Vinciane Baudhuin

Les Nations - Ouvertures & Oboe Concerti

Price: € 20.95
Format: SACD
Label: Challenge Classics
UPC: 0608917266924
Catnr: CC 72669
Release date: 27 February 2015
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Label
Challenge Classics
UPC
0608917266924
Catalogue number
CC 72669
Release date
27 February 2015

"''I could say something about the con brio: at the beginning of the Nations you can't deny that a little bit more colour in the dynamics and finishing the trillers, that would make it more exiting: now it's quite set and straight, and the great hoboplayer could have played in more long notes and let us hear some more vibrato.''"

Luister, 04-1-2016
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Artist(s)
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About the album

As few other composers, Georg Philipp Telemann (1681-1767) successfully drew on all the national styles and prevailing genres of his time in creating his enormous body of work, for which he received immediate acclaim: in Telemann we encounter one of the most versatile composers of the first half of the 18th century.

In an instalment of his much talked-of periodical ‘Der Critische Musicus’, which was published in 1745, Johann Adolph Scheibe expressed his surprise and admiration about the fact “that Telemann practises almost all musical genres and national styles with the same ease and eloquence, without confusing or corrupting his taste in the least.” In the oboe concertos and orchestral suites Telemann does indeed deploy, to his heart’s content, an entire wardrobe-full of different (dance) costumes for his playful encounters with (other) nations, yet he never stoops to tackiness. It is this gift that sets him apart from his contemporaries and makes him such a fascinating figure among the protagonists who shaped the landscape of our musical history.
Internationale muzikale ontmoetingen van een fascinerende componist
In deze opname speelt hoboïste Vinciane Baudhain samen met het kamerorkest Bach Concentus levendige ouvertures en hobo-concerten van Georg Philipp Telemann. Een misschien minder bekende, maar beslist geen mindere componist dan Johann Sebastian Bach was. Dit album van Bach Concentus is een waar genoegen om naar te luisteren en een ideale kennismaking met Telemanns orkestmuziek. "Het kleine strijkorkest speelt hier heel geconcentreerd en goed op elkaar afgestemd." Kulturradio rbb, april 2015.

Als geen ander verstond Georg Philipp Telemann (1681-1767) de kunst om de meest diverse intenationale stijlen en heersende genres succesvol in zijn enorme oeuvre te verwerken. Iets waarvoor hij al tijdens zijn leven erkenning kreeg. Alles bij elkaar genomen heeft hij meer cantate-cycli, oratoria en missen geproduceerd dan zijn illustere tijdgenoot Bach. En meer opera's, orkestrale- en kamermuziek geschreven dan Georg Friederich Händel. Hoe hij het voor elkaar kreeg? Hij was er een meester in om zijn drukke agenda te bewaken. Hij was leraar, dirigent, publiek figuur en uitgever tegelijk, maar vond ook nog de tijd om voor z'n plezier allerlei instrumenten te bespelen, zoals viool, cello, fluit, hobo en verschillende toetsinstrumenten.Telemann was beslist een van de veelzijdigste componisten van de eerste helf van de 18e eeuw.

In zijn veelbesproken tijdschrift Der Critische Musicus uit 1745, sprak Johann Adolph Scheibe zijn verbazing en waardering uit over het feit, dat Telemann met een gemak en een vanzelfsprekendheid bijna alle internationale stijlen en muzikale genres kon componeren, zonder daarbij ook maar enigszins zijn eigen smaak geweld aan te doen. Vooral in zijn hoboconcerten en orkestrale suites zet Telemann naar hartenlust een hele kast vol verschillende (dans) kostuums in voor zijn speelse ontmoetingen met andere naties, toch is hij nooit ordinair. Dit onderscheidt hem van zijn tijdgenoten en maakt hem zo’n fascinerende figuur in de muziekgeschiedenis.

Hoboïste Vinciane Baudhain treedt op als solist, maar ook met kamermuziekensembles en orkesten. Ze is een vast lid van het ensemble Bach Concentus, in 2007 opgericht door Ewald Demeyere (artistiek leider) en Giulio D'Alessio. De vaste kern van Bach Concentus bestaat uit internationaal gerenommeerde specialisten in de authentieke historische uitvoeringspraktijk. Dat kan ook haast niet anders, want het handelsmerk van dit ensemble is de historische authentieke uitvoering van instrumentale en vocale muziek uit de barok- en klassieke periode. Daarbij maken ze gebruik van historische instrumenten voor strijkers en blazers. Om de muziek zo origineel mogelijk te laten klinken doen ze ook onderzoek. Het kamerorkest is vooral geïnteresseerd in Johann Sebastian Bach en zijn zonen. Daarnaast speelt het orkest ook kwalitatief hoogstaand repertoire van relatief onbekende componisten of onbekend werk van bekende componisten als Händel, Mozart, Vivaldi en Salieri. Én Telemann, zoals in dit album het geval is.
Wie nur wenige andere Komponisten integrierte Georg Philipp Telemann erfolgreich verschiedenste Nationalstile und aktuelle Genres in seinem immensen Schaffenskatalog, wofür er schon Zeit seines Lebens berühmt war. Bei Telemann treffen wir auf einen der vielseitigsten Komponisten der ersten Hälfte des 18. Jahrhunderts.

