Al Ayre Español

To all lovers of Musick

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917266320
Catnr: CC 72663
Release date: 10 April 2015
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Label
Challenge Classics
UPC
0608917266320
Catalogue number
CC 72663
Release date
10 April 2015

""This interpretation of the sonatas op.5 is quite annoying.""

Toccata, 01-5-2016
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About the album

During his stay in Rome, Händel participated in the musical evenings hosted by Cardinal Pietro Ottoboni and Prince Francesco Ruspoli, where he would have met Arcangelo Corelli, who had established the defining features of the sonata da chiesa. It is not surprising, then, that Handel’s six trio sonatas op. 2 (published in 1733, but composed in the early ’20’s) strictly follow the four-movement structure of Corelli’s sonatas (slow-quick-slow-quick). Op. 5 (HWV 396-402), on the other hand, shows a more mature, flexible and personal approach to this formal pattern, adding a fifth movement in all the sonatas and a sixth movement in two of them (Nos. 3 and 5). As a result, these sonatas are, in reality, suites in five or six movements, whose last section is always a dance-piece in the French style (gavotte, minuet or bourrée). The sequence of contrasting movements that characterize op. 5 demonstrates a curious mix of styles and techniques, as well as the juxtaposition of distinctive dramatic characteristics, so that these seven sonatas appear to resemble seven scenes of a wordless opera, combining a variety of feelings. Besides its innovative structure, the most remarkable characteristic of this body of work lies in the fact that it barely contains original music at all: most of it is composed from pre-existing material taken from Handel’s own compositions, which makes it a typical example of a habit so popular among opera composers, the pasticcio. A quotation of previous materials in a “new” piece, as it occurs in op. 5, must not be seen as a sign of creative sterility but as an intelligent way of refreshing his musical thinking with subtle transformations, driven by the process of adaptation to a new context, to a new ensemble and to the conventions of a distinct genre such as the sonata.
Een opname van de belangrijkste kamermuziek van Händel
Dit album bevat een opname van Triosonates opus 5 van Händel, uitgevoerd door Al Ayre Español.

Händel hield zich tijdens zijn jeugd al bezig met het componeren van triosonates. Volgens zijn vriend Charles Jennens componeerde hij een van de zes sonates uit zijn opus 2 toen hij veertien jaar oud was. De sonates uit dit werk hebben de vierdelige vorm van Corelli’s sonates.

De sonates van opus 5 tonen daarentegen een volgroeide, flexibele en persoonlijke benadering van Corelli’s vorm. Het aantal sonates waaruit dit werk bestaat is eigenaardig: het zijn er zeven, in plaats van de gebruikelijke drie of zes. Vijf van de sonates zijn vijfdelig, en de overige twee zesdelig. Deze sonates zijn eigenlijk vijf- of zesdelige suites. Het laatste deel is altijd een dansstuk in de Franse stijl: een gavotte, menuet, of bourrée.

De opeenvolging van contrasterende delen laat een eigenaardige mix van stijlen en technieken zien. Typische dramatische kenmerken worden naast elkaar geplaatst, waardoor de zeven sonates net zeven scenes uit een woordloze opera lijken. Het meest opmerkelijke kenmerk van opus 5, naast de innovatieve structuur, is dat de muziek nauwelijks origineel is. Het grootste deel van de sonates bestaat uit materiaal uit eerdere composities van Händel.

Het ervaren, beroemde en bekroonde ensemble Al Ayre Español geeft een energieke en intense uitvoering van de zeven sonates uit opus 5.
Während seines Aufenthaltes in Rom hat Händel sicherlich die Bekanntschaft von Arcangelo Corelli gemacht, der die charakteristischen Aspekte der sonata da chiesa etabliert hatte; kein Wunder also, dass auch Händels Triosonaten op. 2 zunächst Corellis Struktur folgen. Schon wenige Kompositionen später allerdings lassen die Sonaten (op. 5) eine viel flexiblere, reifere Herangehensweise an das formale Muster und eine innovative, individuelle Struktur erkennen. Diese sieben Sonaten sind nicht mehr nur Kammermusik, sie scheinen vielmehr wie Szenen einer wortlosen Oper, mit markanten dramatischen Charakteristiken und vielfältigen Emotionen, die das so erfahrene wie beliebte Ensemble Al Ayre Español mit seinem typischen Schwung und musikalischer Intensität auf dieser CD erfahrbar macht.
Durante il suo soggiorno romano, Handel prese parte alle serate musicali ospitate dal cardinale Pietro Ottoboni e dal principe Francesco Ruspoli, dove avrebbe incontrato Arcangelo Corelli, che aveva determinato gli elementi caratteristici della sonata da chiesa. Non deve sorprendere, quindi, che le Sei sonate a tre Op. 2 di Handel (pubblicate nel 1733, ma composte nei primi anni Venti) seguano strettamente la struttura in quattro movimenti delle sonate di Corelli (lento-veloce-lento-veloce). L’Op. 5 (HWV 396-402), d’altro canto, rivela un approccio più maturo, flessibile e personale a questo modello formale, aggiungendo un quinto movimento in tutte le sonate e un sesto movimento in due di esse (nn. 3 e 5). Di conseguenza, queste sonate sono in realtà delle suites in cinque o sei movimenti, la cui ultima sezione è sempre un movimento di danza in stile francese (gavotte, minuet o bourrée). La successione di movimenti contrastanti che caratterizza l’Op. 5 dimostra una curiosa commistione di stili e di tecniche, come pure la giustapposizione di ‘affetti’ distintamente teatrali, tanto che queste sette sonate sembrano assomigliare ad altrettante scene di un’opera senza parole, combinando una varietà di sentimenti. Oltre alla sua innovativa struttura, la caratteristica più notevole di questo corpus di opere sta nel fatto che quasi non contiene musica originale: molte delle sonate sono composte a partire da materiale preesistente, tratto da composizioni dello stesso Handel – rendendole un tipico esempio di una prassi molto popolare fra gli operisti, il pasticcio. Una citazione di materiale precedente in un ‘nuovo’ pezzo, come avviene nell’Op. 5, non dev’essere considerata come un segnale di sterilità creativa, bensì un modo intelligente di rinfrescare il suo pensiero musicale con sottili trasformazioni, guidato dal procedimento di adattamento a un nuovo contesto, a un nuovo organico e alle convenzioni di un genere particolare come quello della sonata.

