Download early music up late

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early music
up late
AS HEARD ON ABC CLASSIC FM
WITH SIMON HEALY
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[74’11]
GEORGE FRIDERIC HANDEL 1685-1759
Concerto grosso in G major, Op. 6 No. 1, HWV319
I. A tempo giusto
II. Allegro
III. Adagio
IV. Allegro
V. Allegro
Lucinda Moon, Ben Dollman violins, Jamie Hey cello, Tommie Andersson theorbo,
Australian Brandenburg Orchestra, Paul Dyer director and harpsichord
MARC-ANTOINE CHARPENTIER 1643-1704
Messe de minuit pour Noël (Midnight Mass f or Christmas), H9: Credo
Annick Massis soprano, Magdalena Kožená mezzo-soprano, Eric Huchet, Patrick Henckens
tenors, Russell Smythe baritone, Jean-Louis Bindi bass, Chœur des Musicians du L ouvre,
Les Musiciens du Louvre, Marc Minkowski director
[11’19]
1’41
1’42
2’34
2’41
2’41
9’07
WOLFGANG AMADEUS MOZART 1756-1791
Piano Concerto No. 11 in F major, KV413: II. Larghetto
Robert Levin fortepiano, The Academy of Ancient Music, Christopher Hogwood director
6’55
JOHANN SEBASTIAN BACH 1685-1750
Cantata BWV8 ‘Liebster Gott, wenn werd ich sterben?’
(Dear God, when will I die?): Opening chorus
Julianne Baird soprano, Allan Fast countertenor, Frank Kelley tenor, Jan Opalach bass,
The Bach Ensemble, Joshua Rifkin director
5’45
JOHANN SEBASTIAN BACH
Violin Partita No. 2 in D minor, BWV1004: IV. Giga
Richard Tognetti violin
4’05
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JOSQUIN DESPREZ c.1440-1521
Praeter rerum serium (Outside the natural order of things)
Gabrieli Consort, Paul McCreesh director
6’58
GEORG PHILIPP TELEMANN 1681-1767
Trio Sonata in A minor for recorder, oboe and basso continuo
[9’37]
I. Largo
2’22
II. Allegro
1’28
III. Cantabile
2’36
IV. Allegro
3’11
Philidor Ensemble (Ricardo Kanji recorder, Ku Ebbinge Baroque oboe, Chris Farr harpsichord )
HEINRICH BACH 1615-1692
Ich danke dir, Gott (I thank thee, O God)
5’52
Maria Zedelius soprano, Ulla Groenewold alto, David Cordier countertenor, Paul Elliott tenor,
Michael Schopper bass, Rheinische Kantorei, Musica Antiqua Köln, Reinhard Goebel director
JOHANN SEBASTIAN BACH
Keyboard Partita No. 3 in A minor, BWV827: II. Allemande
Nicholas Parle harpsichord
CARLO GESUALDO c.1561-1613
O dolorosa gioia (O sorrowful joy)
The Consort of Musicke (Evelyn Tubb soprano, Mary Nichols alto, Joseph Cornwell,
Andrew King tenors, Richard Wistreich bass)
JEAN-PHILIPPE RAMEAU 1683-1764
Castor et Pollux – Instrumental Suite: Chaconne
Orchestra of the 18th Century, Frans Brüggen director
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3’48
3’18
6’10
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[74’48]
ANTONIO VIVALDI 1678-1741
Violin Concerto in G minor, RV325
I. Allegro molto
II. Largo a piacimento
III. Presto
Giuliano Carmignola violin, Venice Baroque Orchestra, Andrea Marcon director
[7’36]
3’31
1’56
2’09
JOHANNES BRAHMS 1833-1897
Drei Gesänge (Three songs), Op. 42
I. Abendständchen (Evening serenade)
II. Vineta
III. Darthulas Grabesgesang (Dar-Thula’s funeral song)
Monteverdi Choir, John Eliot Gardiner director
[8’41]
2’04
2’15
4’22
JOSEPH HAYDN 1732-1809
Symphony No. 88 in G major : II. Largo
Orchestra of the 18th Century, Frans Brüggen director
5’29
GIACHES DE WERT 1535-1596
Grazie ch’a pochi (Charms that too few)
