(2017) The violin’s delight - a garden of pleasure, 17th Century Virtuoso Violin Music
Catégorie(s): Musique ancienne Raretés
Instrument(s): Clavecin Orgue Violon
Compositeur principal: Heinrich Ignaz Franz Biber
Nb CD(s): 1
N° de catalogue:
CD 1727
Sortie: 21.07.2017
EAN/UPC: 7619931172729
- UPC: 190374896467
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Cet album n'est plus disponible en CD.
TVA incluse pour la Suisse et l'UE
Frais de port offerts
Cet album est en repressage. Précommandez-le dès maintenant à un prix spécial.
18.50 CHF
Cet album n'est plus disponible en CD.
This album has not been released yet.
Pre-order it at a special price now.
18.50 CHF
Cet album n'est plus disponible en CD.
18.50 CHF
Cet album n'est plus disponible en CD.
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THE VIOLIN’S DELIGHT - A GARDEN OF PLEASURE, 17TH CENTURY VIRTUOSO VIOLIN MUSIC
“ … Wohl-gepflanzter Violinischer Lust-Garten” (Well-Planted Violin Pleasure Garden) – such was the title employed by Johann Jacob Walther for a second printing of the sonata-like preludes for solo violin and basso continuo originally issued back in 1688. Published in Mainz in 1694, the re-edition reaffirmed his reputation as a virtuoso master violinist with a further compositional calling card. Contrary to what a Baroque “garden” might suggest, as exemplified by the volume’s frontispiece with its perfectly straight axes and neatly fenced-in vegetation, the German violin music of the 17th century is anything but predictable and orderly. The sonatas and dance movements of our recording instead reveal a pleasure in unfettered thinking and experimentation requiring full command of the compositional and technical craft while also unleashing fantastical fabulations of the hands and the mind.
Splendidly appointed courts, such as those found in Vienna, Salzburg and Dresden, cultivated a noble art of intellectually refined entertainment, which included imitative programme pieces along with musical “bizarrities” of the sort that was especially cherished by Olomouc Prince-Bishop Karl Liechtenstein-Castelcorn, situated in the Moravian town of Kromeriz, and which he specifically requested in letters to his resident composers. The spectrum of means mobilised to this end ranged from feigned polyphony on the melodic instrument of violin achieved through double stops and the deliberate mistuning of strings to create unusual resonances (scordatura) up to experimental incursions on the boundaries of Baroque harmonics, with some pieces generating ear-provoking sound effects that would typically be ascribed to 20th century modernism. Not rooted in any desire to please, this sphere combined occult harmonic speculation with bold wit and unbridled virtuosity, evincing the instrumental style’s growing emancipation from the vocal movement framework and demonstrating how artistic skill could provide a rare opportunity for social advancement within a rigid class-based society – as astonishingly attained in the personal biographies of figures like Biber, Schmelzer, Walther and Kerll.
(2017) The violin’s delight - a garden of pleasure, 17th Century Virtuoso Violin Music - CD 1727
Official release date: 21.07.17
“ … Wohl-gepflanzter Violinischer Lust-Garten” (Well-Planted Violin Pleasure Garden) – such was the title employed by Johann Jacob Walther for a second printing of the sonata-like preludes for solo violin and basso continuo originally issued back in 1688. Published in Mainz in 1694, the re-edition reaffirmed his reputation as a virtuoso master violinist with a further compositional calling card. Contrary to what a Baroque “garden” might suggest, as exemplified by the volume’s frontispiece with its perfectly straight axes and neatly fenced-in vegetation, the German violin music of the 17th century is anything but predictable and orderly. The sonatas and dance movements of our recording instead reveal a pleasure in unfettered thinking and experimentation requiring full command of the compositional and technical craft while also unleashing fantastical fabulations of the hands and the mind.
Splendidly appointed courts, such as those found in Vienna, Salzburg and Dresden, cultivated a noble art of intellectually refined entertainment, which included imitative programme pieces along with musical “bizarrities” of the sort that was especially cherished by Olomouc Prince-Bishop Karl Liechtenstein-Castelcorn, situated in the Moravian town of Kromeriz, and which he specifically requested in letters to his resident composers. The spectrum of means mobilised to this end ranged from feigned polyphony on the melodic instrument of violin achieved through double stops and the deliberate mistuning of strings to create unusual resonances (scordatura) up to experimental incursions on the boundaries of Baroque harmonics, with some pieces generating ear-provoking sound effects that would typically be ascribed to 20th century modernism. Not rooted in any desire to please, this sphere combined occult harmonic speculation with bold wit and unbridled virtuosity, evincing the instrumental style’s growing emancipation from the vocal movement framework and demonstrating how artistic skill could provide a rare opportunity for social advancement within a rigid class-based society – as astonishingly attained in the personal biographies of figures like Biber, Schmelzer, Walther and Kerll.
Return to the album | Read the booklet | Composer(s): Heinrich Ignaz Franz Biber | Main Artist: Plamena Nikitassova
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Amethys Design
Clavecin
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Heinrich Ignaz Franz Biber (1644-1704)
Johann Caspar Kerll (1627-1693)
Jörg-Andreas Bötticher
Musique ancienne
Musique Haute-résolution - Qualité master studio
Orgue
Plamena Nikitassova - violin
Raretés
Releases 2015 - 2017
Tous les albums
Violon
World Premiere Recording
Amethys Design
Clavecin
En stock
Heinrich Ignaz Franz Biber (1644-1704)
Johann Caspar Kerll (1627-1693)
Jörg-Andreas Bötticher
Musique ancienne
Musique Haute-résolution - Qualité master studio
Orgue
Plamena Nikitassova - violin
Raretés
Releases 2015 - 2017
Tous les albums
Violon
World Premiere Recording
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