Press

"This interpretation of the sonatas op.5 is quite annoying."
Toccata, 01-5-2016

[''].. So it is big Händel in a small jacket for at home and the music is in itself appealing enough."
Luister, 01-9-2015

["].. Al Ayre Español never shirk from the chance tot exaggerate - even when it undermines good work they do elsewhere."
Gramophone, 01-9-2015

"Who can not enjoy this recording, is no lover of Musick."
WDR TonArt, 26-8-2015

"Once again Eduardo López Banzo and his Ensemble Al Ayre Español let us hear a headstrong Händel. There are high class artists at work whose view on Händel's complex potentials is very interesting." Interpretation 4/5 Sound quality 4/5 Repertoire value 3/5 Booklet 3/5
klassik.com, 24-7-2015

Stars 3/5
Diapason, 01-7-2015

"Spanish passion that suits the dance-like music of Handel very well. A fresh interpretation full of energy!"
Hessischer Rundfunk, 18-6-2015

***
Classica, 01-6-2015

Play album
01.
Sonata op. 5 no. 1, in A major HWV 396: Andante
01:39
02.
Sonata op. 5 no. 1, in A major HWV 396: Allegro
01:44
03.
Sonata op. 5 no. 1, in A major HWV 396: Larghetto
01:09
04.
Sonata op. 5 no. 1, in A major HWV 396: Allegro
01:46
05.
Sonata op. 5 no. 1, in A major HWV 396: Gavotte
00:46
06.
Sonata op. 5 no. 2, in D major HWV 397: Adagio
01:07
07.
Sonata op. 5 no. 2, in D major HWV 397: Allegro
01:40
08.
Sonata op. 5 no. 2, in D major HWV 397: Musette
03:39
09.
Sonata op. 5 no. 2, in D major HWV 397: Marche
01:29
10.
Sonata op. 5 no. 2, in D major HWV 397: Gavotte
00:31
11.
Sonata op. 5 no. 3, in E minor HWV 398: Andante larghetto
02:49
12.
Sonata op. 5 no. 3, in E minor HWV 398: Allegro
01:29
13.
Sonata op. 5 no. 3, in E minor HWV 398: Sarabande
03:29
14.
Sonata op. 5 no. 3, in E minor HWV 398: Allemande
01:26
15.
Sonata op. 5 no. 3, in E minor HWV 398: Rondeau
01:24
16.
Sonata op. 5 no. 3, in E minor HWV 398: Gavotte
00:57
17.
Sonata op. 5 no. 4, in G major HWV 399: Allegro
01:58
18.
Sonata op. 5 no. 4, in G major HWV 399: A tempo ordinario / Allegro non presto
04:02
19.
Sonata op. 5 no. 4, in G major HWV 399: Passacaille
04:41
20.
Sonata op. 5 no. 4, in G major HWV 399: Gigue
00:53
21.
Sonata op. 5 no. 4, in G major HWV 399: Menuet
02:00
22.
Sonata op. 5 no. 5, in G minor HWV 400: Largo
04:07
23.
Sonata op. 5 no. 5, in G minor HWV 400: Come alla breve
02:48
24.
Sonata op. 5 no. 5, in G minor HWV 400: Larghetto
00:53
25.
Sonata op. 5 no. 5, in G minor HWV 400: A tempo giusto
02:28
26.
Sonata op. 5 no. 5, in G minor HWV 400: Air
01:50
27.
Sonata op. 5 no. 5, in G minor HWV 400: Bourrée
00:42
28.
Sonata op. 5 no. 6, in F Major HWV 401: Largo
02:24
29.
Sonata op. 5 no. 6, in F Major HWV 401: Allegro
02:28
30.
Sonata op. 5 no. 6, in F Major HWV 401: Adagio
03:07
31.
Sonata op. 5 no. 6, in F Major HWV 401: Allegro
02:15
32.
Sonata op. 5 no. 6, in F Major HWV 401: Menuet
02:00
33.
Sonata op. 5 no. 7, in B flat Major HWV 402: Larghetto
02:35
34.
Sonata op. 5 no. 7, in B flat Major HWV 402: Allegro, ma non presto
02:07
35.
Sonata op. 5 no. 7, in B flat Major HWV 402: Adagio
01:07
36.
Sonata op. 5 no. 7, in B flat Major HWV 402: Allegro
01:30
37.
Sonata op. 5 no. 7, in B flat Major HWV 402: Gavotte
00:55
38.
Sonata op. 5 no. 7, in B flat Major HWV 402: Menuet
02:20
show all tracks

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