The Song Company (Ruth McCall, Nicole Thomson sopranos, Jo Burton mezzo-soprano,
David Hamilton tenor, David McKenzie tenor, Clive Birch bass-baritone),
Roland Peelman director
CHRISTIAN RITTER c.1645-after 1717
Suite in F-sharp minor: III. Sarabande
Gustav Leonhardt clavichord
5’05
2’30
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ANTONIO VIVALDI
Vestro Principi divino (Lift up your heads), RV633
I. Vestro Principi divino (Lift up your heads)
II. Recitative: O felix culpa (O happy fault)
III. Quid loqueris ad cor (What will y ou say to my heart?)
IV. Alleluia
Andreas Scholl countertenor, Australian Brandenburg Orchestra, Paul Dyer director
CARL PHILIPP EMANUEL BACH 1714-1788
Trio Sonata in C major, Wq149 / H573: II. Andante
Ensemble of the Classic Era (Kate Clark flute, Paul Wright violin,
Geoffrey Lancaster fortepiano, Susan Blake cello)
JOHANN SEBASTIAN BACH
Cantata BWV124 ‘Meinen Jesum lass ich nicht’ (I shall not abandon m y Jesus):
V. Entziehe dich eilends, mein Her ze, der Welt (O my heart, make haste to withdraw
from the world)
Sara Macliver soprano, Sally-Anne Russell mezzo-soprano, Orchestra of the Antipodes
(Daniel Yeadon cello, Neal Peres Da Costa chamber organ), Antony Walker conductor
GEORGE FRIDERIC HANDEL
Sonata a 5 in B-flat major, HWV288
I. Andante
II. Adagio
III. Allegro
Simon Standage violin, The English Concert, Trevor Pinnock director
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[8’08]
4’02
0’37
2’12
1’17
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5’31
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JOHN WELDON 1676-1736
Halcyon Days
Catherine Bott soprano, Anthony Robson oboe, Pavlo Beznosiuk violin,
Paula Chateauneuf guitar, Richard Egarr harpsichord, Mark Levy bass viol
ROBERT PARSONS c.1530-1570
Ave Maria
Cantillation, Antony Walker conductor
3’52
4’47
JOHANN DAVID HEINICHEN 1683-1729
Concerto in F major, S234
I. Vivace
II. Adagio
III. Un poco allegro
IV. Allegro
Musica Antiqua Köln, Reinhard Goebel director
[9’22]
4’20
1’26
3’36
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[8’34]
2’29
0’44
2’24
2’57
early music up late
Every Monday to Thursday night it’s my pleasure to present a personal choice of music Up Late on
ABC Classic FM. I could pretend that I use all sorts of elaborate criteria f or deciding what to play. It’s
certainly true that I attempt to balance a mix of st yles from the Renaissance to more recent times.
I also try to vary the texture with a selection of v ocal and instrumental works, chamber music and
Early Music. In practice, I simply ask m yself of each recording, ‘What does it sound like?’, ‘Have we
had too much of this already?’ and ‘W ould I enjoy it if I were at home late at night?’
When Martin Buzacott of ABC Classics suggested to me that I might lik e to choose a sequence of
Early Music recordings of the sort that I regularly play on Up Late, I was delighted to accept. We live in
an extraordinarily privileged age in which the treasures of the past can be readily sampled at an y time
and place that suits us. Yet the death of the classical recording industr y is regularly announced in the
mainstream media. If anything, one could argue that the major labels are victims of their o wn efforts
and must compete against the v ast back-catalogue that they created, available now at lower and lower
cost to the music lover.
Rather than seeing this as a f ailure, I regard it as an enormous ac hievement realised through
collaboration with generations of great musicians. Once the e xclusive province of kings, princes and
the wealthy, classical music is now available to a larger, and better informed, audience than at any time
in its history. In the case of Early Music, recordings allow us to go into the t ypes of spaces and
acoustics for which it was composed, using instruments of the period, or faithful copies. I find late
nights to be the perfect time to enjoy such music and it’s thanks to recordings that w e can. I hope this
collection brings you as much pleasure as I had in c hoosing it.
than 30,000 people. Hundreds of thousands hear its broadcasts on ABC Classic FM. In addition, the
orchestra tours nationally and has a regular commitment to performing in regional Australia.
