OurCD’s
Records with the Ensemble Bell’Arte
Salzburg
Salzburg Baroque Masters / Meister des Barock
Tromba Triumphans mit Paul Plunkett
Seventeenth Century Christmas Eve with Susanne Rydèn,
Soprano
Baroque Virtuoso Music – The South-German Art of 17th Century
Violin Music
Musical Vesper – Andreas Hofer
In Nativitate Domini – with Emma Kirkby and Susanne Ryden
Solo records / Annegret Siedel, Artistic
Director of the Bell'Arte Ensemble:
Johann Schop and his Period
/ The 17th Century Hanseatic School of Violin Playing
’Spielen in die Orgel’ / Masterworks of the Baroque Era for Violin and Organ
The Details:
In
Nativitate Domini – a new edition of the CD „Seventeenth
Century Christmas Eve”
With
the famous Sopranos Emma Kirkby and Susanne Ryden!!!
Musical Vesper /Andreas
Hofer (1628/29-1684)
also pieces from Biber, Valentini and Dolar
This
CD appeared under the label Cantate 58030
Direction
Annegret Siedel
Monika
Mauch Soprano, Tiina Zahn Mezzo soprano, Henning Voss Altus, Henning Kaiser
Tenor, Wolf Matthias Fnedrich, Basso
Annegret
Siedel Baroque Violin- und Viola, Ulrike Titze Baroque Violin, Hermann
Hickethier Viola da Gamba,
Christian Zincke Viola da gamba, Matthias Müller Violone, Margit Schultheiß
Organ,Thomas Boysen Theorbe
1 VERSIKEL "Deus in
adjutorum meum intende" Psalm 70(69)
2 DIXIT DOMINUS Psalm 110(109) mit eineitender Sonata
3 CONFITEOR TIBI Psalm 111 (110)
4 BEATUS VIR Psalm 112 (111)
5 LAUDATE PUERI Psalm 113 (112)
6 LAUDATE Dominum Psalm 117 (116)
7 CUM IUCUNDITATE
8 CANZON à tre in g von Giovanni Valentini (1582-1649)
9 MAGNIFICAT
10 CANZON à tre in g von Giovanni Valentini (1582-1649)
11 SALVE REGINA von Johann Baptist Dolar (um 1620-1673)
12 SONATA in F aus dem Fidicinium sacro-profanum" von Heinrich Ignaz
Franz Biber (1644-1704)
13 VIRGO PRUDENIISSMA - De Sancta Caecilia
’Spielen in die Orgel’ / Masterworks of the Baroque Era for Violin and Organ
with th Organs of the Grote Sint Laurenzkerk, Alkmaar
Annegret Siedel Violin, Pieter van Dijk Organ
This
CD appeared under the label Cantate 58029
- van
Hagerbeer/Schnitger-Orgel -
1 Johann Sebastian Bach (1685.1750i Toccata con Fuga pedaliter ex
d BWV 565 (Organ)
2 Johann Sebastian Bach Aus der Sonate in G•dur BWV 1019a
(Violin,Orgel) Presto
3 Adam Reincken (1643-1722) Choralfantasie „Was kann uns kommen an
für Not" (Organ)
- Van Covelens-Orgel -
4 William Brade (1560-1630) Choral (Violin+Organ)
5 Heinrich Scheidemann (1596-1663) Praeambulum in F (Organ)
6 Heinrich Scheidemann Toccata in G (arranged for Violin,Organ)
7 Johann Sch, 11590 1667) Lacrime Pavan (Violine -Organ)
8 Heinrich Scheidemann Paduana Lachrymae (Organ)
- Van Hagerbeer/Schnitger-Orgel -
9 Johann Sebastian Bach Toccata ex d BWV 565 (revised by Jaap
Schröder)
10 Johann Sebastian Bach Aus der Sonate in G•dur BWV 1019a
(Violine,Orgel) Cantabile
11 Dietrich Buxtehude (1637 1707) Praeludium in g BuxWV 148 (Orgel)
The South-German Art of 17th
Century Violin Music
This
CD appeared under the ram label (ram
50310)
Georg Muffat SONATA in D
(1653-1704) Adagio – Allegro – Adagio – Allegro – Adagio
Samuel
Capricornus CIACONA
in D
(1628-1665) für
Violine, Viola da gamba und B.c.
