Oboe concerti performed by Heinz Holliger

Heinz Holliger, oboe
Christiane Jaccottet, harpsichord
Camerata Bern
Alexander van Wijnkoop, concertmaster

Johann Gottlieb Graun: Concerto in g minor for oboe
Graun: Concerto in c minor for oboe
Johann Ludwig Krebs: Concerto in b minor for harpsichord and oboe

Holliger was the top oboist of his day (later to be joined by Alan Vogel), equally at home in the Baroque and the late twentieth century. Jaccottet was known for her precise and stylish Bach. The Camerata Bern was the breeding ground for early music in Switzerland. Recorded in Berne, Switzerland, by Polydor Archiv in 1978.


Holliger plays Graun and Krebs
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Antonio Vivaldi: sacred music for countertenor, strings, and continuo

Gérard Lesne, countertenor
Ensemble Il Seminario musicale

Motetto «Vestro Principi Divino», RV 633
Stabat Mater, RV 621
Introduzione al Miserere «Filiae Maestae Jerusalem», RV 638
Salmo 126, «Nisi Dominus», RV 608

Vivaldi wrote a small number of religious pieces for solo contralto voice with chamber accompaniment. This CD contains about half of them. French digital production from 1988.


Vivaldi sacred music for countertenor
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The Kuijken Trio live 15 November 1993

Wieland Kuijken, viola da gamba
Barthold Kuijken, flauto traverso
Robert Kohnen, harpsichord

Jean-Marie Leclair: Trio Sonata in D (Deuxième Livre)
François Couperin: Concert Royal nº 1
Jean-Philippe Rameau: Premier concert (Pièces de clavecin en concert)
Georg Philipp Telemann: Fantasias nº 7 in D major and nº 3 in b minor
Johann Sebastian Bach: Sonata in g for viola da gamba and continuo
Johann Gottfried Müthel: Sonata in D
unidentified encore

Live digital recording of their performance at the First Methodist Church of Seattle, Washington. This was recorded for National Public Radio but appears not to have been edited for broadcast.

If anyone can identify the encore, please leave a comment here.


The Kuijken Trio, 15 November 1993
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The Kuijken Quartet live 11 November 1990

Barthold Kuijken, flute
Sigiswald Kuijken, violin
Wieland Kuijken, viola da gamba
Robert Kohnen, harpsichord

Marin Marais: Suite en trio in e minor
Jean-Philippe Rameau: Cinquième Concert (Pièces de clavecin en concert)
Dietrich Buxtehude: Trio Sonata in B-flat
J. S. Bach: Trio Sonata in c minor (A Musical Offering)

The Ks in their essential configuration playing works from their essential repertoire. Recorded live at East Hill Baptist Church, Tallahassee, Florida, for WFSU/WFSQ-FM.


Kuijken Quartet, 11 November 1990
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Wieland Kuijken and Robert Kohnen in recital 27 February 1977

Wieland Kuijken, viola da gamba
Robert Kohnen, harpsichord

Diego Ortiz: Three recercadas
Christopher Simpson: Divisions on a ground in e minor
J. S. Bach: Sonata #2 in D
Marin Marais: Couplets on “Les Folies d’Espagne” (Pièces de viole, 1681)
Marin Marais: [unidentified encore]

The Kuijken Quartet’s booking in Los Angeles obligated them contractually not to perform any other concert in the area, so this performance forty-seven miles east of Los Angeles was presented as a “lecture/recital” in which Wieland would offer a chronological overview of viola da gamba repertoire. He spoke for about twenty minutes between pieces but, since he refused his microphone, the recording of the lecture portion was not preserved when the original analogue recordings were digitized. Recorded surreptitiously in Mabel Shaw Bridges Hall of Music, Claremont, California.

If anyone can identify the encore, please leave a comment here.


