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Chamber Music - Released November 2, 2018 | Aparté

Hi-Res Booklet Distinctions 5 étoiles de Classica
The Concertos Op. 6 by Corelli were his last published work (in 1714), which doesn't necessarily mean that these twelve concertos were all written in the composer's later period – at the time, collections would sometimes be made bringing together works from very varied periods in an artist's life. Here are six of the dozen, kicking off with the Sinfonia pour Santa Beatrice d'Este; the selection is moves towards "church" concertos, slow-fast-slow-fast, which differ from the "chamber" concertos, whose format tends to follow that of dance suites. Op. 6 contains eight “chamber” (including the famous Christmas Concerto, not included here) and four “church”. This recording was made by the Freiburger Barockorchester, under Gottfried von der Goltz, and it differs quite radically from many previous recordings in one key sense: yes, the published score only includes strings, but we know that in Corelli's day it was standard practice to fill out orchestras with various wind instruments and continuos. The lists of players, and even the payrolls, which have survived to this day from the start of the 18th century show that oboes, bassoons, and even horns were added, and that's precisely what has happened here. The result is definitely a richer ensemble sound; and at the same time it's clear that the concertino (the three soloists) is still just two violins and a cello. It's the orchestra that's symphonising. This is sure to unsettle those who are used to more traditional recordings, even in the world of baroque. © SM/Qobuz
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Masses, Passions, Requiems - Released March 23, 2018 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
From the start of the 18th century, Lutheran Germany has kept the tradition of performing an oratorio for the Passion in Holy Week. In Hamburg, where Telemann is said to have spent 46 years as musical director, he would have overseen as many Passions. But if we include his previous jobs, that would take the number of works by Telemann for this theme alone to over sixty! These Passions could be strictly liturgical, that is, they could closely follow the text of one of the Gospels; but they could also liberally paraphrase the story of the Passion, following a version by a contemporary author; or they could represent a meditation on the events. And so Seliges Erwägen by Telemann, whose full title leaves no doubt as to the content: Oratorio of the Passion, or Spiritual Contemplation on the bitter suffering and death of Jesus Christ, to inspire prayer, in several meditations taken from the account of the Passion. Not a linear account of the Passion, as with Bach: but a series of individual meditations set to music. The work was first composed in 1719, and then reviewed and completed three years later for Hamburg, where the first performance took place on 19 March 1722 the success was considerable, and the work was performed again and again many times throughout the following decades. This was probably the most-performed work on the Passion in the 18th century, out ahead even of Telemann's Brockes Passion... There is no evangelist here, nor storyteller, but rather an evocation of the main events of the Passion. That is why there are only two main "roles" here: Christ, with six airs and six recitations, and the allegory of the Devotion (soprano or tenor) as the mouthpiece for the thoughts of the faithful, with eight airs and eight recitations. The sole narrator is Peter, with his denial and despair, and Caiaphas, the high priest who condemns Jesus, comes on for a single, very violent, air. This is very much a series of individual devotional meditations. The instrumentation in particular is extraordinarily rich. Alongside the strings, the continuo and the standard woodwind, a dash of colour is added by two horns, two chalumeaux, ancestors of the clarinet – what a pity that Bach never made the most of this sound – echoing recorders, a magnificent bassoon solo that intermingles with the soprano's voice; in short, once again, Teleman proves to us that far from being a mill for middle-of-the-road baroque, he is in fact one of the most imposing musical minds of his age. The Freiburger Barockorchester and a lovely soloists come together to perform this work.. © SM/Qobuz
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Chamber Music - Released June 2, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
 Geminiani’s The Art of Playing on the Violin, op. 9 (published in English in 1751) give us a very precious glimpse of what was musical practice in the first half of the 18th century, then considerably in the grip of the Italian influence. The publication began with some 28 exercises, aimed at perfecting technical skills such as double stops, special bowing, arpeggios, chords, ornamentation, shakes, swelling and softening, staccato, scales galore etc., and finished with twelve “examples”, “twelve pieces in different styles for violin and cello with basso continuo for the harpsichord”. What he meant by different styles are dances (courante: no. IV, gavotte: no. VIII, gigue: no. XI), fugues in the style of Corelli’s sonatas (nos. I, II, VII; while nos. IX-XI could be considered a full-fledged sonata da chiesa) as well as slow pieces in the “pathetic” style. These last, full of affectation, are particularly evocative of opera arias. Violonist Gottfried von der Goltz plays these twelve examples using several ornamentation techniques as pinpointed by the composer himself in the exercises – according to the liner notes, this would even be a recording premiere, and quite astonishingly it seems this is really the case. The interpreter begins the recording with a free improvisation, like a kind of offhand praeludium, reminding us that Geminiani was known amongst his student as Il Furibondo. So as not to wary the listener, the recording makes use of various continuo combinations, what with harpsichord, theorbo or organ. Von der Goltz completes the album with two of the Twelve Sonatas op. 4 for violin and basso continuo, composed 1739, two pieces which stylistically make the link between the Italian style (Corelli, Vivaldi) and the French (Leclair, Boismortier), several years before the Quarrel of the Buffoons broke out – that moronic Parisian controversy concerning the relative merits of French and Italian music in general, opera in particular. © SM/Qobuz
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Violin Solos - Released September 7, 2018 | Aparté

Hi-Res Booklet
In his turn the conductor and first violin of the Freiburger Barockorchester engraved these emblematic pages for violin. On his instrument by the Milanese lutenist Paolo Antonio Testore (1690-1767), Gottfried von der Goltz tackles without any display this corpus for solo violin. He plays them in an authentic, personal and sober (a little too reserved?) way with a constant concern to put forward their rich architecture and polyphony always in a deep understanding of the writing. © Qobuz 2018    

Concertos - Released July 1, 2002 | naïve classique

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