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| Title: Baroque Music for Guitar |
MP3, WMA, MPC, OGG, M4A, FLAC |
| Artist: Karl Wolff |
| (c): (C) 2004 Baroque Music for Guitar |
| (p): (P) 2004 Clear Note |
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2004-02-02 |
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Classical Guitar - Music for solo guitar, two guitars, flute guitar and cello.
range of the fugue can be played with fewer changes from the original scoring.
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-Georg Philipp Telemann (1681-1767) ranked among the most successful composers during his lifetime, completely overshadowing J. S. Bach whose music was not fully appreciated until some years after his death. George Frederick Handel once said of Telemann that he could write a work in eight parts as easily as anyone else could write a letter.
-The two Canonic Sonatas presented here come from a collection entitled "Six Canons or Sonatas for two German Flutes or two Violins, Compos'd by Georg Philip Telemann." The title for this publication illustrates the practice of leaving some latitude in the choice of instruments, providing more opportunity for sales to the flourishing amateur Hausmusik market in Hamburg during that time. Each movement of these sonatas is a two-part canon in which both musicians play precisely the same lines, but one measure apart.
-Iain Osgood and I began exploring Telemann's collection of canonic sonatas after playing the well-known third movement from sonata number one. The movement is a favorite duet among guitarists and has been performed and recorded many times. Playing it inspired us to look at the rest of the collection, and our exploration quickly turned into a labor of love. Telemann's unique treatment of harmony and rhythm in the individual movements, such as the suggestion of four-part arrangements for the voices of the slow middle movement and chromatic lines in the faster third movement of the first sonata are repeated in the subsequent sonatas giving the collection a structure that tickles the mind as much as the ear.
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-George Fredrick Handel (1685 - 1759) It is said that with the composition of Handel's oratorio the Messiah, in 1742, that the entire baroque tradition reached its climax. It should be remembered that in Italy, from which baroque music received its principal spark and direction, the period of new concepts in baroque style had ended some ten to twenty years earlier, giving way to the style galant, and that German composers like Bach, Handel and Telemann brought the baroque era to its consummation in the northern countries of Germany and England.
-Handel spent some of his early years as a musician in Italy, before settling in London in 1720 where he produced several operas at the King's Theatre influenced by his Italian experience. In addition to operas and oratorios, Handel also wrote cantatas, sacred music, orchestral, instrumental, and vocal works. The Air Lentemente and Fughetta are transcriptions from keyboard manuscripts, played here as guitar solos.
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-Henry Purcell (1659-1695) whose career was spent as a musician in the English royal court, composed semi-operatic entertainments such as "The Fairy Queen", based loosely on Shakespeare's "A Midsummer Night's Dream", and "King Arthur" based on the book by Dryden. He also wrote instrumental music in the early baroque style.
-His "A Ground In Gamut" is one of the oldest versions of the variations form, and the word "Gamut" originally meant the note G on the bottom line of the bass clef (the ground). Gamut also came to mean a scale, particularly in the key of G.
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-Johann Heinrich Buttsted (1666-1727), born in Bindersleben Erfurt, is famous for a paper he wrote in defense of solmization. He wrote German masses and harpsichord music including the Menuet in D minor transcribed here for guitar solo.
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-Antonio Lotti (1667-1740) composed operas and sacred music, beginning his career in Venice as organist at St. Marks and moving to Dresden in 1717 to direct the court opera. In this recording of Lotti's Sonata in G Major for flute, cello, and continuo, the guitar has taken the continuo part, an improvised chordal accompaniment that was probably first played on harpsichord by Lotti himself and which sets the rhythmic groundwork for the intertwining flute and cello melodies played by flutist Laura Campbell and cellist Chris White.
-Lotti's sonata is written in the form known as a trio setting of the chamber duet, the duet being between the flute and cello, with the gutiar playing the continuo part to complete the harmony. This style of writing has been described by Manfred Bukofzer in Music in the Baroque Era as "one of the happiest and most influential innovations of baroque music."
Karl Wolff
December 10, 2003
Karl Wolff: Guitar
Iain Osgood: Guitar
Laura Campbell: Flute
Chris White: Cello
Recorded: June - December 2003 - Ithaca New York |
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