Description

Trio Settecento explores the gorgeous colors of German Baroque sonatas with a variety of continuo instruments: harpsichord, organ, viola da gamba, and baroque cello.

Track Listing

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Schop_Nobleman_excerpt.mp3
Schop: Nobleman

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Schmelzer_Sonata_in_D_minor_excerpt.mp3
Schmelzer: Sonata in D minor

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Muffat_Sonata_in_D_major_excerpt.mp3
Muffat: Sonata in D major

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Krieger_Sonata_in_D_minor_excerpt.mp3
Krieger: Sonata in D minor, Op. 2, No. 2

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Buxtehude_Sonata_in_C_major_excerpt.mp3
Buxtehude: Sonata in C major, Op. 1, No. 5

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Bach_Fugue_in_G_minor_excerpt.mp3
Bach: Fugue in G minor, BWV 1026

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Erlebach_Sonata_in_A_major_excerpt.mp3
Erlebach: Sonata No. 3 in A major

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Pisendel_Sonata_in_D_major_excerpt.mp3
Pisendel: Sonata in D major

http://media.rachelbartonpine.com/audio/16/TrioSettecento_Bach_Sonata_in_E_minor_excerpt.mp3
Bach: Sonata in E minor, BWV 1023

About

CEDILLE RECORDS 90000 114
A GERMAN BOUQUET
TRIO SETTECENTO
RACHEL BARTON PINE, VIOLIN
JOHN MARK ROZENDAAL, VIOLA DA GAMBA AND ‘CELLO
DAVID SCHRADER, HARPSICHORD AND ORGAN

Producer: James Ginsburg
Engineer: Bill Maylone
Art Direction: Adam Fleishman / www.adamfleishman.com
Cover Painting: Still Life with a Wan’li Vase of Flowers (oil on copper), Bosschaert, Ambrosius the Elder (1573-1621) / Private Collection / Johnny Van Haeften Ltd., London / The Bridgeman Art Library
Recorded June 16, 17, 19, 23, and 24, 2008 in Nichols Hall at the Music Institute of Chicago, Evanston, Illinois

Instruments:
Violin: Nicola Gagliano, 1770, in original, unaltered condition
Violin Strings: Damian Dlugolecki
Violin Bows: Harry Grabenstein, replica of early 17th Century model (Schop, Schmelzer) / Louis Begin, replica of 18th Century model
Bass Viola da Gamba: William Turner, London, 1650
’Cello: Unknown Tyrolean maker, 18th century (Piesendel)
Viola da Gamba and ’Cello Bow: Julian Clarke
Harpsichord: Willard Martin, Bethlehem, Pennsylvania, 1997. Single-manual instrument after a concept by Marin Mersenne (1617), strung throughout in brass wire with a range of GG-d3.
Positiv Organ: Gerrit Klop, Netherlands (Schmelzer, Krieger, Bach Fugue, Erlebach I and VI)
Tuning: Unequal temperament by David Schrader, based on Werckmeister III

Personal Note

Trio Settecento formed in 1997, after the release of our album of Italianate sonatas by Georg Frideric Handel. On that recording, and for our first few concerts consisting of mostly 18th century Italian repertoire, John Mark played ‘cello and David played harpsichord. This was also the instrumentation for our most recent recording together as Trio Settecento, An Italian Sojourn.

As we expanded our repertoire in the late 1990s, we added music from France and Germany. Our desire for historical accuracy demanded we use different instrumentation for many of these pieces. We found that replacing the ‘cello with the viola da gamba brought the music to life with a new palate of colors. I’ve greatly enjoyed exploring the character of the viol and how best to blend (or contrast) the violin with its beautiful cousin. Having collaborated for more than a decade with gamba players, there are always more insights to be discovered.

While Trio Settecento initially learned the entire repertoire on A German Bouquet with David playing harpsichord, we felt that using a variety of keyboard instruments would enhance our interpretations. We experimented extensively and carefully chose the particular instruments that were best suited to each piece (or movement). The inclusion of the positiv organ required significant adjustments. The change from a plucked instrument to a wind instrument altered everything from our tempi to our articulations and even our most fundamental ideas about mood and character.

Thank you for joining us on our musical exploration of Germany. We hope that you enjoy all of the beauties we have picked for you: Erlebach’s heartbreakingly gorgeous harmonies, Pisendel’s brilliance, Muffat’s imagination, Buxtehude’s cheerfulness, and Bach’s profound mastery. We look forward to our future journeys together including visiting France and the British Isles.

Press

PERFORMANCE ★★★★★
“A disc of fascinating music, played with real authority and flair… In this survey, spanning almost the whole of the German Baroque period, [Rachel Barton Pine] gives spirited and imaginative performances of continuo-accompanied sonatas… John Mark Rozendaal matches her agility in trio sonatas… while elsewhere combining with David Schrader as an ideally supportive continuo team.”
BBC Music Magazine

“Trio Settecento delights from first track to last… The virtuosity and spirit are stunning here, going from one set of interesting musical challenges to the next, and carrying us along for the ride in a spate of emotional bliss. For those who think all Baroque music sounds alike, listen carefully to this disc, as it will prove quite the eye-opener. Barton Pine and associates have done it again, and further trips to England and France are promised. Enthusiastically recommended!”
Audiophile Audition

“Lively, poignant, and exciting by turns. The performances are festive, imaginative, intense, and simply a joy to listen to. Combine the Trio’s eloquent playing with Cedille’s unparalleled audio reproduction, and you get yet another of Ms. Pine’s exquisite recordings.”
Classical Candor

“A CD that it’s extremely easy to like very much indeed.”
Classical Net

“The music is lovely, and the playing exceptional.”
Strings

“The quality of the music here is matched by the talent of the musicians. They cover the range of emotions required by each piece with incredible ease.”
American Record Guide

“The repertoire provides for a kind of collegiality in which the Trio revels in this varied program… Strongly recommended for its exuberant, virtuosic music-making, elegant yet without a trace of slickness and serious without a trace of ponderousness.”
Fanfare

Read Florolegium: A German Bouquet, an essay by Mark Rozendaal