Johann
Erasmus Kindermann SONATA SECONDA in a
(1616-1655)
Gottfried Finger SONATA in F
(um 1660 – 1730) (Adagio)
– Allegro – Adagio – Allegro - Presto
Philipp Friedrich Böddecker SONATA in d
(1607-1683) Adagio – Allegro – Adagio – Allegro – Presto
– Adagio
Alla
Francese – Adagio
Rupert
Ignaz Mayr SONATA
in D
(1646-1712) (Praeludium) – Aria
Theodor Schwartzkopff SUITE in
a
(1659-1732) Allemande – Courante – Sarabande, Double
Passepied – Boureé – Gigue – Menuet - Gigue
Valentin
Molitor SYLFERTE
ARIA in d
(1637-1713) Aria mit Variationen (Skordaturstimmung
d’–f’–a’– d’’)
Johann
Baal SONATA in a
(1657-1701) Allegro
Heinrich
Ignaz Franz Biber
SONATA in A
(1644-1704) Preludio – Passacaglia (Skordaturstimmung a–e’–a’–e’’)
Salzburg
Baroque Masters
This CD first originally appeared
under the ram label (ram 59602)
The following works are recorded on
this CD:
Georg Muffat (1653 - 1704)
Sonata in ?? Major for Violin and Basso Continuo Dur für Violine und B.c.
H.I.F.Biber (1653 - 1704)
Sonata in E Major for Violin and Basso Continuo
H.I.Biber (1644 - 1704)
Fantasia for Violin and Basso Continuo
Johann Joseph Vilsmayr (c. 1663 - 1722)
Sonata for Violin and Basso Continuo
Anonymus
Sonata for Violin and Basso continuo on the Chorale "How Brightly Shines
The Morning Star"
This CD features the nicest baroque fiddling I've
heard in a long while...... BC.
Tromba
Triumphans
This CD appeared in
1999 as a Winter&Winter production (910 036-2 BASIC EDITION).
It features the
following works:
Alessandro
Poigletti (16?? - 1683)
Balletti in C , Intrada
Johann Heinrich Schmelzer (1623 - 1680)
Sonata à 5
Antonio Bertali (1605 / 1669)
Sonata à 5
Pater F.G.
Sonata à 3
Andreas Christophorus Clarner (1640 - 1700)
Mens harmonica - Partita IV
Gottfried Finger (1660 - 1730)
Sonata in C
Anonymus
Partita ex Vienna
Pavel Vejanovsky (1639 - 1693)
Sonata à 4
Henr. Ignat. Franciscus Biber (1644 - 1704)
Sonata à 6
Franz Reinhardt (1682 - 1727)
Sonata
Historic Brass Society Issue 12/99 (Jeffrey Nußbaum)
Paul Plunkett presents a program of solo trumpet repertoire of the most
virtuoso variety and does a dazzling job....
...the CD represent some of the finest trumpet writing of the Baroque era...
Accompoanied by a small baroque string ensemble with continuo, Paul Plunket
pulls out all the stops, relying on a strong technique for this program. ....
Le Concertographe.com 1999 (Frederic Gabriel)
Dans cet emballage jaune qui allie le côté pratique à l'esthetique particulierement
soignée, on peut decouvrir un des meillleurs rècitals de trompette baroque de
ces dernierère années. Paul Plunkett manie avec dextérité, et dans tous les
registres, ce bel instrument.....
International Trumpet Guild: ITG - Journal , vol 24,
No 4 June 2000:
Paul Plunkett's earlier CD showed him to be a master of the natural trumpet.
Tromba triumphans is further confirmation. Plunkett is one of the few artists
on the natural trumpet who understand the concept of uneven articulation, so
necessary to the performance of music of the seventeenth and eighteenth
centuries. Plunkett's style and articulation are the most elegant and artistic
this reviewer has heard. .......All things considered, this wonderful Album
should be in the collection of every trumpeter who plays Baroque music - not
just those who perform on natural trumpet.
Johann Schop and his Period
The 17th Century Hanseatic School of Violin Playing
This CD appeared in 2000 under the label musicaphon M56830
Annegret Siedel / Baroque Violin,
Barbara Maria Willi / Harpsichord and Organ,
Hubert Hoffmann / Theorbo
Recorded on this CD are the following works:
Johann
Schop (c. 1590-1630) - Sine titulo
Thomas Baltzar (c. 1630-1663) - Prelude
Johann Schop - Nobelman
William Brad (1560-1630) - Chorale
Johnn Schop - Almande
Heinrich Scheidemann (c. 1596-1663) - Praeambulum
Nicolaus Bleyer (1591-1685) - English Mars
Samuel Peter Sidon (? after 1701) - Sonata
Samuel Peter Sidon - Allemande
Samuel Peter Sidon - Courante
Samuel Peter Sidon - Sarabande
Samuel Peter Sidon - Gigue
Johann Schop - Almande Mortiel
Johann Schop - Lachrymae Pavaen
Johann Schop - Courant
Johann Schop - Nasca la Pena
Thomas Baltzar - Allemande
Johann Schop - Ballett
Johann Schop - Koraelen
Johann Schop - Als Jupiter
Johann Schop - Pavaen de Spanje
Press Reviews on the CD
Fanfare - November/Dezember 2000 - Rober
Maxham
.....But the anthology lies well beyond the historical. The music speaks
eloquently in performances like these that place scholarship at the service of
modern theatrical sensibility. Siedel builds the opening untitled work by Shop,
for example, to an almost unbearable level of intensity (and nearly reaches it
in the same composer's Nasce la Pena); and her imposing virtuosity in his Allemande
helps underscore the work's dramatic logic....
