Countless richly decorated boats following the freshly crowned King George I, and behind him, Georg Friedrich Händel with his 50 musicians and the royal household: on July 17, 1717, the first suite of Händel's famous "Water Music" was performed in the middle of the Thames. His majesty took such pleasure in the music of the famous Händel that he had it repeated three times, twice before and once after dinner, although every performance lasted an hour. The boats full of people who wanted to listen were not to be counted. “Wassermusik” is still one of Händel's most popular works. It is therefore not surprising that the Festival Orchestra Göttingen admitted it into its program for its 10th anniversary in 2016. Conductor Laurence Cummings followed this arrangement of the single movements, as can be gleaned from the recently discovered earliest sources.

The king is dead! Berengario and Matilde are determined to seize power over Italy at all costs. To this end, they intend their son Idelberto to marry the newly widowed Adelaide. But the proud monarch has long since summoned Lotario, the noble German king, to her aid. The struggle for power begins… The Göttingen Handel Festival continues its close collaboration with the Accent label, which has already yielded great recordings of works like Siroé, Faramondo, Joshua, Susanna or Agrippina. The addition to the series of this May 2017 recording of Lotario is without doubt a very welcome one for all Handel lovers. Lotario, composed in late 1729, was Handel’s first new opera after the demise of the first Royal Academy of Music. The premiere was given at the King’s Theatre at the Haymarket in London in December of the same year.

Joshua is one of four so-called 'victory' oratorios Handel composed in the late 1740s, which commemorate the defeat of the 1745-46 Jacobite Rebellion. It takes as its subject matter the biblical story of Joshua, who roused his people to a sequence of divinely aided victories. The oratorio remained a favorite with English and continental audiences until well after Handel's death. This recording, taken from live performances, features a superb cast of soloists supported by the FestspielOrchester Göttingen, conducted from the harpsichord by Laurence Cummings.

Written in Venice in 1709, Handel's Agrippina is one of his most impressive works and his first truly resounding success as an opera composer. This recording was made at the Göttingen Handel Festival in 2015 and features Ulrike Schneider in the title role of Rome's great female schemer. The FestspielOrchester Göttingen delivers an outstanding performance under the sure direction of Laurence Cummings.

In 1709, the music-loving Landgraf Ernst Ludwig from Darmstadt had discovered Christoph Graupner as a harpsichordist at the Hamburg Opera in 1709 and had hired him on the spot. The Landgraf had made a real stroke of luck with Graupner, because he was not only an outstanding musician but also a perfect organizer of the courtly musical life and especially for the church music which had to be performed weekly. Over the years, more than 1,400 works of sacred music and more than 250 concertos and orchestral works have gathered from his pen and paper. L’arpa festante and Rien Voskuilen have put together an exquisite selection with orchestral music from this repertoire for the present release: two concertos for oboes and trumpets and two Overtures for transverse flute in the French style, probably all from the first half of the 1730’s.

Because of the imprecise signing and the stylistic near the attribution of many concerts to the brothers Graun's nearly impossible. Even the contemporary Pisendel speaks in a letter to Telemann here of "Confusion", as many of the instrumental works are only sifniert with "grays". Ultimately, it should be but no matter, of which, the Graun Brothers comes this magnificent music. The excellent interpretation of this music is as easy to identify: it comes from Marcel Ponseel and Il Gardellino.

FINGER ECHO DU DANUBE SONATAS- SONATA PRIMA PRO VIOLINO & VIOLA DI GAMBA; SONATA NONA PRO 3 VIOLINIS; SONATA UNDECIMA PRO 2 VIOLINIS & VIOLA; SONATA QUINTA PRO 2 VIOLINIS & VIOLA DI BASSO; SONATA SETTIMA PRO 3 VIOLINIS

Most of Giovanni Benedetto Platti's (c. 1697-1763) compositions fit easily into the late Baroque era, but, in some harpsichord sonatas and concertos for harpsichord and strings, there are elements that are definitely characteristic of the Classical and, aesthetically, even the early Romantic periods. The so-called modernity of Platti's Sonatas for keyboard instruments lies in the completely new "cut" of his Sonatas, in the richness and imagination of his continual invention of motifs, in rhythms, which are never ordinary, and in the efforts to reach the final chord through ever-bolder modulations. Thus these Sonatas appear to be harbingers of the rebellious pre- Romantic mood of the so-called "Sturm und Drang". At the age of twenty Luca Guglielmi was invited by Jordi Savall to join his ensembles Hesperion XX (now XXI), La Capella Reial de Catalunya and Le Concert des Nations, playing regularly in duos and trios with Rolf Lislevand. His many engagements have included playing with the Ensemble Zefiro of Alfredo Bernardini, the Ensemble La Fenice of Jean Tubery, the Ricercar Consort of Philippe Pierlot, and the Armonico Tributo Austria of Lorenz Duftschmid. He has more than 40 recordings, as soloist and in ensembles, for the most prestigious recording companies (Decca, Teldec, Accent, Deutsche Harmonia Mundi, Alia Vox, Stradivarius, cpo, naïve, Alpha, ORF, Mirare) all highly praised by specialized critics.

