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Musicalische Fruehlings-Früchte
Dietrich Becker, Christian Flor

Musica Poetica

Musicalische Fruehlings-Früchte

Price: € 12.95 9.07
Format: CD
Label: Challenge Classics
UPC: 0608917233223
Catnr: CC 72332
Release date: 07 September 2009
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12.95 9.07
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Label
Challenge Classics
UPC
0608917233223
Catalogue number
CC 72332
Release date
07 September 2009
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Beckers collection ‘Musicalische Frühlings-Früchte’ was published in 1668 and is dedicated to the city council, who had appointed him to the position of City Capellmeister. Recent research suggests that, not only was Becker one of the most important violinists of his time, but that he was the first composer to use the sequence of Allemande - Courante - Sarabande - Gigue in ensemble suites.

Flor’s Suite in C opens with a Praeludium, a type of written-down improvisation. Short improvised preludes were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers. An unscripted improvisation can be heard on this recording as a prelude to the Suite in G: it is based on a free selection of single dances and an air from Lully’s opera “Roland”.

The Suite in d starts with an Aria instead of an allemande and has no gigue. Every movement has a double, called Variatio in this case.

The ‘Hochzeitlicher Freuden-Klang’ is an occasional work, dated 18 April 1659. According to the front page, Flor composed it for the wedding of his friend Heinrich Elers, preacher at St. Johannis. The piece is a charming combination of instrumental suite with so-called ‘Generalbasslied’ or continuo song. These secular, strophic songs are mostly solos with continuo and instrumental ritornellos and belong to a genre that is typical of the music of Protestant Germany. Flor adds a quick Ballo to the Allemande – Courante – Sarabande – Gigue sequence and finishes the work with a beautiful slow cadence in which the singer calls on the couple to dance until it is time to go to bed. The Gigue in common time (C) shows the influence of English music, which entered North Germany via Hamburg.

Becker’s collection ‘Musicalische Frühlings-Früchte’ contains sonatas and suites as well as combinations of both forms. Sometimes we find a sonata preceding a suite of dances, thus playing the role of an introduction (e.g. in the Suite in G). This introductory sonata still keeps the Italian sonata form with the combination of slow and fast movements. In other places we find single sonatas which include dances, as in his sonata for 2 violins, violone and continuo, which ends with a quick gigue.

Stylistically, the two Anonymous suites from the Düben collection (Manuscript No.: IMHS 64:13) might be related to one or two different (North) German composers at the end of the 17th or the beginning of the 18th century. Neither suite follows the Allemande – Courante – Sarabande – Gigue sequence. Both are examples of a category of suites whose formation and disappearance was the direct result of their having been composed for specific occasions – for ballets or related dramatic performances. The first suite opens with a French Ouverture which surprises the listener with a furious bass solo that breaks into the polyphonic middle section. Another typically French feature is the Chaconne at the end, with virtuosic violin solos and shifting rhythmical accents.

The highlight of Suite no. II certainly is the beautiful Tombeau with its deeply expressive lament, performed by the first violin and accompanied by the bow vibrato of the rest of the group. The lament passes into a dance in ¾ which gives an impression of salvation after painful suffering. A chromatic Final(e) ends the Suite.

Schitterende Suites van Noord-Duitse componisten
Dit album bevat suites van de nog onbekende Noord-Duitse componisten Christian Flor en Dietrich Becker. De composities – waaronder zes wereldpremièreopnames – illustreren de grote verscheidenheid van de suite.

Beckers verzameling Musicalische Frühlings-Früchte bevat zowel sonates en suites als combinaties daarvan. Het werd in 1668 uitgebracht en is opgedragen aan de gemeenteraad, die Becker had aangesteld voor de positie van stadskapelmeester. Becker was één van de belangrijkste violisten in zijn tijd.

De Hochzeitlicher Freuden-Klang van Flor is een gelegenheidswerk, gemaakt in 1659. Het zou zijn gemaakt voor een bruiloft van zijn vriend. Het stuk is een charmante combinatie van een instrumentale suite met een basso continuo.

Het ensemble Musica Poetica heeft zich gespecialiseerd in de muziek van de 17e en 18e eeuw en speelt op instrumenten uit die tijden. De oprichter en dirigent van Musica Poetica is Jörn Boysen die geboren is in het Duitse Lübeck. Het ensemble brengt met dit album schitterende werken ten gehore die maar zelden zijn opgenomen.

