Italian Flute Concertos by Jed Wentz / Musica Ad Rhenum

Jed Wentz / Musica Ad Rhenum

Italian Flute Concertos

Format: CD
Label: Challenge Classics
UPC: 0608917203127
Catnr: CC 72031
Release date: 01 January 1997

1 CD

Label
Challenge Classics

UPC
0608917203127

Catalogue number
CC 72031

Release date
01 January 1997

Album

Artist(s)

Composer(s)

About the album

On this album flutist Jed Wentz and Musica Ad Rhenum play flute concertos by the Italian baroque composers Antonio Vivaldi, Giovanni Battista Ferrandini, Tomaso Albinoni, Baldassare Galuppi, Giuseppe Tartini, Tommaso Giordani.

Italiaanse fluitconcerten uitgevoerd door excellent ensemble
Dit album bevat fluitconcerten van de Italiaanse barokcomponisten Antonio Vivaldi, Giovanni Battista Ferrandini, Tomaso Albinoni, Baldassare Galuppi, Guiseppe Tartine en Tommaso Giordani. De concerten worden uitgevoerd door fluitist Jed Wentz en zijn ensemble Musica Ad Rhenum.

Jed Wentz is actief als fluitist, docent en onderzoeker. Hij doet onderzoek op het gebied van historische uitvoeringen van muziek voor 1800. Hij is docent fluit aan het Conservatorium van Amsterdam, en geeft daar ook algemene lessen over de geschiedenis en uitvoeringspraktijk van oude muziek. Wentz treedt op met belangrijke oude muziekensembles, zoals Musica Antiqua Köln en het Gabrielli Consort, en heeft meer dan 30 albums opgenomen. Bovendien is hij sinds 2012 artistiek adviseur bij het Festival Oude Muziek in Utrecht.

Musica Ad Rhenum is in 1992 opgericht door Jed Wentz. Het ensemble speelt voornamelijk 18e-eeuwse kamermuziek, maar daarnaast staan er ook opera’s op het programma. Ze treden op in concertseries en op internationale festivals. In juni 2009 schreef het Financieel Dagblad over dit ensemble: “Een fijne dirigent trouwens [Jed Wentz], die heel mooi spanning en ontspanning suggereert. Inspirerend hoe hij de natuurlijke adem van de muziek in zijn fysiek vertaalt. […] Zijn Musica ad Rhenum […] musiceert op het scherpst van de snede. Nergens grof of met overdaad, en ze pakken de soms ambitieus hoge tempi moeiteloos op!”

Artist(s)

Jed Wentz

Jed Wentz graduated from the Oberlin Conservatory of Music, where he studied with Robert Willoughby. He continued his studies with Barthold Kuijken at the Royal Conservatory in The Hague, receiving a Soloist Diploma in 1985. In 1987 he joined Musica Antiqua Köln. In 1992 he founded the early music ensemble Musica ad Rhenum, a group devoted to the application of information from original sources in order to recreate the virtuosic and expressive perfomances of the 18th century. Jed Wentz communicates his musicological discoveries not only through his performances, but also in lectures and articles. He teaches at the Sweelinck Conservatory in Amsterdam.

Jed Wentz graduated from the Oberlin Conservatory of Music, where he studied with Robert Willoughby. He continued his studies with Barthold Kuijken at the Royal Conservatory in The Hague, receiving a Soloist Diploma in 1985. In 1987 he joined Musica Antiqua Köln. In 1992 he founded the early music ensemble Musica ad Rhenum, a group devoted to the application of information from original sources in order to recreate the virtuosic and expressive perfomances of the 18th century. Jed Wentz communicates his musicological discoveries not only through his performances, but also in lectures and articles.
He teaches at the Sweelinck Conservatory in Amsterdam.

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Anton Steck

Steck began studying the modern violin with Jörg-Wolfgang Jahn in Karlsruhe and the baroque violin with Reinhard Goebel in Cologne. After his studies he served as concertmaster for Musica Antiqua Köln and the French ensemble Les Musiciens du Louvre under Marc Minkowski. With these ensembles he gave concerts worldwide and has participated in more than thirty album recordings. In 1996 he co-founded the Schuppanzigh Quartet, where he was first violinist. From 2005 to 2008 he was concertmaster of Concerto Köln. In 1997 he made his conducting début with the Handel Festival Orchestra Halle, where he has been artistic director since 1999. His repertoire ranges from early Baroque to the sonatas and violin concertos of Louis Spohr. The recording of the Sonatas KV 55-60 by Mozart and...