The orchestra’s 14 discs for ABC Classics include four ARIA Award winners for Best Classical Recording.
Handel’s Concerto grosso in G major, Op. 6 No. 1, from the most recent of these, is giv en a tight,
dramatic reading complete with st ylish improvised cadenzas by the orchestra’s concertmaster of many
years, Lucinda Moon.
The 17th-century French composer Marc-Antoine Charpentier has achieved an entirely modern t ype of
fame, unimaginable in his lifetime. Without realising it, millions would recognise his music thanks to
the use of the Prelude to his Te Deum as Eurovision’s signature tune for many years. Little of
Charpentier’s music was published during his lifetime and his current popularity is an example of the
way in which the Early Music revival has, in effect, created a t ype of contemporary music tradition
almost from scratch for some composers.
Despite its sacred purpose, Charpentier ’s liturgical music is often highly theatrical. From 1687 he was
maître de musique of the Jesuit Church of St Louis, known to contemporaries as l’église de l’Opéra
through its regular employment of singers usually seen on the stage. A particularly delightful feature of
Charpentier’s Midnight Mass for Christmas is the use of noëls (carols) which enhance the delicate,
pastoral quality of the music.
Bassoonist and conductor Marc Minkowski founded Les Musiciens du Louvre in 1982 and the group
has been based in Grenoble since 1 996. They were chosen to perform at the recent gala reopening of
the magnificent Opéra Royal at Versailles after two years of restoration work. Originally dedicated to the
performance of French Baroque music, the group has e volved into a flexible ensemble that performs an
enormous range of music – e ven Bizet’s Carmen – using instruments appropriate to each period.
It seems entirely fitting that the first item should be from a recent ABC Classics release by the
Australian Brandenburg Orchestra, founded in 1989 by harpsichordist Paul Dyer. Having trained and
worked with such eminent European figures as Bob van Asperen, Sigiswald Kuijken and Frans
Brüggen, and building on the w ork of this countr y’s pioneers in the historical perf ormance field, Paul’s
extraordinary energy and vision has made the orc hestra a central feature of the musical landscape.
Since 2003 it has been a member of the Australian Major Performing Arts Group, making it one of 28
flagship national arts organisations supported b y the Australia Council for the Arts. Through its annual
subscription series, the Australian Brandenburg Orchestra performs for live audiences totalling more
The modern concert grand piano is an icon of classical music thanks to its e xpressive capabilities and
the fact that its sound can easily fill large halls. For many years it was assumed that composers such
as Bach and Mozart would have jumped at the chance to use it in preference to the instruments
available to them. This so-called ‘modern plumbing’ argument ignores the f act that few composers
actually expressed dissatisfaction with the instruments of their day. Mozart befriended t wo of the
greatest contemporary fortepiano makers – Johann Andreas Stein (1728-1792) and Anton Walter (17521826). He owned one of the latter’s instruments and wrote to his f ather of Stein’s that ‘whatever way I
strike the keys, the tone always remains even, never either jarring or failing to sound… The pains and
skill which Stein bestows on these pianos cannot be sufficiently repaid.’
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The American pianist Robert Levin is famous for improvising cadenzas in performances of Mozart
concertos, just as Mozart did himself. On this recording of the lo vely slow movement of the Piano
Concerto No. 11 in F major, KV413 he plays a modern copy of a Stein fortepiano from around 1785,
made in Amsterdam two hundred years later by Paul McNulty. This beautiful instrument combines a
crisp and clear bass with a pearl-lik e treble register that can create a singing line equal to that of an y
modern piano.
distinguished series of Bach recordings for ABC Classics, using an instrument made by Giovanni
Battista Guadagnini in Parma in 1759. The lively Gigue that I’ve chosen shows that Bach was never far
away from the dance in his music, in mark ed contrast to the humourless image that has ser ved him
so badly.
