572245bk Handel EU_572245bk Handel EU 22/07/2011 10:17 Page 1 these are less stringent, less consistent in their writing; the impression will be subjective. If you hear no Ensemble Vintage Köln they are more repetitive and more unusual in a difference, that too is fine, and a compliment to the sometimes awkward way. We do not condemn these composer (whoever it was) and the interpreters. We HANDEL Ensemble Vintage Köln was founded in 2009 by Ariadne Daskalakis, Ursula Schmidt-Laukamp (recorder/traverse works; the problem is simply that they have “clouded enjoyed flexible use of the violoncello and viola da flute), Rainer Zipperling and Gerald Hambitzer, colleagues at the Hochschule für Musik Köln who share a wealth the waters”. Having been sold as Handel and included gamba in the basso continuo. Our choice to play this of experience in historical performance practice. Ensemble Vintage Köln ranges in size from trio sonata to a larger as such in respected publications, for a good two repertoire on baroque instruments is based on the ensemble with strings. Recent projects include performances for the German radio companies HR in Frankfurt and Complete Violin Sonatas centuries they deterred our ability to delve into and conviction that the original instruments still best do SWR in Baden-Baden, and a collaboration with Ensemble eX at the Festival for Early Music in Regensburg. grasp the essence of Handel. justice to the music that was written for them. Handel’s We have chosen to keep the authentic and non- wide range of colours and expression are Ariadne Daskalakis Ensemble Vintage Köln authentic sonatas separate in the programme order so complemented by subtlety and fragility, nuances for Ariadne Daskalakis has appeared with many leading orchestras, including the Akademie für Alte Musik Berlin, the that the listener might be able to notice the subtle which baroque instruments remain particularly Prague Chamber Orchestra, the Bavarian Radio Orchestra Munich and the English Chamber Orchestra. Prizewinner Ariadne Daskalakis differences. A practised ear may or may not discern a appropriate. of the 1998 International ARD Munich Competition, she is equally at home performing as recitalist as she is with Rainer Zipperling • Gerald Hambitzer slight shift in the musical language after the first five Ensemble Vintage Köln, the Manon Quartet Berlin or the Emanuel Piano Trio. Born in Boston, Ariadne Daskalakis sonatas and the two fragment movements; admittedly, Ariadne Daskalakis, 2010 holds degrees from Harvard University and the Hochschule der Künste Berlin. She is Professor of Violin at the Cologne Conservatory of Music and Dance. Rainer Zipperling Ensemble Vintage Köln Rainer Zipperling studied viola da gamba and cello at the Royal Conservatory of The Hague. Finishing his studies in 1980 he joined groups such as the Orchestra of the 18th century, La Petite Bande, the Ricercar Consort and Camerata Köln. He regularly performs with John Eliot Gardiner and the English Baroque Soloists as principal cellist and gambist and has performed the Brandenburg Concertos with Claudio Abbado and his Mozart Orchestra. Today he is highly regarded as a teacher at the Cologne Conservatory of Music and Dance and the Lemmensinstitut in Leuven, Belgium. His recent recording of Bach’s Cello Suites received excellent press reviews. Gerald Hambitzer Gerald Hambitzer studied harpsichord at the Cologne Conservatory of Music and Dance and while still a student was engaged as harpsichordist with the Concerto Köln. He is a regular guest on various radio stations and has been involved in more than sixty CD productions. His recordings as a soloist in harpsichord concertos by J.S. Bach, C. Ph. E. Bach and F. Durante have earned him international recognition. In 1999 Gerald Hambitzer was appointed Professor and Head of the Institute of Early Music at the Cologne University of Music. Ariadne Daskalakis, Baroque Violin Photo: Frank Niemetz Gerard Hambitzer, Rainer Zipperling, Harpsichord Viola da Gamba / Baroque Cello 8.572245 5 6 8.572245 572245bk Handel EU_572245bk Handel EU 22/07/2011 10:17 Page 2 George Frideric Handel (1685–1759) George Frideric Handel (1685–1759) These in turn bear the note “Not Mr. Handel’s Solo” short and questioning, and the fourth movement has an (in different handwriting) in the British Library copies. homogenous texture which rolls effortlessly and brings Complete Violin Sonatas Complete Violin Sonatas The combined Roger/Walsh editions were adapted by the work to a satisfying close. The Violin Sonatas by George Frideric Handel, nonetheless began with a twelve month leave of absence the great nineteenth-century publisher Chrysander and The Sonata in G major, HWV 358, (ca. 1707), an Violin Sonata in D major, HWV 371 11:05 ) Andante in A minor, HWV 412 2:14 