Ensemble Amalthée

Six Trio Sonatas

Price: € 20.95
Format: SACD hybrid
Label: Aliud
UPC: 8717775550990
Catnr: ACDBL 852
Release date: 10 July 2015
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Label
Aliud
UPC
8717775550990
Catalogue number
ACDBL 852
Release date
10 July 2015

"''Thery're playing is skillful and very cleanly cut, but more resilience in the continuo would have made it more alive''"

Luister, 02-11-2015
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Artist(s)
Composer(s)
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About the album

In all likelihood these sonatas were written by Handel when he was
around eleven years old, in 1696. At the time, he readily wrote for the
oboe, which was, by his own admission, his favourite instrument; consequently, these sonatas were long considered to be works for two oboes;
yet, the use of double strings in the first movement of the third sonata
leads us to believe that the handwritten composition was for oboe and
violin, two richly contrasting voices with complementary tones.
For the past four years and thanks to the Duke of Saxe-Weissenfels’
mediation with his family, Handel had been a pupil of the Halle organist
Friedrich Wilhelm Zachow. This enlightened mind had already given
him a very European musical culture, teaching him to compose and play
the organ according to the different musical styles of the time. The trio
sonatas HWV 380-385 are all composed following the model of the
sonata da chiesa which had remained hugely fashionable since Corelli’s
works: in four movements, slow-fast-slow-fast; they demonstrate a very
strong and rigorous knowledge of counterpoint.
The performance of these sonatas by L’Ensemble Amalthée aims to
showcase the characteristics of the works as much as possible while acknowledging in them the fusion of various European musical trends already felt by Handel: the art of ornamentation, that of pedalboard and
the different articulations

In all likelihood these sonatas were written by Handel when he was
around eleven years old, in 1696. At the time, he readily wrote for the
oboe, which was, by his own admission, his favourite instrument; consequently, these sonatas were long considered to be works for two oboes;
yet, the use of double strings in the first movement of the third sonata
leads us to believe that the handwritten composition was for oboe and
violin, two richly contrasting voices with complementary tones.
For the past four years and thanks to the Duke of Saxe-Weissenfels’
mediation with his family, Handel had been a pupil of the Halle organist
Friedrich Wilhelm Zachow. This enlightened mind had already given
him a very European musical culture, teaching him to compose and play
the organ according to the different musical styles of the time. The trio
sonatas HWV 380-385 are all composed following the model of the
sonata da chiesa which had remained hugely fashionable since Corelli’s
works: in four movements, slow-fast-slow-fast; they demonstrate a very
strong and rigorous knowledge of counterpoint.
The performance of these sonatas by L’Ensemble Amalthée aims to
showcase the characteristics of the works as much as possible while acknowledging in them the fusion of various European musical trends already felt by Handel: the art of ornamentation, that of pedalboard and
the different articulations…
Diese Interpretation der Sonaten des L'Ensemble Amalthée zielt darauf ab, die Charakteristiken der Werke abzubilden und dabei die verschiedenen Europäischen Stile der Zeit zu beleuchten, von denen Händel bei der Komposition beeinflusst wurde, wie beispielsweise die Kunst der Ornamentatierung und Artikulation.

In all likelihood these sonatas were written by Handel when he was
around eleven years old, in 1696. At the time, he readily wrote for the
oboe, which was, by his own admission, his favourite instrument; consequently, these sonatas were long considered to be works for two oboes;
yet, the use of double strings in the first movement of the third sonata
leads us to believe that the handwritten composition was for oboe and
violin, two richly contrasting voices with complementary tones.
For the past four years and thanks to the Duke of Saxe-Weissenfels’
mediation with his family, Handel had been a pupil of the Halle organist
Friedrich Wilhelm Zachow. This enlightened mind had already given
him a very European musical culture, teaching him to compose and play
the organ according to the different musical styles of the time. The trio
sonatas HWV 380-385 are all composed following the model of the
sonata da chiesa which had remained hugely fashionable since Corelli’s
works: in four movements, slow-fast-slow-fast; they demonstrate a very
strong and rigorous knowledge of counterpoint.
The performance of these sonatas by L’Ensemble Amalthée aims to
showcase the characteristics of the works as much as possible while acknowledging in them the fusion of various European musical trends already felt by Handel: the art of ornamentation, that of pedalboard and
the different articulations

Artist(s)

Ensemble Amalthée draws its name from Greek mythology; Amalthea was the name of the goat that saved and nursed Zeus, king of the gods. Transformed into a constellation (Capricorn) after its death, it retained its protective mission since its skin became the Aegis, pulled over a shield to protect its carrier from harm and give courage to the hopeless.

Press

''Thery're playing is skillful and very cleanly cut, but more resilience in the continuo would have made it more alive''
Luister, 02-11-2015

[''].. Like Mozart and Mendelssohn, Händel was a prodigy on compositional territory."
Klassieke Zaken, 01-10-2015

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