Siedel's violin may be set up in the old way, but the tone she produces from it
ought to be acceptable, at least after few minutes of listening, to almost
anyone. And she moves to center stage (where the engineers have left her) as
confidently as Isaac Stern or Itzhak Perlman. While some period
instrumentalists create the illusion of viewing violinist composers of
legendary stature through the wrong end of a telescope. Siedel creates exactly
the opposite impression, magnifying these relatively minor figures far beyond
their column inches in biographical dictionaries. And the ensemble's reading,
no matter how imaginative timbrally (in the opening Nasce la Pena), for
example, the chamber organ's dramatic sonority immediately commands attention),
never degenerate into mere essays in textures. The collection should be more
widely enjoyed than its title suggests, for the performances are as reminiscent
of stages as of the museum or the textbook anthology. High general
commendation.
American Record Guide / Barker ..... He (J.Shop) was the focal personality in early-17th-Century
Hamburg, which, with Lübeck, served as main centers of instrumental style in
northern Germany. Around him cluster his predecessor in Hamburg and teacher in
Copenhagen, the peripatetic Englishman, William Brade (1560-1630), and Schop's
successor there, Samuel Peter Sidon (16??-1701), as well as Schop`s Hamburg
contemporary, Heinrich Scheidemann (c.1596-1663). Also represented are another
Brade pupil, Nicolaus Bleyer (1591-1658), who settled in Lübeck, and a native
of that city, Thomas Baltzer (c.163063), who ended up in England...... so if
you like the form you will particularly enjoy this engaging literature. Above
all, if you like virtuoso playing, you will be wowed by Annegret Siedel's
fabulous fiddling. A lot is alled also by the robust continuo work of her two
partners. The booklet presents good notes on the participating composers....
Still, this program is an illuminating exploration of a neglected area of
North-German early-baroque music, as well as a revelation of the fact that
genuine violin virtuosity in German-speaking lands did not begin only in the
late 17th Century with Biber.
Early Music Review - 63 - September 2000 / BC
This is a wonderful CD - I have sat and listened to it (or rather allowed
myself to be transported far beyond the confines of my new living room) several
times in the last few weeks. If I once likened Elisabeth Wallfisch to
Locatelli, I have to say that Annegret Siedel might well be Thomas Baltzar
incarnate - his music must simply flow in her veins! Not that her Schop, Brade,
Bleyer, or Sidon are any less compelling. Accompanied by harpsichord, organ and
theorbo (or solo, since some of the pieces are unaccompanied), her violin was
like the Pied Piper's flute - wherever it led, my ears followed without any
straining or effort on my or her part. I'd never heard of Schop so this is a
most welcome addition to my CD collection and I cannot recommend the disc highly
enough to anyone interested in the 17th century.
CD
Seventeenth Century Christmas Eve
This CD appeared in
2001 under the Winter&Winter label (Basic edition 910078-2)
It features the
following works:
Dietrich Buxtehude
Also hat Gott die Welt geliebt (God So Loved The World)
Johann Rosenmüller
Also hat Gott die Welt geliebt (God So Loved The World)
Johnn Heinrich Schmelzer
Sonate Pastorella
Franz Tunder
Wachet auf ruft uns die Stimme (Wake. O Wake, For Night Is Flying)
Joh. Georg Reichard
Weihnachtsweissagung (Christmas Prophecy)
Bened. A.
