The name Graun is not as well known in musical circles as it should be, nor even as it once was. It was the surname of three talented brothers, all born in Wahrenbrück in east-central Germany and all flourishing in the period between Bach and Beethoven. A church fire destroyed all record of their birth, hence the imprecise dates. The oldest, August Friedrich (1698/9 – 1765) achieved only local distinction, rising to the position of Kantor and organist at the cathedral school of nearby Merseberg, a position he held for the last 36 years of his life.

His two younger brothers, represented on this disc, achieved much broader fame. Johann Gottlieb, a year or so older than his brother, was engaged in 1726-27 to teach J.S. Bach’s oldest son Wilhelm Friedemann to play the violin. In 1732 he earned a position in the orchestra of the then Prussian Crown Prince Frederick, and rose to the position of director after the prince was crowned King Frederick II in 1740.

Frederick the Great built the strongest musical centre in all Europe, and the Graun brothers helped him do it. The youngest, Carl Heinrich, a professional singer in the town choir at age 10, was soon writing operas and sacred music. He studied at the University of Leipzig and became a good cellist without ever studying the instrument. But it was as a singer and opera composer that he too caught the ear of Frederick the Great. Graun wrote, and starred in, operas, sometimes to librettos written by the King.

History has not been kind to the Grauns, as most of their music seems to have been destroyed. Even what’s left is contentious: The manuscript for the third piece on this disc has only the attribution “di Grau..” leading scholars to think it more likely that Christoph Graupner (1683–1770) wrote it. All the works on this disc represent some of the best of the orchestral High Baroque, but that is not what Carl Heinrich Graun was best known for. Besides his operas, he wrote sacred music, notably Der Tod Jesu, a passion oratorio that received annual performances in Germany for 75 years until Mendelssohn conducted Bach’s St. Matthew Passion in 1829. C. H. Graun’s best known composition was supplanted forever.

I like the variety of selections on this disc. It begins with a Symphony, as tuneful and brief as the symphonies of English contemporary William Boyce. Then follow four concertos for different combinations of instruments all reminiscent of contemporary Telemann. All five pieces have a fast-slow-fast pattern, all feature the gritty sound of baroque strings, and one can hear in each of the slow movements the background of a basso continuo (mislabelled in the notes as a ‘bassoon continuo’).

The five pieces here are as close as one is likely to get to what was heard at the court of Frederick the Great. The performers are all from the leading Baroque orchestras in and around Germany, notably the Freiburg Baroque Orchestra, Camerata Köln, and Concentus Musicus Wien, and they all teach at the Institute of Historical Interpretation Practice at the College of Music and the Performing Arts in Frankfurt am Main. The work of Karl Kaiser on transverse flute is especially outstanding. The 17 musicians came together in 2006 and have made three recordings. I hope they introduce us to more of the Grauns’ music.

-- Paul Kennedy, MusicWeb International

A work caught the attention of musicians during the late 1990s - a Christmas Oratorio by Graun. The only known copy of it was being housed in the Library of Congress in Washington, D.C. But it has so far been impossible to determine either the name of the manuscript copyist or an exact dating of the work and copy. There are many indications that this is a work from the composer's phase prior to his years in Berlin. After The Death of Jesus, Thomas Gropper and his Arcis Vocalists now proudly present the second oratorio of Graun as a recorded production for OehmsClassics. Since their foundation by their chorus director Thomas Gropper in 2005, the Arcis-Vocalists have taken a firm place among the well-known semi-professional choirs of the city in the high-class and diverse Munich music scene due to their sound quality and the special program design. The project choir consists of about 80 committed singers, who mostly have a sound vocal education. Depending on the work it is flexibly occupied and can count between 30 and 80 members.

The opera Polydorus penned 289 years ago last found a place in the performance program of the Gänsemarkt Opera in Hamburg in 1735. The libretto by Johann Samuel Müller depicts exchanges of identity, avaricious kings, queens bent on bloodthirsty revenge, and princes who despise their progenitors. The result is a retelling of the Polydorus legend combining Greek mythology and Shakespearean dramatic suspense. Carl Heinrich Graun, one of the best-known opera composers of the eighteenth century, wrote the emotionally moving music. The first performance in modern times by the barockwerk hamburg and the album recording of this opera rarity now being released have once again uncovered this genuinely original work and following the ensemble’s successes in recent years once again guarantee you a very special listening experience.

Of all the composers who wrote for the gamba during his times, Johann Gottlieb Graun must have been the most diligent one, even though he was not a virtuoso on this instrument. The twenty-seven works by him that are known to us represent significant contributions to the repertoire of the concerto, cantata, and sonata. All three of the works presented here contain grand solo parts for the viola da gamba that prove to be of the highest virtuosity. Graun evidently was interested in putting a virtuoso to the test. And the Italian gambist Cristiano Contadin, the founder of the Opera Prima ensemble, lives up to his reputation (as certified by the Musica magazine and other sources) as a first-class artist whose delightful delineation of tone and flawless style reveal a complete command of his instrument. The two sacred cantatas were composed in the Italian style on the basis of texts by Pietro Metastasio, the most famous librettist and poet of his times. They are sung by the American soprano Amanda Forsythe, who has won admiration especially for her interpretations of Baroque music – and is known from our cpo albums with the Boston Early Music Festival.

