Aureole etc.




Nimbus on-line




If it’s the Czech works you’re after, do not hesitate

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider

 


Enjoy the Gothenburg Symphony Orchestra wherever you are. App available for iOS and Android


Mahler symphony 6 Nott


Vaughan Williams Symphony 3 etc.


Lyrita New Recording


Lyrita Premiere Recordings

Lyrita 4CDs £16 incl.postage

Lyrita 4CDs £16 incl.postage


Decca Phase 4 - 40CDs


Judith Bailey, George Lloyd


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

 

 

 

REVIEW



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

alternatively
CD: MDT AmazonUK AmazonUS
Sound Samples & Downloads

Johann David HEINICHEN (1683-1729)
Overture in G (S 206) [14:40]
Christoph GRAUPNER (1683-1760)
Overture for 3 chalumeaux, strings and bc in C (GWV 409) [20:27]
Johann Friedrich FASCH (1688-1758)
Overture for two orchestras in B flat (FWV K,B1) [22:47]
Johann Gottlieb GRAUN (1703-1771)
Overture in d minor [08:05]
Hans Rudolf Stalder, Heinz Hofer, Elmar Schmid (chalumeau) (Graupner)
Cappella Coloniensis/Hans-Martin Linde
rec. 9 November 1987, 18 May 1988, Kulturzentrum in Lindlar; 26 January 1991, Kurtheater in Bad Oeynhausen
PHOENIX 173 [66:03]

Experience Classicsonline


It is admirable that the German label Phoenix is releasing recordings from the archives of the German radio channel WDR3 in Cologne. Some of them have been previously released by another German label, Capriccio. It would have been even better, if the production had been more careful. The recording date of the Fasch Overture is not given, the date of the Graupner is printed as 26.012991 which I have interpreted as 26 January 1991, but your guess is as good as mine. And on top of it the liner-notes are not particularly informative and partly speculative.
 
I had expected the author of the liner-notes to explain, for instance, that all four compositions are called 'Overture', but that Graun's Overture is fundamentally different from the other three. The Overtures by Heinichen, Graupner and Fasch are written in the tradition of the French-style overture-suite, which was very popular in Germany in the first half of the 18th century. It was modelled after the overtures of the French opera composer Jean-Baptiste Lully, although he would probably not have recognized them as French. They are called 'overture' after the first movement which is always in ABA form. It is followed by a series of dance movements and 'airs'.
 
The most traditional scoring of this kind of Overtures was strings and bc, with two oboes and bassoon. That is the scoring of the Overture in G by Johann David Heinichen. In his liner-notes Benjamin Ivry writes: "Heinichen received a law degree from Leipzig University, which may account for the sometimes acerbic, willful edge to his melodies, as well as their rhetorical mastery". I don't see what the law degree has to do with the character of Heinichen's music, whose description is questionable anyway. Mastery of rhetoric is nothing exceptional: all German composers of that time had been thoroughly taught in musical rhetoric, as this was one of the basics of musical composition. Heinichen was, like Christoph Graupner, a pupil of Johann Kuhnau, the Leipzig Thomaskantor until his death in 1722. He was one of Germany's most acclaimed music teachers, so that is where both got it from.
 
It is another mark of this production that only in Graupner's case is the scoring given. Here we have a piece without oboes and bassoon. The strings are joined by three chalumeaux - the liner-notes don't even mention them. The chalumeau is often described as the predecessor of the clarinet, but that isn't quite true. In a serenade by Telemann, for instance, both instruments appear alongside each other. Telemann was one of the first who wrote for the chalumeau, and the instrument also frequently appears in music by Graupner. The role of the three chalumeaux in this Overture is different from that of the oboes and the bassoon in Heinichen's Overture. The latter play mostly colla parte with the violins, and are only used as solo instruments in the B sections of the bourrée and rigaudon. The chalumeaux in Graupner's Overture are true solo instruments which play the central role in the whole work.
 
Like Graupner Johann Friedrich Fasch was considered one of Germany's leading composers in the first half of the 18th century. And like Heinichen and Graupner he had been a pupil of Kuhnau in Leipzig. For two years he worked in Dresden, where he met Heinichen again, who was Kapellmeister at the court. Like Telemann Fasch wrote a large number of orchestral overtures. This Overture in B flat is notable for its scoring for two instrumental groups. The strings are joined here by two oboes and two bassoons, divided over the two orchestras.
 
Lastly, Johann Gottlieb Graun. He was one of two brothers; the other being Carl Heinrich. The latter was mainly known for his vocal music, in particular his operas, and his oratorio Der Tod Jesu. Johann Gottlieb composed mainly instrumental music, although it isn't always possible to be sure which of the two is the composer: they mostly signed their works with 'Graun', without Christian name. As already indicated, the piece played here may be called 'Overture', but it is quite different from the other Overtures. It consists of two movements without tempo indication. The first is in two sections: slow - fast. The fast section is by far the longest, and towards the end Graun returns briefly to the slow first section. But it is certainly no dacapo, so the structure of this movement is not ABA as in the traditional overtures. The second movement is again in a fast tempo. This Overture is much more like an Italian opera overture, and stylistically it belongs to another era. That is also reflected by the inclusion of two horn parts in the scoring. Horns were seldom used in baroque music, but in the second quarter of the 18th century they were becoming more and more a standard part of the orchestra.
 
This disc is commendable mainly because of the repertoire. The recordings are about twenty years old, and that shows. Furthermore, Hans-Martin Linde - originally a recorder player - has never been the most flamboyant of conductors, and sometimes the performances are a bit awkward, for instance the first movement of Heinichen's Overture in G. In comparison the recording of a number of Heinichen's concertos by Musica antiqua Köln (Archiv, 1992) is a lot better. But Fasch and Graun are well done, and the Overture by Graupner is really worthwhile, in particular because of the contribution of the three chalumeaux.
 
All in all, this is a nice disc to listen to and it is good that these recordings are available again, even though the performances are not top notch. If only Phoenix had been more careful.
 
Johan van Veen
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools






Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.