The American scholar-musician Joshua Rifkin first achieved public recognition with his Nonesuch
recordings of Scott Joplin’s piano music. These did a great deal to spark the ragtime revival of the early
1970s and actually preceded the use of J oplin’s music in the movie The Sting. In the early 1980s he
caused outrage by proposing the revolutionary theory that Bach’s choir was, in fact, nothing of the
sort. Presenting an impressive array of evidence, he argued that it consisted, instead, of a group of
soloists. Rifkin then made a persuasiv e one-to-a-part recording of Bach’s B minor Mass. We were
fortunate to hear him convincingly repeat this with a perf ormance broadcast by ABC Classic FM from
the Perth Festival a few years ago.
Like so many French and Flemish composers of the R enaissance, Josquin Desprez spent much of his
career in Italy, working for the court of Milan and at the Sistine Chapel in R ome. In 1502 the ducal
court of Ferrara poached him as its maestro di cappella and was willing to pay an extravagant salary for
the privilege. Josquin’s celebrated six-voice motet Praeter rerum seriem uses masterly interplay of
parts based on a simple plainchant melody with a text that refers to the Nativit y as ‘outside the natural
order of things’. Often compared to a magnificent architectural structure, music such as this illustrates
perfectly the inadequacy of words to describe what the imagination of a great composer can ac hieve
emotionally and intellectually in such a small space of time. F or me, the distinctive sound of Paul
McCreesh’s Gabrieli Consort is rather more ‘continent al’ than the usual English choral style, with a
robust and colourful flavour that suits such full-blooded polyphonic writing .
Over the years, Rifkin’s theory has won many supporters. He’s also made a startling series of Bach
cantata recordings. The opening chorus of ‘Liebster Gott, wenn werd ich sterben’, BWV8 is one of
the most beautiful of all B ach’s compositions – a rich and moving fantasia. As with so many of the
texts of his cant atas, death is the subject, holding out the promise of greater happiness in the af terlife.
In the shimmering instrumental writing, it’s hard not to imagine that we hear the tolling of funeral bells
and the sound of a ticking clock, representing our fleeting lives as they advance toward the inevitable.
We are indeed fortunate to have recordings of Bach’s music that enable us to live vastly more
pleasurable lives on earth than those of his contemporaries.
Formerly dismissive attitudes to Bach’s extremely prolific contemporary Georg Philipp Telemann have
improved in recent years as the breadth and quality of his music have become more apparent, thanks
to modern scholarship. Telemann was a composer for all seasons and one of the first to see himself as
a creative entrepreneur catering for a paying market. Aware of the growing middle-class desire for
printed works suitable for domestic music-making, he published a series of w ell-crafted chamber
music to suit players at all levels, from those of modest technical ability up to the highest
professionalism. The Trio Sonata in A minor shows what satisfying and enjoyable music he could
create with relatively modest means.
The old image of Bach as first and foremost a composer of religious music has gradually c hanged
thanks to a reassessment of his pre-L eipzig career at the court of the music-loving Prince Leopold of
Anhalt-Cöthen. One can only wonder what wealth of instrumental music Bach might have produced
had he been successful in gaining the emplo yment he sought at a great musical centre suc h as
Dresden. The few hours of chamber music by Bach that survive are certainly amongst the greatest
ever composed and central to these are the Sonatas and Partitas for Unaccompanied Violin.
As other-worldly as the music of B ach seems to us, he maint ained that it was simply the product of a
skill that could be acquired with practice and diligence. F or generations, music had been the B ach
family business, and his pride in the ac hievements of his predecessors is sho wn by the fact that he
carefully preserved an archive of their music. On his death in 1 750, this passed to his son Carl Philipp
Emanuel and eventually to Carl Friedrich Zelter, director of the Berlin Singakademie and teacher of
Mendelssohn, whose performance of the St Matthew Passion in 1829 sparked the Bach revival. Bach’s
great-uncle Heinrich was born 70 years before him, in 1615. His short cant ata Ich danke dir, Gott
(I thank thee, O God) shows that the family’s pride in its herit age was more than justified. Musica
Antiqua Köln, under its director Reinhard Goebel, joined forces with Hermann Max’s Rheinische
One of Australia’s finest violinists, Richard Tognetti is the Artistic Director and leader of the Australian
Chamber Orchestra, undoubtedly one of the w orld’s great medium-sized ensembles. He’s made a
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Kantorei to lovingly record music from the Bach family archive in the mid-1980s. I’m very pleased to
be able to include one of the re velatory performances from this landmark in the histor y of recording.