The importance of Georg Christoph Wagenseil (1715-1777) in the development of the classical symphony cannot be underestimated, and his concertos were also significant in the formation of the style of early Viennese classicism. As its chief representative, Wagenseil unites Italian, French and German stylistic elements in his works, as was typical of the 'mixed style' of the early 18th century. Moreover, he is considered one of the perfectors of the gallant-sentimental stylistic epoch which became so essential for the formation of classicism in 18th-century music history. The Six Quartets for Low Strings occupy a special position in the chamber music of Wagenseil, simply by virtue of their unusual scoring and the type of classical four-movement quartet that was just coming into being. The two upper parts can be performed by either two cellos or two violas, as desired; the lower parts are played by a cello and a double bass. Both variants, equally attractive in sound, can be heard on the present double CD. The Piccolo Concerto Vienna under the direction of the double bassist Roberto Sensi introduces music to us that is notable, not least - alongside its music-historical significance - for a typically Viennese quality: charm.

French oboe music. Suites and sonatas by Jacques-Martin Hotteterre (174 - 1763), Louis-Antoine Dornel (1680 - 1756), Pierre-Danican Philidor (1681-1731), Francois Couperin (1668-1733). Performers: Paul Dombrecht, Baroque (M. Ponseele, 1985, after Hotteterre); Wieland Kuijken, viola da gamba (N. Bertrand, 1690 c.); Robert Kohnen, harpsichord (R. Sagittarius, 1966, in old French atmosphere.

The transverse flute was especially popular at the French court in the early 18th century. At the same time, Italian tastes were finding their way into Paris. The French flute virtuosos - especially Blavet and Buffardin - seized on this trend with Italian-inspired flute concertos. Frank Theuns and his ensemble Les Buffardins offer an overview of the development of the late-baroque transverse flute repertoire in France, introducing concertos by such great composers of the age as Jean-Marie Leclair, Michel Blavet, Pierre Gabriel Buffardin and Jacques Christophe Naudot.

A fine introduction to the music of the highly gifted Benda brothers - their compositions are served well by Il Gardellino.

Frederick II of Prussia (1712 - 1786) had a great interest in intellectual and artistic matters and a special liking for music. He was taught to play the flute by Johann Joachim Quantz, to the great dissatisfaction of his father. When Frederick William I took drastic action Frederick only became more resolute to follow his heart. At his court in Ruppin he started to assemble musicians, and appointed Carl Heinrich Graun as general court musician in 1735. The next year he moved to Rheinsberg, accompanied by musicians of fame, like Graun and his brother Johann Gottlieb, the brothers Franz and Georg Anton Benda, Christoph Schaffrath and Johann Gottlieb Janitsch.

In 1740 he succeeded his father as King of Prussia, and immediately started to extend his court chapel. Apart from the musicians mentioned above he attracted Carl Philipp Emanuel Bach, Christoph Nichelmann, his former flute teacher Quantz - who until 1741 was at the service of the court in Dresden - and Johann Friedrich Agricola. The fact that these musicians and composers were all connected to Frederick's court doesn't necessarily imply their music was played there. It is a well-established fact that Frederick's musical taste was rather conservative, and there is no doubt that many of the compositions of members of his chapel would not find his approval. These concertos recorded by Il Gardellino are good examples of such compositions.

Franz and Johann Georg Benda were of Bohemian origin, and they are just two of the many musicians engaged in a diaspora all over Europe both as performers and composers. They were the sons of Jan Jiri Benda, a linen weaver and village musician. Five of his six surviving children became musicians: Franz, Johann Georg, Georg Anton, Joseph and Anna Franziska.

Franz was the eldest, born in 1709, and was a very good singer in his youth, working in Prague and the court chapel in Dresden. After his voice broke he concentrated on playing the violin. He at first worked for a while in Vienna and then in Warsaw. In 1733 he was engaged as court violinist by Frederick. The rest of his life he stayed at his service, ending his career as Konzertmeister.

Benda was held in high esteem, as quotations from Charles Burney and Johann Friedrich Reichardt testify. The former wrote that he "acquired a great reputation in his profession, not only by his expressive manner of playing the violin, but by his graceful and affecting compositions for that instrument". And Reichardt stated that Benda was able to "overwhelm and command the heart of his audience".

The graceful character of his compositions comes well to the fore in his violin sonatas, but also in his solo concertos. It is not known for sure how many violin concertos Benda wrote, but 15 have survived whose authenticity is established. Three which have been attributed to him are probably written by someone else. The Concerto in E flat is a perfect example of the 'cantabile' style for which he was so famous as a performer. It is not too far-fetched to assume that his own past experiences as a singer had everything to do with his preference for a 'singing' propensity. The slow movement contains some very spicy harmonies.

