Organ Concertos by Ton Koopman / Catherine Manson / Amsterdam Baroque Orchestra

Ton Koopman / Catherine Manson / Amsterdam Baroque Orchestra

Organ Concertos

Price: € 12.95
Format: CD
Label: Challenge Classics
UPC: 0608917239027
Catnr: CC 72390
Release date: 01 October 2010
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Label
Challenge Classics

UPC
0608917239027

Catalogue number
CC 72390

Release date
01 October 2010

"this disc will certainly brighten up your shelves"

Early Music Today, 01-9-2011

Album

Artist(s)

Composer(s)

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About the album

It is unclear how many organ concertos Joseph Haydn has written in total. Several of them are of doubtul authorship. Previously, ten concertos were attributed to Haydn, but these days, scholars have serious doubts about at least four of them. There is also discussion about the particular solo instrument for which the concertos were written. In the second half of the 18th century, the German word ‘Klavier’ denoted at least four instruments: pianoforte, harpsichord, organ en clavichord. There is little chance that these concertos were written for clavichord, mostly because it is unable to produce the required volume. The pianoforte is an instrument that plays a more prominent role in Haydn's later works, but was not yet in fashin when Haydn was 'Kapelmeister' at the court of Esterhazy.

There are also some indications that Haydn himself had the organ or harpsichord in mind for instance for the Concerto in C Hob.XVIII. He mentions so in the so-called ‘Entwurf-Katalog’, in which Haydn listed all of his own works.

These early concerto's are not about 'showing off' of one's solistic qualities, but more about the creative mixture and combining of solo and tutti, and finding new colours.

De altijd levendige muziek van Joseph Haydn in een tintelende en energieke interpretatie van Ton Koopman en zijn Amsterdam Baroque Orchestra
Dit album bevat twee orgelconcerten en een concert voor orgel en viool van Franz Joseph Haydn. De concerten worden uitgevoerd door het Amsterdam Baroque Orchestra onder leiding van Ton Koopman en soliste Catherine Manson op barokviool. Haydn's solopartijen zijn niet gemakkelijk maar de virtuositeit is hier niet het hoofdthema: het gaat meer om de coherentie tussen solist en orkest, dus over de eenheid.

Het is onduidelijk hoeveel orgelconcerten Hadyn heeft gecomponeerd. Wetenschappers twijfelen over het auteurschap van minstens vier van de tien orgelconcerten die eerder aan Hadyn zijn toegeschreven. Het is ook niet duidelijk voor welk solo-instrument de concerten zijn geschreven, al is orgel wel het meest waarschijnlijk. In deze vroege concerten draait het niet om de solist die pronkt met zijn kwaliteiten, maar om de creatieve combinatie van solo en tutti en het vinden van nieuwe klankkleuren.

Ton Koopman vervult op dit album zowel de rol van dirigent als organist.

Die lebendige Neueinspielung präsentiert zwei Orgelkonzerte und ein Konzert für Orgel und Violine von Joseph Haydn. Lange wurden ihm 10 Konzerte zugeschrieben, aber jetzt zweifelt man bei mindestens vier dieser Werke ernsthaft an Haydns Urheberschaft.

Artist(s)

Ton Koopman

Catherine Manson

Catherine Manson enjoys a versatile performing career specialising in period performance as a soloist, chamber musician and orchestral leader. She was appointed as leader of the Amsterdam Baroque Orchestra in 2006
As first violinist of the classical London Haydn Quartet she has performed in venues such as the Concertgebouw, Amsterdam, the Library of Congress, Washington and London’s Wigmore Hall in addition to starting several new concert series in the UK. The quartet’s recent recordings for Hyperion and Glossa have met with high critical acclaim.

She is regularly invited as a guest leader for projects with ensembles including Smithsonian Chamber Players and Santa Fe Pro Musica in the USA, Il Gardellino and Ensemble Explorations in Belgium.
She has appeared frequently as a chamber musician together with such artists as Ton, Koopman, Trevor Pinnock, Anner Bylsma, Malcolm Bilson, Steven Isserlis and Michael Chance, and has also recorded for Hyperion, Dorian, Glossa, ASV and Teldec, in addition to many radio recordings and broadcasts worldwide.

Ton Koopman (1944) studied organ (Simon C. Jansen), harpsichord (Gustav Leonhardt) and musicology in Amsterdam and was awarded the Prix d’Excellence for both instruments. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of his Amsterdam Baroque Orchestra (founded 1979) & Choir (1993) he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Theatre des Champs-Elysées in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center in New York, and leading concert halls in Vienna, London, Berlin, Brussels, Sydney, Melbourne, Madrid, Rome, Salzburg, Tokyo and Osaka.Ton Koopman edited the complete Handel Organ Concertos for Breitkopf & Härtel and will edit a number of Buxtehude works for Carus Verlag. He is president of the International Dieterich Buxtehude Society.He recorded a.o. for Erato, Teldec, Sony, Philips and DGG. In 2003 he created Antoine Marchand, his own sub-label of Challenge Records. Here he publishes the Complete Bach Cantatas, as well as his other recent and future recordings, including this Complete Buxtehude project.

Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality.
Teaching has always been an important part of her musical life; in 2001 she co-founded and now directs MusicWorks an organisation which runs chamber music courses for young people. In addition to giving classes at the Royal Academy of Music and King’s College, London she has taught at the Baroque Performance Institute in Oberlin College, USA, and the Domaine Forget chamber music courses in Canada. She is on the faculty of the Granada Festival’s Musical Interpretation summer course for students interested in further study of period instrument playing.