Whether or not they actually traveled south of the Alps, as Handel did early in his career, all 18th-century German composers of note were influenced by the Italian style of vocal and instrumental writing at the time. Manuel Tomadin’s latest album for Brilliant Classics explores the connections between these apparently disparate traditions, beginning with the Toccata, Adagio and Fugue BWWV564 which stands among the most striking examples of JS Bach’s work during his years as Capellmeister to the ducal court in Weimar (1710-1717). The Italian qualities of the concerto-like nature of the opening Toccata in BWV564 and then the pathos of the Adagio, with its walking bass and Neapolitan harmonies, are underlined by the following transcription made by Bach of a Vivaldi Concerto, the A minor RV522, and then Walther’s transcription of a concerto by Torelli. Just as Bach was later influenced by the violin playing and writing of the virtuoso Pisendel, German-born but widely traveled in Italy, Johann Gottlieb Graun was a pupil of Pisendel’s who had also studied with the prince of Italian violinist-composers, Giuseppe Tartini, and so Tomadin includes a solo-organ concerto of Graun’s which abounds in violinistic figuration. An arrangement of Handel’s opening Sinfonia to his oratorio Esther, another Vivaldi concerto and Bach’s magnificent A minor Prelude and Fugue BWWV543 complete this stimulating program.

This album is also a valuable record of the historically significant organ in St Peter’s Church in the Dutch town of Leens. Dating from 1733-34, and thus contemporary with the music recorded here, the instrument is the work of the Dutch organ-builder Albertus Anthoni Hinsz. He modelled his designs on the instruments by the Schnitger family who dominated North-German organ-building at the time, and the example in Leens is a superbly preserved and scrupulously restored example of this heritage. The booklet is generously annotated with an essay by Manuel Tomadin exploring the Italian connections between the music on the album, a history of the organ, a full stop-list and a record of the specific registration used for each piece.

For their 25th anniversary, caterva musica has recorded virtuoso concertos for all instrumental groups in the ensemble. L‘arte del virtuoso (The Art of the Virtuoso) is a four-part series released by MDG. The programme on Vol. 3 includes Franz Benda's dramatic flute concerto, lively chamber music by Telemann, Graun and Vivaldi, as well as a very special rarity: Johann Sebastian Bach's large-scale Sinfonia BWV 1045 with concertante violin.

And another exciting debut on MDG: Caterva musica has committed itself entirely to early music. What makes it special: Each member is a gifted soloist, but knows how to fit into the accompanying orchestra when needed. Five remarkable solo concertos of the 18th century show once the stupendous virtuosity of the individual, but also but also the harmonically colorfully coordinated ensemble performance of the top-class group.

It is the otherwise little-noticed instruments that stand out soloistically on this first set: Graun's Viola Concerto presents the viola both cantabile-sonorous and surprisingly virtuosic in the lively final movement; Johann Joachim Quantz's Horn Concerto is scored in the astonishing key of D-sharp major; Molter's Sinfonia gives the timpani, of all things, an almost concertante solo part – above which the trumpets blossom splendidly. The Cello Concerto by the today almost unknown Nicola Fiorenza effectively combines the Neapolitan stile antico with breakneck acrobatics. In doing so, Fiorenza blithely plays with the expectations of the audience, which gets its money's worth, not least with Vivaldi's Concerto for alto recorder with lively trills and fragrant garlands.

With Caterva musica, all of this comes across as immensely fresh and unspent, and the unbridled joy of music-making is immediately transferred to the listeners. The natural recording technique has its share in this: unfiltered and if necessary in 3D - so this baroque bouquet of flowers is delivered as a sounding business card with unclouded listening pleasure!

For some time, writes viola virtuoso Mathis Rochat in the preface of this new release, he had been thinking to adapt Carl Philipp Emanuel Bach's Cello Concerto in B-flat Major for his own use. He calls it a "somewhat audacious transcription", but the range of the solo part is well-suited for the viola and can be performed on the instrument with great ease. Which had to be proven first! Indeed, the young Swiss artist lends the "higher-pitched" composition a power of momentum and elasticity from which the already supple, melodious music can only benefit. All the more, since it is a superb "overture" to both of the following works, which Johann Gottlieb Graun, eleven years Bach's senior, had intended for the viola. Sometimes flanked by its little sister, as in the quiet Sturm und Drang C Minor concerto, then alone in sole competition with the string orchestra, this under-appreciated instrument shows in the music of the Berlin Court a wealth of expression that need not hide behind its higher and lower rivals.