masterful works by this truly European baroque genius, in London, where he eventually settled permanently. He handed down as authentic. Twentieth-century scholars earlier work written on Italian paper, differs from the 1 Affettuoso 3:01 have been shrouded in mystery. Until quite recently the was instrumental in bringing the Italian opera seria to such as Terence Best have brought us much closer to others in form. The first of only three movements is a 2 Allegro 2:29 ¡ Allegro in C minor, HWV 408 3:07 most respected publications listed Six Handel Sonatas London, an undertaking which led to the founding of the knowing the truth. cleverly crafted Preludio or perpetuo mobile, the 3 Larghetto 2:15 for Violin and Basso continuo, pieces known and loved Royal Academy and cemented London’s standing as a We begin with the great Sonata in D major, HWV second movement a declamatory recitativo with bold 4 Allegro 3:20 Violin Sonata in F major, HWV 370 10:48 by generations. As it turned out, however, four of those cultural capital. His operas were prolific and famous, 371, one of Handel’s best-known works and certainly modulations. The extremely high notes at the end of ™ Adagio 3:29 six are of questionable origin. Meanwhile, another three but not all successful at the time. The ensuing immense one of his strongest sonatas. A mature work, it is the the Gigue-like third movement are quite a surprise, and Violin Sonata in A major, HWV 361 7:24 £ Allegro 1:43 authentic violin sonatas were practically ignored for popularity of his oratorios was an unexpected by- latest of the violin sonatas: the paper of the surviving it is uncertain how seriously they were actually 5 Andante 2:25 ¢ Largo 3:19 centuries. product of circumstances. Supported by the court and autograph has been dated to around 1750. The slow intended. This sonata had no instrument indication and 6 Allegro 1:41 ∞ Allegro 2:17 Handel was born in Halle, Germany, in 1685. revered by the public throughout most of his movements stand out in their richness and expressivity. the writing might otherwise suggest a flute; but these 7 Adagio 0:48 Although his father originally forbade music and professional life, Handel survived two strokes and was The fugato and the counterpoint of the second highest notes, assuming they were truly intended, are 8 Allegro 2:30 Violin Sonata in G minor, HWV 368 8:45 intended him to study law, young Handel practised able to remain rather active and vigorous until relatively movement are masterful and ebullient, virtuosic and the main proof of argument that it was in fact written § Andante 2:13 secretly and finally received music lessons from old age. He died in London in 1759. never heavy-handed. The dance-like material of the for the violin. Violin Sonata in D minor, HWV 359a 7:12 ¶ Allegro 2:24 Friedrich Wilhelm Zachow, learning organ, harpsichord, The instrumental sonatas which survived offer but a final movement was also used in the oratorio Jephtha. The lilting Andante in A minor, HWV 412, (ca. 9 Grave 2:00 • Adagio 1:57 violin, harmony, counterpoint and composition. He soon sliver of material compared with the scope of his The Sonata in A major, HWV 361, (ca. 1726) 1724/25), of unknown origin or intention, gives a 0 Allegro 1:36 ª Gigue 2:11 became known for his superb keyboard playing and complete works. The first publication of twelve which follows is also a true masterpiece. The unique masterful example of the Italian operatic influence. ! Adagio 1:00 promising compositional talents. He went to work at the instrumental sonatas around 1730 was for various lyricism of the first movement precedes another The Allegro in C minor, HWV 408, (ca. 1724/25) is @ Allegro 2:36 Violin Sonata in A major, HWV 372 7:42 opera in Hamburg in 1703, first as a violinist, then as melodic instruments: flute, recorder, oboe and violin. brilliant fugato movement. The short, plaintive third practically the same material as that which Handel º Adagio 1:31 harpsichordist and budding opera composer. After three (These did not include the great Sonata in D major, movement leads into an exceptionally elegant and used in his Recorder Sonata in A minor, HWV 362; this Violin Sonata in G minor, HWV 364a 6:17 ⁄ Allegro 2:26 years there he travelled at the suggestion of Prince HWV 371, which had yet to be written, or the Sonata in sprightly finale. illustrates how the composer could share material # Andante larghetto 2:00 ¤ Largo 1:16 Ferdinand de’ Medici to Italy, where he spent time in G major, HWV 358.) It seems the publisher, John Walsh The Sonata in D minor, HWV 359a, (ca. 1724) was among different melodic instruments and extrapolate $ Allegro 1:35 ‹ Allegro 2:29 Florence, Rome and Venice, frequenting noble and acting under the name Jeanne Roger of Amsterdam, published by Walsh as a flute sonata.