Antichi Strumenti, Laura Toffetti, Tobias Bonz - Graupner: Suite de suites (2008)
BAND/ARTIST: Antichi Strumenti, Laura Toffetti, Tobias Bonz
- Title: Graupner: Suite de suites
- Year Of Release: 2008
- Label: Stradivarius
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:52:15
- Total Size: 240 mb
- WebSite: Album Preview
Tracklist
01. Overture in D Major, GWV 420: I. —
02. Overture in D Major, GWV 420: II. Rejouissance
03. Overture in D Major, GWV 420: III. Air en Rondeau – IV. Autre
04. Overture in D Major, GWV 420: V. Menuet I & II
05. Overture in D Major, GWV 420: VI. Tombeau
06. Overture in D Major, GWV 420: VII. March
07. Overture in D Major, GWV 421: I. Allegro
08. Overture in D Major, GWV 421: II. Air. Allegro
09. Overture in D Major, GWV 421: III. Menuet
10. Overture in D Major, GWV 421: IV. Tempo di sarabande
11. Overture in D Major, GWV 421: V. Air en Gavotte. Presto
Christoph Graupner, director of music at the court of the nobleman Ernst Ludwig of Darmstadt, remains one of the least understood figures of the late Baroque. Of his thousands of works, perhaps 100 are large overtures or suites (the two terms were close in meaning at the time) like the ones heard on this disc. But Graupner wasn't gifted with the art of self-promotion, and it's even less clear than with the instrumental music of Telemann and Bach how these works were supposed to sound. Perhaps they were Tafelmusik; the collection of lightly ornamented French dances in each suite seems suited to domestic use. But the Italian historical-instrument group Antichi Strumenti, which has specialized in Graupner's rather large works, goes for a different and often rather startling approach, treating the music as ceremonial and festive. Its most controversial decision was to add percussion, including timpani, to some of the movements. One would have liked to hear a little more about this in the booklet; the players justify it, and also some of their odd accent procedures, by making reference only to a general immersion in Baroque procedures. Overall, however, the sound makes musical sense. The opening movement of each suite, called the "ouverture," is sizable; that of the first suite clocks in at 11 1/2 minutes in this performance, and the texture is varied with the inclusion of paired trumpets, flute, oboe, and bassoon, as well as strings (including contrabass) and continuo. The music thus stands up not only to percussion but to the rather odd effects (sample the "Réjouissance" second movement of the first suite) inserted by percussionist Felix Verry. An offbeat, even odd item, but an intriguing one for lovers of the German Baroque.
01. Overture in D Major, GWV 420: I. —
02. Overture in D Major, GWV 420: II. Rejouissance
03. Overture in D Major, GWV 420: III. Air en Rondeau – IV. Autre
04. Overture in D Major, GWV 420: V. Menuet I & II
05. Overture in D Major, GWV 420: VI. Tombeau
06. Overture in D Major, GWV 420: VII. March
07. Overture in D Major, GWV 421: I. Allegro
08. Overture in D Major, GWV 421: II. Air. Allegro
09. Overture in D Major, GWV 421: III. Menuet
10. Overture in D Major, GWV 421: IV. Tempo di sarabande
11. Overture in D Major, GWV 421: V. Air en Gavotte. Presto
Christoph Graupner, director of music at the court of the nobleman Ernst Ludwig of Darmstadt, remains one of the least understood figures of the late Baroque. Of his thousands of works, perhaps 100 are large overtures or suites (the two terms were close in meaning at the time) like the ones heard on this disc. But Graupner wasn't gifted with the art of self-promotion, and it's even less clear than with the instrumental music of Telemann and Bach how these works were supposed to sound. Perhaps they were Tafelmusik; the collection of lightly ornamented French dances in each suite seems suited to domestic use. But the Italian historical-instrument group Antichi Strumenti, which has specialized in Graupner's rather large works, goes for a different and often rather startling approach, treating the music as ceremonial and festive. Its most controversial decision was to add percussion, including timpani, to some of the movements. One would have liked to hear a little more about this in the booklet; the players justify it, and also some of their odd accent procedures, by making reference only to a general immersion in Baroque procedures. Overall, however, the sound makes musical sense. The opening movement of each suite, called the "ouverture," is sizable; that of the first suite clocks in at 11 1/2 minutes in this performance, and the texture is varied with the inclusion of paired trumpets, flute, oboe, and bassoon, as well as strings (including contrabass) and continuo. The music thus stands up not only to percussion but to the rather odd effects (sample the "Réjouissance" second movement of the first suite) inserted by percussionist Felix Verry. An offbeat, even odd item, but an intriguing one for lovers of the German Baroque.
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