Kuijken-Kohnen recital 27 February 1977
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Georg Philipp Telemann: Tafelmusik, Book III

Ensemble “Il Fondamento”
Paul Dombrecht, conductor

Concerto in E-flat for two horns, strings, and continuo
Trio in D for two transverse flutes and continuo
Solo in g for oboe and continuo
Conclusion in B for two oboes, strings, and continuo
Overture in B for two oboes, strings, and continuo
Quartet in e for transverse flute, violin, violoncello, and continuo

Il Fondamento did not record the other two books of Tafelmusik, but then Telemann never intended the works to be performed as a group. In spite of its Italianate name, this ensemble was based in Belgium. Dombrecht was its cynosure and he championed both period instruments and musicological underpinnings for their performance practice. Robert Kohnen was their harpsichordist. Recorded in Ghent during September 1986 and in Brussels during December 1987.


Telemann: Tafelmusik Book 3
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Works for cello by Boccherini, Sammartini, degli Antoni, and Gabrieli

Anner Bylsma, violoncello
Dijck Koster, second violoncello
Concerto Amsterdam
Gustav Leonhardt, harpsichord

Boccherini: Concerto in G for violoncello and string orchestra
Sammartini: Sonata III in a for two violoncelli
Boccherini: Sonata No. 7 in B-flat
degli Antoni: Ricercata VIII for violoncello solo
Domenico Gabrieli: Canon for two violoncelli

Although marketed as a Boccherini album, these recordings of 1968–69 are in fact much more interesting because they document the earliest violoncello repertoire and highlight the masterful work of Bylsma.


Bylsma plays early works for cello
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William Croft: songs and incidental music

The Parley of Instruments
David Thomas, bass

How charming is beauty
With Noise of Cannon (from Musicus apparatus academicus)
The Wanton Celia
Ayres in the Comedy call’d The Funeral
Ayres in the Comedy of Courtship Alamode
Ah how sweet
Cantata: Lost is my love

The real-life Lord Croft (who knows nothing of raiding tombs) aided in the preparation of this recording of the work of a kinsman from England’s Restoration period. William Croft (1678–1727) was a contemporary of Jeremiah Clarke (with whom he shared duties as organist for the Chapel Royal) and a student of John Blow and Henry Purcell. These songs and the incidental music to two plays bear strong resemblance to the work of Croft’s teachers. The Parley of Instruments was a group that specialized in early British music.


Works by William Croft
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Handel: trios, sonatas, and concerti for diverse instruments

The Aulos Ensemble plays
Concerto a quattro in d
Trio Sonata #5 in G
Sonata in G, op 1/5
Sonata in g, op 1/6
Sonata in C
Trio Sonata #2 in d
Concerto a quattro in D
Trio Sonata in e, op 5/3

The Aulos Ensemble took the original-instrument movement to the next logical step: what with original instruments being so scarce and generally in poor condition, they found that modern copies of the originals – “period instruments” – were not only more affordable but often better-sounding and still just as difficult to play. In this recording from 1982, a broad selection of Handel’s chamber music shows off the sound of half a dozen such instruments, all played very well indeed.


The Aulos Ensemble plays Handel
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Gluck: Orfeo ed Eurdice

Orfeo: René Jacobs
Euridice: Marjanne Kweksilber
Amore: Magdalena Falewicz
National Opera of Belgium
Sigiswald Kuijken, conductor

Kuijken recorded this original version (Vienna 1762) with La Petite Bande and the same soloists in 1982. Here he is conducting his country’s national opera orchestra after first instructing its musicians in eighteenth-century techniques. (For an idea of how that was done, listen to the interview with Frans Brüggen from his concert of 1 May 1985.) This live performance was recorded from a broadcast on KUSC-FM Los Angeles in 1984.


Glück Orfeo ed Euridice by S. Kuijken
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Vivaldi: concerti for recorder, strings, and continuo, op. 10

Concerto #1 in F, “La tempesta di mare”
Concerto #2 in g, “La notte”
Concerto #3 in D, “Il gardellino”
Concerto #4 in G
Concerto #5 in F
Concerto #6 in G

Michala Petri, recorders
Academy of St. Martin-in-the-Fields
Iona Brown, director


Vivaldi opus 10
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Frans Brüggen: works for recorder