Aufschnaiter
Kommet beschauet die Weisheit (Come And Marvel At The Wisdom)
Pal Esterhazy
Cur fles Jesu
Heinrich Ignat. Franciscus Biber
Pastorella
Philipp E. Böddeker
Natus est Jesus
Johann Joseph Fux
Pastorale a tre
Melchior Schildt
Ach mein herzliebstes Jesulein (Ah Dearest Jesus, Holy Child)
Georg C.Leuttner
Alma redemptoris mater
Johann G. Reichwein
Aria de Nativitate Domini
Music Reviews, USA - Classical music - Part
30 -
Music for The Christmas Season - November2001 /
Jason Serenius
Performance: ***** (extraordinary)
sonics: ***** (extraordinary)
This attractively packaged CD,
distributed by Allegro imports, offers thirteen beautiful baroque selections
that together recount story of Christmas. Composed in various parts of Germany
in the 17th century, the works are performed by the gifted Swedish soprano
Susanne Ryden and baroque Violinist Annegret Siedel's fine Bell'Arte Salzburg
original instrument ensemble.
Beginning with Dietrich Buxtehude's setting of a text from the gospel according
to John, the CD includes vocal and orchestral music by Rosenmüller, Schmelzer,
Schildt and others. Most of the pieces are engagingly lyrical; there is little
of the knock-me-over virtuoso writing that distinguishes much composition from
the baroque period. The ecological red and green cardboard packaging - no
breakable plastic here - offers translations, but lacks notes on the performers
or ensemble. For the record, Susanne Ryden, who has performed with such early
music greats as Christopher Hogwood, Renè Jacobs and Joshua Rifkin, Nicola
McGegan and Roy Goodman, has a winning, clear soprano voice that she employs
with consummate ease and skill. The results, when backed and interspersed with
instrumental playing of the first rank, make for a delightful listening
experience......
Highly recommended.
BBC Music Magazine, UK
December 2001
It would be churlish of a record company
with a name like Winter & Winter not to put out a Christmas disc. But
Munich-based Winter & Winter is not churlish and has issued an excellent
recording entitled SEVENTEENTH-CENTURY CHRISTMAS EVE. It does pretty much what
it says on the box, presenting Christmas tunes by Buxtehude and Biber plus a
host of other composers I wish 1 knew more about: Schmelzer, Fux, Tunder,
Reichwein, Aufschnaiter er al. Bell'Arte Salzburg is a lively, intelligent
band, joined on most 'tracks by Susanne Ryddn, a soprano with a crystal-pure
voice whose light vibrato is extremely attractive. The product is a '24 bit
recording with no processing', the audio equivalent of a free-range turkey, and
sounds as clean and healthy as it ought to.
Observer, UK
Music EDITION 16. Dezember 2001
Baroque music from traditional carols to
ceremonial liturgical music by Buxtehude, Biber and many more unfamiliar names.
Admirably sung by the Swedish early music specialist Susanne Ryden.
FIONA MADDOCKS
Gramophone, UK
1.12.2001
A stylishly performed musical stocking filled
with unexpected seasonal delights. Most Baroque Christmas collections contain
at least some old favourites - Corelli's Christmas Concerto, the 'Pastoral
Symphony' from Messiah, the Sinfonia from Bach's Cbristmas Oratorio and so on -
but not this one. In this dip into the 17th-century Christmas repertoires from
German-speaking lands there is not a single piece that has received more than a
handful of recordings, and many that must be enjoying their first. Indeed, for
some of these composers this may well be their first outing on record at all.
Apart from the three short sonatas by the Austrians Biber, Schmelzer and Fux,
all the pieces are for solo voice and instruments, a type of ensemble then much
favoured in Germany and Austria. The richly expressive results it often yielded
are not so evident here (try Easter for that), but this is attractive music
nevertheless. Perhaps not surprisingly, the composers from the southern end of
the region - Rosenmüller, Aufschnaiter, Esterhäzy, Leuttner - tend towards the
rural pipe and drone effects and slightly sentimental,-lullabies familiar from
Italian Christmas music; while those from the protestant north '- Buxtehude,
Tunder, Schildt show a preference for building their music around appropriate
chorale melodies. Most striking to my ears were Esterhazy's exquisutely
touching lullaby 'Cur fles Jesu', Boedecker curiously episodic 'natus est
Jesus', making effective use of the well-known tune 'Joseph, lieber Joseph
mein'; and a boisterous dance-song by Reichwein, a mystery man about whom I
have so far discovered nothing (the booklet offers no information other than
texts). There is also an odd-man-out in the work by the 18th-century composer
Reichard, clearly a work from a different age but pleasingly responsive to text.
The performances are enjoyable and stylish.. The instrumental playing shows
involvement and warmth, though the latter is undermined by a somewhat unlovely
recorded sound, while Susanne Ryddn's singing is a treat, technically secure,
beguiling of timbre and never failing to convey an apt sense of innocence and
joy. Despite a few signs of hurried recording, this is a good buy, and not just
for Christmas. Lindsay Kemp