – bright, brilliant, sparkling, musical inspirations and experiences, intellectual, the sensual with the etc. 4 Andante 3. 48 Aleksandra Renska, Baroque Cello Recorder, Elisabeth Champollion restaurant, where you would be greeted Visiting Bach in Leipzig, Handel in the variety in this – through blowing, through to extremely refined, the the website for an exploration of some movement – don’t play this one too concerto style on the extremely florid, Vivaldi’s effervescent Flautino Concerto orchestra, together with so many lovely calm and satisfied passion, tender sharp, penetrating, fiery and wild lavish opera houses, juicy gossip and Such an amazing exploration, expression 5 Presto 3. 30 12 Grave 1. 49 Violin, Rachael Beesley*, Sonoko Asabuki*, Eva Saladin (Concertmaster ****), like family. Chef Armando would London, Vivaldi in Venice and Van pushing, pulling, bowing, plucking, programme displays different Baroque of Bach’s possible sources of inspiration slowly, otherwise it just goes on forever! high Baroque, bravura coloratura aria in C with its contagiously bubbly and friends, and to be able to share the gratitude for true friendship and faithful intrigues, there is such a palpable sense and celebration of the human condition. 13 Allegro 3. 23 Emma Williams, Christine Verdon, Paula Pérez Romero, Fumiko Morie immediately stop what he was doing, Wassenaer in The Hague, I am delighted scraping, stroking, singing. And we’d like European regions, dialects, musical for the instrumentation and soundworld Fine by me. It’s stunning. All in all, he style. excited outer movements and poignant, results with you through this recording. love of excitement as they embark on their It became my boyhood dream to play Antonio Vivaldi (1678 – 1741) 14 Andante 4. 38 Viola, Simon Murphy, Annegret Meder scoop me up and whisk me off, straight to present our 6th album together with to highlight that craftsmanship aspect. personalities, different instrumentations of this unique piece. creates an incredibly rich polyphonic yearning middle movement. musical adventure of the continent. Baroque music in Europe in Baroque Concerto in D for Lute, Strings and Basso Continuo 15 Allegro 2. 34 Viola da Gamba, Nicholas Milne ***, Ivanka Neeleman *** into the kitchen. I was totally fascinated PENTATONE, Grand Tour – Baroque Road Music made by people for people, on and solo instruments, as well as the texture, and with so much interaction Swedish lutenist Karl Nyhlin is a great Together with my viola colleague and E minor – pensive, lonely, grieved and buildings under a Baroque fresco and GRAND TOUR Karl Nyhlin, Gallichon Cello, Aleksandra Renska, Bartosz Kokosza by the sights and sounds. Holding me Trip, celebrating the vibrancy, vitality instruments made by hand, with natural different personalities of the various The Hague statesman and composer, going on between all of the parts, the friend. Some of my happiest moments As a soloist on the album too, I perform friend from Leipzig, Annegret Meder, sad, lament without grumbling, sighs In turn, the visual material for the just let it completely take you over and 6 Without tempo indication 3. 18 Antonio Vivaldi (1678 – 1741) Gallichon & Baroque Guitar, Karl Nyhlin in his arms, he would passionately show and variety of the European Baroque. products including gut strings, horse soloists performers performing these Unico van Wassenaer also writes for piece could almost be nicknamed “The in the past years have been on tour one of the most beautiful works for there’s even more viola love on the accompanied by a few tears, innocent album is inspired by the glamorous 50’s envelop you.