Jacques-Martin Hotteterre: Suite for two recorders
Diogenio Bigaglia: Sonata in a minor for recorder
Andrew Parcham: Solo in G for recorder and basso continuo
Jacob Jan van Eyck: Engels Nachtegaeltje for recorder solo
Johann Christoph Pepusch: Sonata #4 in F for alto recorder and basso continuo
François Couperin: L’espangnole from Les nations
Georg Philip Telemann: Suite in F for solo violin, strings, two flutes, two oboes, two horns, kettledrums and basso continuo

with
Kees Boeke, recorder
Anner Bylsma, violoncello
Gustav Leonhardt, harpsichord
Nikolaus Harnoncourt, viola da gamba
Quadro Amsterdam
Concerto Amsterdam
Jaap Schröder, violin

By 1975, when Telefunken released this two-disc set, Brüggen had already made a name for himself as a hot young recorder soloist. Here he showed his abilities in musicology and ensemble-playing by offering rare and unusual repertoire and performances with some of the best musicians in northern Europe. The recording was rereleased as cassettes in 1985, from which this archive was ripped.


Brüggen double album 1975
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Frans Brüggen and the Minnesota Orchestra, 1 May 1985

Rameau: Suite from Dardanus (arranged by Brüggen)
J. S. Bach: Concerto for recorder and orchestra (arranged by Brüggen)
C.P.E. Bach: Symphony in D
Haydn: Symphony #88 in G

Live aircheck of a performance in St. Paul, Minnesota, during which Brüggen got a modern orchestra to sound like an eighteenth-century one. (Two weeks after this performance, he was in Sydney, Australia, getting their orchestra to do the same thing.) An interesting concert on many levels, not the least of which being Brüggen’s own transcriptions. The concerto here is an arrangement of a harpsichord concerto in which Brüggen served as both soloist and conductor. A twelve-minute interview with Brüggen discussing the motive behind these concerts, which originally aired during the intermission, is included at the end of this archive.

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link:
Brüggen in concert 1 May 1985
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Fantasias: Colin Tilney, clavichord

J. S. Bach: Chromatic Fantasia and Fugue in d
C.P.E. Bach: Fantasia in c, Fantasia in C
W. F. Bach: Fantasia in d
C.P.E. Bach: Fantasia in C
Mozart: Fantasia in d

Tilney took Ralph Kirkpatrick's advocacy for obsolete instruments one step further by promoting the use of original instruments. This recording, from 1976, was performed on a clavichord from 1742 in the collection of the Museum für Hamburgische Geschichte. The program is interesting in that it gives representative examples of a loose compositional form from its inception in the Baroque to the Classical.

Fantasias for clavichord
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The Well-Tempered Clavichord, Ralph Kirkpatrick

Fourteen preludes and fugues from the Well-Tempered Clavier

Before Kirkpatrick, the Well-Tempered Clavier was performed on Bösendorfer pianos and on harpsichords with thirty-two-foot registers. Ralph's clavichord caught everyone off guard - even his engineers didn't understand how to record it. The sound of the nine pieces from Book One recorded in 1961 is different from that of the five pieces from Book Two recorded in 1969 and yet the microphones were jammed next to the tangents during both sessions. Kirkpatrick held up well under that scrutiny.

The Well-Tempered Clavichord
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Bach: Trio Sonatas, Marie-Claire Alain

J.S. Bach: The Trio Sonatas
Marie-Claire Alain

All four trio sonatas, recorded between May 1978 and April 1980 on the Schwenkedel de la Collégiale organ, Saint-Donat, Drôme. Alain was an organist's organist: flawless in rhythm, articulation, and registration. Not just accurate but stylish as well.

Alain - Bach trio sonatas
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Bach: selections from Anna Magdalena's Notebook

Elly Ameling, soprano
Hans-Martin Linde, baritone
Gustav Leonhardt, harpsichord
Johannes Koch, viola da gamba
Angelica May, cello
Rudolf Ewerhart, positif organ

Harmonia Mundi, 1966

A surprising performance by many of the great musicians of the late twentieth century. If you didn't know that this was recorded in their youth you'd swear it was the work of musicians twice their age. Even their recording engineer's work is sophisticated.

selections from Anna Magdalena's Notebook
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