The Chamber Music Society of Lincoln Center, live 1982

The Emerson Quartet
Walter Trampler, second viola

Wolfgang Mozart: String Quintet in g, K. 516
Ludwig van Beethoven: String Quartet in C, op. 59/3, “Rasumovsky”
George Crumb: Vox balaenae (Voice of the Whale)

For many decades now, the CMSLC has been a somewhat fluid group of musicians, originally all members of the New York Philharmonic, that the Lincoln Center draws from each season to perform chamber works involving a wide range of instruments. This evening, most likely from the 1982 season, assembled five strings, a flute, and a piano to present one piece each from the eighteenth, nineteenth, and twentieth centuries, all surprisingly well suited to each other.

aircheck 27 April 1983 2100h KUSC-FM, Los Angeles
(Por si la palabra «aircheck» no se traduce bien, sabed que significa una grabación sacada de la radio, a veces de un evento difundido en vivo, más comúnmente de un evento grabado en vivo para emitirse otro día. De costumbre los airchecks se identifican por las siglas de la radiodifusora y la fecha de emisión.)


Emerson Quartet at Lincoln Center
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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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Joseph Haydn: The Seven Last Words of Christ on the Cross

The Kuijken String Quartet live 31 March 1994

Sigiswald Kuijken, violin
François Fernández, violin
Marleen Thiers, viola
Wieland Kuijken, cello

Introduzione
Sonata I: Pater, dimitte illis, quia nesciunt quid faciunt.
Sonata II: Hodie mecum eris in Paradiso.
Sonata III: Mulier, ecce filius tuus.
Sonata IV: Deus meus, Deus meus, ut quid dereliquisti me?
Sonata V: Sitio.
Sonata VI: Consummatum est.
Sonata VII: In manus tuas, Domine, commendo Spiritum meum.
Il terremoto

The Kuijkens have always had an unerring sense of repertoire. This unusual piece, seventy-eight minutes long, is more than some overgrown string quartet and more than sacred program music; true to its subject, the work is both somber and mystical. A brilliant performance at the Dorking Halls in Dorking, Surrey. Recorded by the BBC.


Haydn: The Seven Last Words
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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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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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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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Toru Takemitsu: selected works

Requiem for string orchestra (1957)
Quatrain for Tashi and orchestra (1975)
Sacrifice for alto flute, lute, and vibraphone (1962)
Arc for piano and orchestra
Eucalypts II for flute, oboe, and harp (1970)
For Away for piano (1973)
Water Ways for Tashi, two harps, and two vibraphones (1978)
Masque for two flutes (1959)
Undisturbed Rest for piano (1952)
Green [November Steps II] for orchestra (1967)

Takemitsu (1930–1996) was arguably the finest composer of the second half of the twentieth century and certainly one of the very few able to have made a living purely as a composer beyond the coddling walls of academia. He wrote even for movies and television in a post-Romantic, post-Impressionist style that was luminous, modern, cosmopolitan, and extraordinarily thoughtful. The real Zen, a musical garden.

Nationalistic schools of composition criticize him for his lack of shakuhachi and koto … but nationalism was so nineteenth-century, so non-Zen. The rest of us will figure this out soon enough. Sensei Toru saw the future of artistic expression as an all-embracing universality cannot be achieved by jumbling various styles together the way that hip-hop hamsters try to sell us silly Korean cars. (The reference is to commercials for the Kia Soul aired on U.S. television in 2011.)

This archive is a compilation from seven LPs and one live performance.


Takemitsu
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Joseph Haydn: baryton trios

Trios for baryton, viola, and violoncello, Hob. XI
#61 in D, #52 in d, #101 in C, #96 in b, #44 in D
Münchner Baryton-Trio

Haydn wrote a great deal of music for the baryton, a large viola da gamba with sympathetic strings, because it was the favorite instrument of his patron, Prince Nicolaus Esterházy. In that body of work are 125 trios or divertimenti, many of which include a cadenza to allow the prince to show off. Polydor Archiv, 1978.


Haydn baryton trios
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Cartesian Reunion Memorial Orchestra

D. Hein, amplified and electric guitars
M. Bayer, amplified violoncello
J. Glenn, electrical bass
W. Houston, keyboards
F. Riddick, keyboards
S. Moshier, vibraharp
Ll. Rodgers, saxophone, clarinet, organ

This was an experimental group based around Lloyd Rodgers, a professor of music at California State University, Fullerton, and a few of his students. CRMO described itself as "a post-modernist electrical chamber ensemble in the grand style"; stylistically it bore some affinity to Peter Schickele's Open Window and to Alex Kline's Quartet Music while philosophically it criticized the ambient culture of self-satisfaction, violence, and conformity.


CRMO
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