Recordare VENEZIA by Barokkanerne

Various composers

Barokkanerne

Recordare VENEZIA

Format: CD
Label: Lawo Classics
UPC: 7090020181264
Catnr: LWC 1114
Release date: 13 January 2017
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Label
Lawo Classics

UPC
7090020181264

Catalogue number
LWC 1114

Release date
13 January 2017

Album

Artist(s)

Composer(s)

About the album

Norwegian Baroque ensemble Barokkanerne present an homage to Venice and Italian Baroque music: 'Recordare Venezia'. During the last 500 years of the legendary maritime republic, it became the centre of power of a completely different kind: the power of art, of play and of fable. Not only Palladio's churches, Canova's marble sculptures of Titian and Tintoretto's explosive art of painting, but, above all, music.

Das norwegische Barockensemble Barokkanerne präsentiert eine Hommage an Venedig und die italienische Barockmusik: "Recordare VENEZIA".
In den letzten 500 Jahren der legendären Seerepublik wurde sie zum Zentrum der Macht einer ganz anderen Art: der Macht der Kunst, des Spiels und der Fabel. Nicht nur durch Palladios Kirchen, Canovas Marmorskulpturen oder Tizian und Tintoretto‘s explosive Kunst der Malerei über allem steht die Musik!

Artist(s)

Barokkanerne

Barokkanerne and the Norwegian Baroque Orchestra combined forces in January 2018 to form Barokkanerne – Norwegian Baroque Ensemble. Both ensembles were established at the end of the 1980s as the very first independent professional baroque orchestras on period instruments in Scandinavia. Since then they have been cornerstones in building up a Norwegian Early Music scene with concert series in Oslo, concert tours in Norway and abroad, countless festival performances, and continual efforts to improve competence within Early Music among youth, students, amateurs and professionals. The two ensembles’ collective discography is also substantial. A focus of NBO has been baroque music composed in Norway – as, for example, in its last release under the direction of Gottfried von der Goltz, with...

Barokkanerne and the Norwegian Baroque Orchestra combined forces in January 2018 to form Barokkanerne – Norwegian Baroque Ensemble. Both ensembles were established at the end of the 1980s as the very first independent professional baroque orchestras on period instruments in Scandinavia. Since then they have been cornerstones in building up a Norwegian Early Music scene with concert series in Oslo, concert tours in Norway and abroad, countless festival performances, and continual efforts to improve competence within Early Music among youth, students, amateurs and professionals. The two ensembles’ collective discography is also substantial. A focus of NBO has been baroque music composed in Norway – as, for example, in its last release under the direction of Gottfried von der Goltz, with music of Johan Daniel and Johan Heinrich Berlin, father and son, who resided in Trondheim (SIMAX, 2014). For their part, Barokkanerne have featured young, Norwegian Early Music talents such as harpsichordist Christian Kjos on the recording “Empfinsamkeit!”, with music of CPE Bach (LAWO, 2013), and recorder player Ingeborg Christophersen on its previous release, “Recordare Venezia” (LAWO, 2017), with a musical spectrum of composers who were active in Venice.
Barokkanerne collaborate with outstanding performers as artistic directors and soloists. Former artistic director for NBO, baroque cellist Kristin von der Goltz, has been the new ensemble’s main guest leader in its first season, with three productions in 2018. Besides Kristin von der Goltz and Alfredo Bernardini, Barokkanerne have collaborated with many other top international performers, including Rachel Podger, Emma Kirkby, Kati Debretzeni, Lars Ulrik Mortensen and Andrew Lawrence-King. Barokkanerne are administered by Stiftelsen Norsk Barokkorkester and are led by a triumvirate consisting of Johan Nicolai Mohn, Andreas Johnson and Mari Giske and supported by an artistic council made up of Alfredo Bernardini, Marianne Beate Kielland and Christian Kjos. Barokkanerne (NBE) receive support from Arts Council Norway, the Bergesen Foundation, and the Anders Sveaas’ Charitable Foundation.

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Composer(s)

Antonio Vivaldi

Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some...

Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons.
Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died less than a year later in poverty.

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Giovanni Pierluigi da Palestrina

The name Palestrina might remind you of strict, proper counterpoint and boring music lessons. And this image isn't new; even before his death, Palestrina was already portrayed as a legendary master of counterpoint. His body of work commands respect with more than 100 missas, 300 motets and many more other religious works. And all of them written with flawless mastery of the composition techniques of his Franco-Flamish predecessors. Besides the quantity and quality of his work, the council of Trent added to this image. The council wished to reform the music of the catholic church: all excessive and secular elements should be withdrawn and the text had the in the foreground, intelligibly. One story tells that it was Palestrina's Missa Papae Marcelli which was performed during the council to test the intelligibility. Another myth portrays Palestrina as the saviour of sacred music. In any way, Palestrina was the most central composer in Rome during the 16th century, and his stature lasts to this day. At times, his music is depicted as boring, but if you would give it a listen you will soon find out this is a myth as well!

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Baldassare Galuppi

Galuppi, pupil of Lotti, was one of the most popular and successful Venetian 18th-century composers and received high praise for his operas by Burney in his travel reports. He praised the refined melodies and the dramatic effects. At the beginning of the 1740’s, Galuppi visited London, were operas such as Scipione in Cartagine and Sirbace became very successful.
Back in Venice, he was appointed as chapel master of the San Marco in 1762; he also became director of the conservatory degli incurabili. From 1765-1786, he stayed at the court of St. Petersburg at the invitation of Catharina the Great.
In La diavolessa, it is not about unusual mistaken identities and Machiavelli-like techniques before everything ends with a happy end in the best opera buffa style. In Il mondo alla roversa, he worked with Goldoni as librettist, which naturally resulted in a comic opera, in which the world is indeed turned upside down. The subtitle is Le donne che commando, and the women are indeed in command. Other operas which originated in collaboration with Goldoni are l’Arcadia in Brenta (1749), Il filosofo di campagna (1751) and Le nozze (1755); in contrary, Il re pastore has a libretto by Metastasio.
Of Galuppi’s about ninety piano sonatas, only the fifth is fairly known, mainly since it was part of Michelangeli’s repertoire. At the first introduction, the work seems a model of simplicity, but it is in fact through-composed, ingeniously based on continuously returning material.
(Source: Musicalifeiten.nl)

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Giovanni Legrenzi

Biagio Marini

Biagio Marini (1594-1663) has possibly studied with his uncle, the Domincan Giacinto Bondioli. Marini's works were printed and were influential in European musical life. He travelled his entire life, worked in Brussels and over thirty years in Neuburg an der Donau and in Düsseldorf, with Monteverdi in Venice at St Mark's Basilica, and in cities like Padua, Parma, Ferrara, Milan, Bergamo, and Brescia.There is evidence that he married three times and fathered five children. He died in Venice.
Although he wrote both instrumental and vocal music, he is better known for his innovative instrumental compositions. He contributed to the early development of the string idiom by expanding the performance range of the solo and accompanied violin and incorporating slur, double and even triple stopping, and the first explicitly notated tremolo effects into his music. He made contributions to most of the contemporary genres and investigated unusual compositional procedures, like constructing an entire sonata without a cadence (as in his Sonata senza cadenza). Many of his works have been lost, but those that have survived time demonstrate inventiveness, lyrical skill and harmonic boldness. In addition to his violin works, he wrote music for the cornett, dulcian, and sackbut.

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