Diese CD enthält Suiten von den eher unbekannten norddeutschen Komponisten Christian Flor und Dietrich Becker, welcher Kapellmeister der Hamburger Ratsmusik war. Die Kompositionen - darunter sechs Weltersteinspielungen - verdeutlichen die große Vielfalt, die sich innerhalb der Form der Suite entwickelte. Das Ensemble Musica Poetica hat sich auf die Musik des 17. und 18. Jahrhunderts spezialisiert und praktiziert die historisch informierte Aufführung derselben.

Artist(s)

Musica Poetica

„Musica Poetica is that discipline of music which teaches how to compose a musical composition […] in order to sway the hearts and spirits of individuals into various dispositions.“ (Joachim Burmeister, 1606) This idea, that ruled the aesthetics and the concept of music in the baroque time especially in Germany inspired Jörn Boysen, harpsichordist and conductor to found the ensemble Musica Poetica in 1999. The group is made up of young musicians from all over the world who specialise in early music, having done their studies in the conservatories of the Netherlands. They share an interest in performing music from the 17th and 18th centuries with an historically informed perspective, using instruments from that period and historical sources. The size of the...
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„Musica Poetica is that discipline of music which teaches how to compose a musical composition […] in order to sway the hearts and spirits of individuals into various dispositions.“ (Joachim Burmeister, 1606) This idea, that ruled the aesthetics and the concept of music in the baroque time especially in Germany inspired Jörn Boysen, harpsichordist and conductor to found the ensemble Musica Poetica in 1999.
The group is made up of young musicians from all over the world who specialise in early music, having done their studies in the conservatories of the Netherlands. They share an interest in performing music from the 17th and 18th centuries with an historically informed perspective, using instruments from that period and historical sources. The size of the group depends on the chosen programme. Musica Poetica performs as a chamber group as well as an orchestra including choir.
Their performance schedule has included concerts in Germany, the Czech Republic, Spain and the Netherlands, and live radio broadcasts. Musica Poetica has made guest appearances in festivals and concerts around Europe such as the Festival Mitte Europa, Holland Festival Oude Muziek, Van Wassenaer Festival in The Hague and the International Buxtehude Festival 2007 in Lübeck.

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Jörn Boysen (conductor)

Harpsichordist Jörn Boysen was born in Lübeck, Germany, in 1976. Initially he studied at the Musikhochschule Lübeck and later at the Royal Conservatory in The Hague with Tini Mathot and Ton Koopman. As a conductor, soloist or continuo player he works and plays regularly with ensembles and choirs in Germany, Spain, the Netherlands and France. He gives workshops for historical performance practice and basso continuo. Since 2006 Boysen is director of the Hollands Vocaal Ensemble with which he successfully performed programs as the ‘Messe des Morts’ by Jean Gilles, music from the “Altbachisches Archiv” and a program with the Requiem by Mozart and the Libera me by Neukomm. He conducted a production at the O.T. Opera Rotterdam in 2005. In 2009 he...
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Harpsichordist Jörn Boysen was born in Lübeck, Germany, in 1976. Initially he studied at the Musikhochschule Lübeck and later at the Royal Conservatory in The Hague with Tini Mathot and Ton Koopman.
As a conductor, soloist or continuo player he works and plays regularly with ensembles and choirs in Germany, Spain, the Netherlands and France. He gives workshops for historical performance practice and basso continuo.
Since 2006 Boysen is director of the Hollands Vocaal Ensemble with which he successfully performed programs as the ‘Messe des Morts’ by Jean Gilles, music from the “Altbachisches Archiv” and a program with the Requiem by Mozart and the Libera me by Neukomm. He conducted a production at the O.T. Opera Rotterdam in 2005. In 2009 he will be musical director of the production of Molière’s/Charpentier’s ‘Le Malada Imaginaire’ at ‘De Utrechtse Spelen’.
As a composer Boysen wrote orchestral and vocal music and a string quartet. Currently he is composing the music for the poems by German painter and writer Rainer Erhard Teubert.

