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The term stylus phantasticus, or fantastic style, was originated, like so much else, by the polymath Athanasius Kircher, who described it as "the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject." The style originated in Italy when composers of works for non-keyboard instruments began to emulate the improvisatory style of organ toccatas and the like. It was brought over the Alps to German lands by Johann Jakob Froberger. He is not represented on this collection by Baroque violinist Tekla Cunningham and Pacific MusicWorks, for nothing by him for this combination of instruments has survived. However, there are several works by composers from the German-language sphere where the style reached its greatest development: Johann Heinrich Schmelzer, and best of all, Heinrich Ignaz Franz von Biber. In collections of this sort, where there is one "name" composer amid a host of unknowns, listeners may wonder about the degree to which that composer stands out. In this case, there's no question that Biber greatly expanded the dimensions of the style, as evident in the spectacularly imaginative Sonata prima heard here. However, the rest of the program is of considerable interest, for it reveals the way the style developed over the century before Biber came along. The composers range from fairly obscure (Giovanni de Macque) to all-but-unknown, even for people who have studied the early Baroque. Cunningham is a lively and virtuosic player who captures the daring mood and the spirit of experimentation in this radical group of works, and, as concertmaster of Pacific MusicWorks, she is able to surround herself with a continuo group quite attuned to what she is doing. This release marks something of a triumph for early music in the U.S. Pacific Northwest; the U.S. West Coast scene has hitherto been centered on the San Francisco Bay Area. This release will fill holes in many collections and is absorbing in its own right.
© TiVo
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Sonata No. 2 "La desperata" (Carlo Farina)
Stephen Stubbs, Artist, MainArtist - Carlo Farina, Composer - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Prime Stravaganze (Giovanni de Macque)
Giovanni de Macque, Composer - Maxine Eilander, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Sonate, correnti et arie, Op. 4 (Marco Uccelini)
Marco Uccellini, Composer - Stephen Stubbs, Artist, MainArtist - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Partite sopra "La folia" (Francesco Corbetta)
Stephen Stubbs, Artist, MainArtist - Francesco Corbetta, Composer - Maxine Eilander, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
6 Violin Sonatas, Op. 3 (Giovanni Antonio Pandolfi Mealli)
Giovanni Antonio Pandolfi Mealli, Composer - Stephen Stubbs, Artist, MainArtist - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Violin Sonata No. 2 in D Major, F 1475.02 (Giovanni Battista Fontana)
Giovanni Battista Fontana, Composer - Stephen Stubbs, Artist, MainArtist - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Violin Sonata No. 1 in A Major, C 138 (Heinrich Ignaz Franz von Biber)
Heinrich Ignaz Franz von Biber, Composer - Stephen Stubbs, Artist, MainArtist - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Serenata in Mascara (Johann Heinrich Schmelzer)
Stephen Stubbs, Artist, MainArtist - Johann Heinrich Schmelzer, Composer - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
12 Violin Sonatas (Ignazio Albertini)
Stephen Stubbs, Artist, MainArtist - Ignazio Albertini, Composer - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Sonatæ unarum fidium (Johann Heinrich Schmelzer)
Johann Heinrich Schmelzer, Composer - William Skeen, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Stephen Stubbs, Artist, MainArtist - Johann Heinrich Schmelzer, Composer - William Skeen, Artist, MainArtist - Maxine Eilander, Artist, MainArtist - Henry Lebedinsky, Artist, MainArtist - Tekla Cunningham, Artist, MainArtist
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
Album review
The term stylus phantasticus, or fantastic style, was originated, like so much else, by the polymath Athanasius Kircher, who described it as "the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject." The style originated in Italy when composers of works for non-keyboard instruments began to emulate the improvisatory style of organ toccatas and the like. It was brought over the Alps to German lands by Johann Jakob Froberger. He is not represented on this collection by Baroque violinist Tekla Cunningham and Pacific MusicWorks, for nothing by him for this combination of instruments has survived. However, there are several works by composers from the German-language sphere where the style reached its greatest development: Johann Heinrich Schmelzer, and best of all, Heinrich Ignaz Franz von Biber. In collections of this sort, where there is one "name" composer amid a host of unknowns, listeners may wonder about the degree to which that composer stands out. In this case, there's no question that Biber greatly expanded the dimensions of the style, as evident in the spectacularly imaginative Sonata prima heard here. However, the rest of the program is of considerable interest, for it reveals the way the style developed over the century before Biber came along. The composers range from fairly obscure (Giovanni de Macque) to all-but-unknown, even for people who have studied the early Baroque. Cunningham is a lively and virtuosic player who captures the daring mood and the spirit of experimentation in this radical group of works, and, as concertmaster of Pacific MusicWorks, she is able to surround herself with a continuo group quite attuned to what she is doing. This release marks something of a triumph for early music in the U.S. Pacific Northwest; the U.S. West Coast scene has hitherto been centered on the San Francisco Bay Area. This release will fill holes in many collections and is absorbing in its own right.
© TiVo
About the album
- 1 disc(s) - 11 track(s)
- Total length: 01:14:34
- 1 Digital booklet
- Main artists: Tekla Cunningham William Skeen Stephen Stubbs Maxine Eilander Henry Lebedinsky
- Composer: Various Composers
- Label: Reference Recordings
- Genre: Classical Chamber Music
(C) 2021 Reference Recordings (P) 2021 Reference Recordings
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