J.S. Bach was recognised by his contemporaries as one of the great k eyboard virtuosi of his day. The
pride that he took in his k eyboard music can be seen from the f act that the six Keyboard Partitas
were amongst the few items that he published during his lifetime. They are clearly designed for the
type of double-manual harpsichord of which Bach possessed a number. The Sydney-born harpsichordist
Nicholas Parle won the rarely-awarded First Prize in the International Harpsichord Competition in
Brugge in 1989. Since 2004 he has t aught at the Hochschule für Musik und Theater in Leipzig, the city
in which Bach worked for the last 27 years of his life.
Admired by Stravinsky, Carlo Gesualdo, Prince of Venosa, was for many years more famous for his
deeds than his music, having allegedly murdered his first wif e and her lover. Through its performances
of his passionate and occasionally intemperate v ocal works, the Consort of Musicke has made us
more aware of the full range of Gesualdo ’s personality and talent. His Fifth Book of Madrigals,
published in 1611, brings twisted chromatic harmonies to a t ypically tortured text. O dolorosa gioia
is full of exquisite contradictions, with its references to ‘sorrowful joy’, ‘sweet pain’ and ‘welcome
torments’, as if the miser y of unrequited love is something to be savoured.
Had Jean-Phillippe Rameau died before his 50th birthday, he would still be famous as one of the
greatest composers of harpsichord music and a revolutionary music theorist. Late in his career, he
embarked on the series of operas on whic h his reputation now rests. Perhaps the greatest
orchestrator before Berlioz, Rameau fills his music with delights and surprises. The suites of
symphonies extracted from these operas are great orchestral showpieces. Since its creation in the
early 1980s, Frans Brüggen’s Orchestra of the 18th Century has produced exciting performances
of Rameau’s music, notable particularly for rhythmic precision and a translucent string sound. The
first disc ends with a Chaco nne from Rameau’s biggest success, Castor and Pollux, first
performed in 1737. Over a repeated bass, the composer spins a w eb of great melodic invention and
gorgeous textures.
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Few composers symbolise the cur rent popularity of Baroque orchestral music better than the Red
Priest of Venice, Antonio Vivaldi. His hundreds of concertos fill the recording cat alogues, and
audiences show little sign of becoming bored with them. Sixt y years ago, only a handful of scholars
would have known much about Vivaldi’s music, but since The Four Seasons became a hit for I Musici
in 1955, millions have become fans. Founded in 1997 by Baroque scholar and harpsichordist Andrea
Marcon, the Venice Baroque Orchestra gives lively and stylish performances of his music, including the
Violin Concerto in G minor, RV325. With their impeccably t ailored suits, they are also one of the
best-dressed ensembles around.
Music of Brahms would appear not to belong in a collection of Early Music but this composer has an
honoured place in the histor y of the revival. A musician of insatiable curiosit y, the largely self-taught
Brahms strove to learn as much as he could from the music of the past, amassing a large collection of
original manuscripts. He corresponded with many of the important 19th-century musical scholars and
subscribed to all of the significant historical editions, studying the music in great det ail as each new
volume arrived. In addition to this prof ound knowledge of old music, he w as also capable of
appreciating the freshness and originalit y of Bizet’s Carmen, the unique genius of Dv ořák and the
unpretentious entertainments of his friend Johann Strauss II. Some of the earliest fr uits of his study of
Early Music can be heard in the Three Songs, Op. 42 composed in 1860. Using rich six-part writing,
the young composer explores a more polyphonic vocal texture than his contemporaries, subdividing
altos and basses, and heralding the fluid st yle of his later music. The use of antiphonal call-andresponse between the male and female voices suggests an awareness of the music of Gabrieli,
Monteverdi and the German composers that the y influenced, such as Heinrich Schütz.