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Press

Play album Play album
01.
Sonata and Suite in G: Sonata
03:34
(Dietrich Becker) John Ma, Prisca Stalmarski, Marja Gaynor, Leticia Moros Ballesteros, Maria Sánchez Ramírez, Silvia Jiménez Soriano, Jörn Boysen
02.
Sonata and Suite in G: Allmand
01:20
(Dietrich Becker) John Ma, Prisca Stalmarski, Marja Gaynor, Leticia Moros Ballesteros, Maria Sánchez Ramírez, Silvia Jiménez Soriano, Jörn Boysen
03.
Sonata and Suite in G: Courant
00:57
(Dietrich Becker) John Ma, Prisca Stalmarski, Marja Gaynor, Leticia Moros Ballesteros, Maria Sánchez Ramírez, Silvia Jiménez Soriano, Jörn Boysen
04.
Sonata and Suite in G: Sarband
01:38
(Dietrich Becker) John Ma, Prisca Stalmarski, Marja Gaynor, Leticia Moros Ballesteros, Maria Sánchez Ramírez, Silvia Jiménez Soriano, Jörn Boysen
05.
Sonata and Suite in G: Gique
01:12
(Dietrich Becker) John Ma, Prisca Stalmarski, Marja Gaynor, Leticia Moros Ballesteros, Maria Sánchez Ramírez, Silvia Jiménez Soriano, Jörn Boysen
06.
Suite in d for harpsichord: Aria & Variatio
01:36
(Christian Flor) Jörn Boysen, Musica Poetica
07.
Suite in d for harpsichord: Corrente & Variatio
01:50
(Christian Flor) Jörn Boysen, Musica Poetica
08.
Suite in d for harpsichord: Sarabande & Variatio
02:00
(Christian Flor) Jörn Boysen, Musica Poetica
09.
Suite no. II in e: Entrée
01:27
(Anonymous) Prisca Stalmarski, John Ma, Leticia Moros Ballesteros, Maria Sánchez Ramírez, Silvia Jiménez Soriano
10.
Suite no. II in e: Tombeau
04:30
(Anonymous) John Ma, Leticia Moros Ballesteros, Maria Sánchez Ramírez, Silvia Jiménez Soriano, Prisca Stalmarski
11.
Suite no. II in e: Gigue
01:05
(Anonymous) Silvia Jiménez Soriano, Maria Sánchez Ramírez, John Ma, Leticia Moros Ballesteros, Prisca Stalmarski
12.
Suite no. II in e: Anglois
00:48
(Anonymous) Prisca Stalmarski, Silvia Jiménez Soriano, Maria Sánchez Ramírez, John Ma, Leticia Moros Ballesteros
13.
Suite no. II in e: Menuet
00:50
(Anonymous) Leticia Moros Ballesteros, John Ma, Maria Sánchez Ramírez, Prisca Stalmarski, Silvia Jiménez Soriano
14.
Suite no. II in e: Final
01:15
(Anonymous) Silvia Jiménez Soriano, Prisca Stalmarski, Maria Sánchez Ramírez, John Ma, Leticia Moros Ballesteros
15.
Suite in C for harpsichord: Praeludium
01:03
(Christian Flor) Musica Poetica
16.
Suite in C for harpsichord: Allemande
02:01
(Christian Flor) Musica Poetica
17.
Suite in C for harpsichord: Courante
01:10
(Christian Flor) Musica Poetica
18.
Suite in C for harpsichord: Sarabanda
01:59
(Christian Flor) Musica Poetica
19.
Suite in C for harpsichord: Gigue
02:05
(Christian Flor) Musica Poetica
20.
Sonata in G: Sonata
04:54
(Dietrich Becker) Prisca Stalmarski, John Ma, Silvia Jiménez Soriano, Jörn Boysen
21.
Suite no. I in e: Ouverture
03:51
(Anonymous (aroud 1700)) John Ma, Prisca Stalmarski, Marja Gaynor, María Sánchez Ramírez, Silvia Jiménez Soriano, Jörn Boysen
22.
Suite no. I in e: Allemande
02:10
(Anonymous (aroud 1700)) Jörn Boysen, John Ma, Prisca Stalmarski, Marja Gaynor, María Sánchez Ramírez, Silvia Jiménez Soriano
23.
Suite no. I in e: Menuet
00:55
(Anonymous (aroud 1700)) Jörn Boysen, John Ma, Prisca Stalmarski, Marja Gaynor, María Sánchez Ramírez, Silvia Jiménez Soriano
24.
Suite no. I in e: Air
02:36
(Anonymous (aroud 1700)) Silvia Jiménez Soriano, María Sánchez Ramírez, Marja Gaynor, Prisca Stalmarski, John Ma, Jörn Boysen
25.
Suite no. I in e: Chaconne
02:29
(Anonymous (aroud 1700)) Silvia Jiménez Soriano, María Sánchez Ramírez, Marja Gaynor, Prisca Stalmarski, John Ma, Jörn Boysen
26.
Suite in G for harpsichord: Praeludium
01:57
(Christian Flor) Musica Poetica
27.
Suite in G for harpsichord: Ballet
00:33
(Christian Flor) Musica Poetica
28.
Suite in G for harpsichord: Air Rolandi
00:58
(Christian Flor)
29.
Suite in G for harpsichord: Menuets
01:26
(Christian Flor) Musica Poetica
30.
Auf, höret meine Sinnen
06:40
(Christian Flor)
show all tracks

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