His repertoire ranges from early Baroque to the sonatas and violin concertos of Louis Spohr. The recording of the Sonatas KV 55-60 by Mozart and sonatas by Johann Georg Pisendel been awarded several international record prizes.

Steck, since 2000, is professor of baroque violin and conductor of the Baroque Orchestra of the National Academy of Music Trossingen. He is married to Marieke Spaans who also teaches at the Musikhochschule Trossingen.
Steck plays a Jakob Stainer violin from 1658 and a Alessandro Gagliono from 1701. In 2011, Steck was a judge at the MAFestival in Bruges.

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Musica ad Rhenum

Musica ad Rhenum, founded in 1991 by a group of enthusiastic young musicians specialized in the performance of 17th- and 18th-century music on period instruments, has performed for radio, television and in concerts throughout Europe as well as in festivals in Spain, Germany, Holland, Iceland, Brazil and Argentina. The group's name - latin for Music on the Rhine - reflects the determination of its members to combine the latest musicological research and playing styles associated with the Rhenish cities Basel and Cologne with their own vision of authentic Baroque performance practice. The ensemble's emphasis on musicological research, however, does not exclude the element of personal expression from their playing style. As one reviewer put it: “Musica ad Rhenum is more than just a musicological experiment. The results of research express themselves in joyful and convincing performances full of swager and daring”.
In thus combining musicology and personal inspiration to achieve a moving musical experience, the musicians of Musica ad Rhenum are following the advice of the English poet Dryden, who, in his Essay on Dramatic Poesy (1684) wrote that art should be follow nature, not slavishly on foot, but rather, with unbridled imagination and fantasy, mounted on the back of winged Pegasus.

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Nico de Gier

Job ter Haar

Christoph Mayer

Marcelo Bussi

Composer(s)

Antonio Vivaldi

Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some...

Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons.
Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died less than a year later in poverty.

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Baldassare Galuppi

Galuppi, pupil of Lotti, was one of the most popular and successful Venetian 18th-century composers and received high praise for his operas by Burney in his travel reports. He praised the refined melodies and the dramatic effects. At the beginning of the 1740’s, Galuppi visited London, were operas such as Scipione in Cartagine and Sirbace became very successful.
Back in Venice, he was appointed as chapel master of the San Marco in 1762; he also became director of the conservatory degli incurabili. From 1765-1786, he stayed at the court of St. Petersburg at the invitation of Catharina the Great.
In La diavolessa, it is not about unusual mistaken identities and Machiavelli-like techniques before everything ends with a happy end in the best opera buffa style. In Il mondo alla roversa, he worked with Goldoni as librettist, which naturally resulted in a comic opera, in which the world is indeed turned upside down. The subtitle is Le donne che commando, and the women are indeed in command. Other operas which originated in collaboration with Goldoni are l’Arcadia in Brenta (1749), Il filosofo di campagna (1751) and Le nozze (1755); in contrary, Il re pastore has a libretto by Metastasio.
Of Galuppi’s about ninety piano sonatas, only the fifth is fairly known, mainly since it was part of Michelangeli’s repertoire. At the first introduction, the work seems a model of simplicity, but it is in fact through-composed, ingeniously based on continuously returning material.
(Source: Musicalifeiten.nl)

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Giuseppe Tartini

Giuseppe Giordani

Giovanni Battista Ferrandini

Tomaso Albinoni

Albinoni studied violin and voice, but in the art of composing he was completely self-taught. He was born to a rich family, and he didn't have to work for the church (unlike his contemporaries such as Vivaldi, Zani and Geminiani), which gave him a lot of time and finances to work on his compositions from an early age. His first opera Zenobia, regina de Palmireni was performed in Venice for the first time in 1694. Even though he quickly grew to fame as a composer, little is known of Albinoni's life. He married in 1705, and the Kapellmeister of the St Mark's Basilica, his friend Antonio Biffi, was his best man at the wedding. Otherwise it seems he had little contact with the musical establishment of Venice, even though his operas were quite popular in the Italian cities. In 1722, Maximilian II of Bavaria invitied him to perform two of his operas in Munich. Around 1740, a collection of violin sonatas by Albinoni was published posthumously by a French editor. For a long time, people thought he had already died by then, but in reality he was living a secluded life in Venice, where he died at the age of 80 from diabetes.

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