Brahms thought the slow movement of Haydn’s Symphony No. 88 in G major one of the greatest
pieces of music ever written. Composed in the wake of the success of the six Paris Symphonies¸ this
is Haydn at his most witty and urbane. Against a delicate accompaniment, sometimes including
pizzicato strings, the beautiful theme played by the oboe disproves the claim, still heard from time to
time, that Haydn didn’t have Mozart’s melodic gift. This is also the first of Ha ydn’s symphonies to use
trumpets and timpani in a slo w movement and their sudden, completely une xpected arrival shocked
audiences at the time. Once the w orld’s most famous recorder player, as a conductor Frans Brüggen
has revealed hidden subtleties in what can so easily appear to be simple and straightf orward music.
As an advocate for Haydn, he has few rivals.
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The 16th-century Flemish composer Giaches de Wert found himself in Italy at an even earlier age than
his contemporaries, when he was employed as a boy singer in the household of Maria di Cardona,
Marchesa of Padulla. One of the greatest madrigalists before Monteverdi, he later worked for the
powerful Gonzaga family in Mantua, while also being closely connected to the rival Este court in Ferrara.
Grazie ch’a pochi sets a text by the great Italian poet Petrarch which catalogues in detail the lover’s
many virtues. Based in Sydney, The Song Company is a widely admired, full-time professional vocal
ensemble which has made a significant contribution to the performance of music from many eras. Their
ABC Classics CD devoted to the Flemish in Italy during the Renaissance is a great favourite of mine.
Fortepiano Competition in Brugge in 1986. His ability to balance the quixotic against the tasteful and
refined in music of this period mak es him one of its most persuasiv e interpreters.
The clavichord is an instrument that you’re very unlikely to hear in a concert hall due to its whisper -like
softness, though recording-studio microphones can turn it from David into Goliath. The simplest of
keyboard instruments, it produces its tone b y striking a metal tangent against the string. An extremely
expressive instrument within a narrow dynamic range, the clavichord found a special place in man y
musical homes. The great Dutch harpsichordist Gustav Leonhardt was one of the first pla yers to use
faithful copies of period instruments rather than the unresonant, modern ‘h ybrid’ harpsichords favoured
until the early 1960s. He’s also been an eloquent adv ocate on disc for the clavichord. The composer
Christian Ritter spent much of his career working at the Swedish court and the handful of his k eyboard
works that survive, including this Suite in F-sharp minor, suggest the loss of great ric hes.
Speaking of wonderful melodies, it would be hard to beat the noble tune that Handel serves us in the
opening of the Sonata in five parts, HWV288. He obviously thought so, and reused it in a number of
other works. Effectively a violin concerto, this is one of m y favourite pieces of Handel, and Simon
Standage’s performance has always seemed to me close to ideal.
The motet Vestro Principe divino shows us another side of the prolific Vivaldi, who as well as writing
some 500 concertos also composed a great quantit y of sacred and secular v ocal music ranging from
solo motets to large-scale works for full choir. I’ve chosen another performance by the Australian
Brandenburg Orchestra, from their mar vellous all-Vivaldi CD with star countertenor Andreas Scholl.
When released internationally ten years ago it brought the orchestra the international recognition it
deserved, culminating in a sold-out BBC P roms performance at the Royal Albert Hall in 2001 which the
critic of The Guardian described as ‘an event that just seemed to stop the audience in its trac ks – and
had everyone roaring for more. The whole concert was just bliss, every single stupendous second of it.’
Given the sheer quantity of music that the numerous surviving Bach cantatas contain, it can be
difficult for the average listener to keep track of the many individual gems. ABC Classics did all of us a
great favour by bringing together the beautiful voices of Sara Macliver and Sally-Anne Russell for a
selection some of the most tuneful arias and duets. This delightful disc has been an audience favourite
since it was released in 2003. The dance-like duet Entziehe dich eilends evokes the joy of heaven,
where the soul who withdraws from the world will find true pleasure.
Purcell, too, could cert ainly write a memorable tune and Halcyon Days is so good that for many years
it was assumed to be his. In f act it was actually composed by his pupil John Weldon for a
performance of The Tempest as late as 1712. It’s simple and satisfying . The singer is Catherine Bott,
who also presents Early Music on BBC Radio 3.