The Flute Concerto in e minor is an example of a composition that is very unlikely ever to have found the approval of Frederick the Great. Benda and other composers at the court, like Carl Philipp Emanuel Bach, also wrote compositions for private performances in the salons of the bourgeoisie in Berlin. In fact, this concerto has much in common with the style of Carl Philipp Emanuel Bach. In particular the nervousness of the fast movements is reminiscent of Bach's solo concertos and string symphonies. The solo part is quite different, though, much quieter and much more elegant - not very different from the solo part of the violin concerto. In this way Benda creates a kind of dialogue between the solo and the tutti. In the slow movement the strings play con sordino, a technique characteristic of the style of the Empfindsamkeit.

The second son of Jan Jiri, Johann Georg (1713 - 1752), became a member of Frederick's chapel too, first as viola player, then as violinist. He was joined by Georg Anton in 1742, who also played as a violinist in the chapel. But in 1750 Georg left the court and became Kapellmeister to Duke Frederick III of Saxe-Gotha. There he composed sacred cantatas, instrumental music and was one of the earliest contributors to two new genres, the Singspiel and the melodrama. He was an intellectual who spoke several languages and was strongly interested in politics and philosophy.

The two keyboard concertos are dated in the 1770s and 1780s. Like Franz Benda's Flute Concerto in e minor they are strongly reminiscent of Carl Philipp Emanuel's keyboard concertos. Here the harpsichord does not establish a contrast with the string parts, but joins them in that nervous style which is usually called Sturm und Drang. Sudden pauses and dynamic outbursts regularly appear in these concertos. The slow movements bear the traits of the Empfindsamkeit, with the strings playing con sordino again.

Because of their irregular character the solo parts sometimes sound like improvisations. It seems that Shalev Ad-El cannot resist adding a little extra by hesitating at some moments, slowing down and using a modicum of rubato now and then. It makes these concertos all the more exciting, and the ensemble follows him closely. The orchestral parts in Franz Benda's two concertos are also given splendid performances. Jan De Winne is an experienced player of the transverse flute, and delivers the solo part elegantly, with excellent phrasing and articulation. Ryo Terakado's duty is to play the solo part in the violin concerto in the singing style for which Benda was famous. He does this with real aplomb such that one perhaps gains a sense of the playing that so impressed Benda's contemporaries. Some of them were even moved to tears when they heard him playing. In every concerto cadenzas are added - all in good taste without overstepping the mark.

The oeuvre of the Benda brothers is as yet little explored. Franz's flute concertos have been recorded before, but his violin concertos are still pretty much unknown territory. Georg's keyboard concertos seem to have enjoyed some popularity in recent years, as several recordings have been released. This disc gives a very fine introduction to the music of these highly gifted brothers. Their compositions are served very well by Il Gardellino.

-- Johan van Veen, MusicWeb International

Sonates : Prima, Seconda, Terza, Quarta, Quinta & Sesta / Christoph Ehrsam, fl�te - Attilio Cremonesi, clavecin - Eunice Brand�o, viole de gambe.

JOHANN SEBASTIAN BACH Raphaelaa Smits, guitar. JOHANN SEBASTIAN BACH - THE EIGHT-STRINGED BACH: Prelude for Solo Flute, BWV 1013; Partita for Solo Violin, BWV 1004; Prelude purla luth o cembal, BWV 998.

Sigiswald Kuijken worked for 10 years on his cycle of Johann Sebastian Bach cantatas following the liturgical year, an effort which can be heard on the series of 19 albums published on Accent. Now, Kuijken returns with a new release. This recording includes the work of three great masters dedicated to the theme of Christmas: Dietrich Buxtehude (1637-1707), Johann Sebastian Bach (1685-1750) and Georg Philipp Telemann (1681-1767). All three created a large number of cantatas for many occasions, each according to his own perspective and tradition. The Christmas cantatas were always of a special nature; the birth of Christ was celebrated everywhere- both in a solemn and festive setting and in a smaller circle- and if one listens carefully and considers the different approaches, one can virtually peer into the composer’s heart. Bach takes center stage in this new production, Buxtehude is its be-all and end-all and Telemann bridges in between two very different opuses.

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REVIEW:

Even in the early 18th century Christmas was a time to mix traditional music with newer, forward-looking sounds. I love Georg Philipp Telemann’s archaic-sounding cantata Ein Kindelein so löbelich, TWV 9:5, from around 1720, but sounding at least a century older, at least until an Amen that sprouts Baroque curlicues around the more severe contrapuntal sounds of the stile antico. This is virtuoso composition that plays with styles in a kind of Enlightenment Post-Modernism. J. S. Bach’s gorgeous cantata Ich freue mich in dir, BWV 133, from 1724, is a perfect example of how the great composer turned music into sounds of pure joy. Kuijken and La Petite Bande provide a joyful interpretation of the theatrical intimacy in this music, as apt an illustration of the show-stopping, spot-lit miracle that was the Nativity as the great painting of Gerrit van Honthorst gracing the album cover.

– Music for Several Instruments