Little is known about the English composer Robert Parsons but his fine Ave Maria written in the
1560s is a favourite with choirs. There is a strong possibilit y that Parsons, like William Byrd, was a
Roman Catholic at a time when this w as dangerous to say the least. Some suggest that the setting
may refer as much to Mary Queen of Scots as the Virgin Mary. The versatile Sydney-based chamber
choir Cantillation was founded in 2001 by Antony Walker and Alison Johnston and is heard often on
ABC Classic FM in live performances and from its many excellent ABC Classics discs.
Bach’s son Carl Philipp Emanuel w as court harpsichordist to the flute-playing Prussian monarch Frederick
the Great, later becoming director of music f or the city of Hamburg. The author of an influential treatise
on keyboard playing, his music, such as this Trio Sonata in C major , represents a fascinating transition
between the Baroque and Classical eras, in which elements of both coexist. The Australian fortepianist
Geoffrey Lancaster has achieved international recognition since winning the International Mozart
Before the violinist Reinhard Goebel sadly decided to disband Musica Antiqua Köln in 2007, the group
had made many outstanding recordings for Deutsche Grammophon’s Archiv label. Quite a few
previously unheard composers have become a regular part of our musical diet thanks to these
dramatic and exciting performances. Reinhard Goebel has long been f ascinated by the celebrated
virtuosic Dresden court orchestra that flourished at the same time as B ach’s unhappy years in Leipzig.
This led to a series of discs de voted to the music of J ohann David Heinichen who studied in Venice
and was a colleague of Bach’s during his halcyon days in Cöthen. Heinichen brought all of these
experiences with him to the Dresden court of Augustus the Strong who ruled simultaneously as the
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Elector of Saxony, King of Poland and Grand Duke of Lithuania. Augustus is also reputed to ha ve
fathered more children out of wedlock than any other European monarch. Dresden was full of religious
tensions that would explode in later years but its legacy of fine porcelain and great music, including
Heinichen’s Concerto in F major, can still give us much pleasure. Reinhard Goebel remains one of the
most impressive musical intellects alive and his career as a conductor promises ne w illuminations for
music lovers and musicians, as members of the Melbourne S ymphony Orchestra recently discovered
when working with him.
Executive Producers Martin Buzacott,
Robert Patterson
Mastering Albert Zychowski, Sony DADC
Editorial and Production Manager Hilary Shrubb
Publications Editor Natalie Shea
Booklet Design Imagecorp Pty Ltd
Cover Photo Carlos Davila / Getty Images
Simon Healy
Presenter, Up Late
10.30pm – 12.30am Monday – Thursday nights on ABC Classic FM
For details, visit abc.net.au/classic
For ABC Classic FM
Manager Richard Buckham
Program Director Wendy McLeod
Marketing Manager Emma Paillas
ABC Classics thanks Alexandra Alewood, Katherine
Kemp and Virginia Read.
CD1 6-8, 0-%, &, *, CD2 1-7, 9, ^-(, ¡-¢ licensed
from Universal Music Australia Pty Limited.
 1983 CD1 &;  1989 CD1 8;  1995 CD1 7, CD2 (
Decca Music Group Limited.  1985 CD2 ^-*;  1986
CD1 %;  1993 CD1 0, CD2 ¡-¢;  1997 CD1 6;  2006
CD2 1-3 Deutsche Grammophon GmbH, Hamburg .  1990
CD1 *, CD2 7, 9;  1992 CD2 4-6;  1996 CD1 !-$
Universal International Music B.V.  1997 CD2 $;  1998
CD2 8;  2000 CD2 0-£;  2003 CD2 %, );  2005
CD1 9;  2008 CD1 ^;  2009 CD1 1-5 Australian
Broadcasting Corporation.
This compilation was first published in 2010 and any and all
copyright in this compilation is o wned by the Australian
Broadcasting Corporation. © 2010 Australian Broadcasting
Corporation. Distributed in Australia and New Zealand by
Universal Music Group, under exclusive licence. Made in
Australia. All rights of the owner of copyright reserved. Any
copying, renting, lending, diffusion, public performance or
broadcast of this record without the authorit y of the copyright
owner is prohibited.
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