In einer Ausgabe seines Critischen Musicus von 1745 bringt Johann Adolf Scheibe seine Überraschung und Bewunderung darüber zum Ausdruck, dass Telemann in fast allen musikalischen Gattungen und Nationalstilen mit der gleichen Leichtigkeit und Eloquenz komponierte, ohne dabei Verwechslungen zu unterliegen oder seinen Geschmack in irgendeiner Weise zu verderben.

Gerade in den Oboenkonzerten und Orchestersuiten kommt bei seinem verspielten Aufeinandertreffen mit (anderen) Nationen ein ganzer Schrank voll verschiedener (Tanz-)Kostüme zum Einsatz, und doch gibt er sich dabei nie dem Vulgären hin. Es ist dieses Talent, das ihn von anderen Zeitgenossen abhebt und zu einer solch faszinierenden Figur unter den Protagonisten macht, die unsere Musikgeschichte geformt haben. Damit ist diese Aufnahme nicht nur die erste Veröffentlichung des bekannten und erfahrenen Bach Concentus, sondern auch eine ideale Einführung in Telemanns Orchestermusik.
Come pochi altri compositori, Georg Philipp Telemann (1681-1767) attinse con successo a tutti gli stili nazionali e generi prevalenti del suo tempo, creando un catalogo enorme di opere, con cui riscosse un immediato successo: in Telemann riconosciamo uno dei compositori più versatili della prima metà del Settecento. In un articolo del suo citatissimo periodico ‘Der Critische Musicus’, pubblicato nel 1745, Johann Adolph Scheibe esprimeva la sua sorpresa e ammirazione sul fatto «che Telemann frequentasse quasi tutti i generi musicali e stili nazionali con la stessa facilità ed eloquenza, senza minimamente confondere o corrompere il suo gusto». Nei concerti per oboe e nelle suites orchestrali Telemann dispiega in effetti, a suo piacimento, un intero campionario di diversi costumi, per i suoi piacevoli incontri con (altre) nazioni, senza mai scadere nella volgarità. è questo talento a distringuerlo dai contemporanei e a renderlo una figura così affascinante tra i protagonisti che hanno plasmato la nostra storia musicale.

Artist(s)

Vinciane Baudhuin (oboe)

Vinciane Baudhuin behaalde achtereenvolgens de eerste prijzen kamermuziek en engelse hoorn, alsook het hogere diploma hobo en een meestergraad barokhobo in de klas van Paul Dombrecht aan het Koninklijk Conservatorium Brussel. Daarna perfectioneerde ze zich voor barokhobo bij Ku Ebbinge aan het Koninklijk Conservatorium Den Haag (NL). Vinciane Baudhuin is werkzaam als solist, op het domein van kamermuziek en orkest. Samen met Ewald Demeyere vormt ze het Duo Capricornus. Ze is vast lid van Bach Concentus (Ewald Demeyere), La Petite Bande (Sigiswald Kuijken) en Il Fondamento (Paul Dombrecht). Daarnaast verleent ze regelmatig haar medewerking aan Octophoros (Paul Dombrecht), aan Les Muffati (Peter Van Heyghen), aan Les Agrémens (Guy Van Waas) en aan Il Complesso Barocco (Alan Curtis). In 2010 richtte ze het Quatuor...
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Vinciane Baudhuin behaalde achtereenvolgens de eerste prijzen kamermuziek en engelse hoorn, alsook het hogere diploma hobo en een meestergraad barokhobo in de klas van Paul Dombrecht aan het Koninklijk Conservatorium Brussel. Daarna perfectioneerde ze zich voor barokhobo bij Ku Ebbinge aan het Koninklijk Conservatorium Den Haag (NL).
Vinciane Baudhuin is werkzaam als solist, op het domein van kamermuziek en orkest. Samen met Ewald Demeyere vormt ze het Duo Capricornus. Ze is vast lid van Bach Concentus (Ewald Demeyere), La Petite Bande (Sigiswald Kuijken) en Il Fondamento (Paul Dombrecht). Daarnaast verleent ze regelmatig haar medewerking aan Octophoros (Paul Dombrecht), aan Les Muffati (Peter Van Heyghen), aan Les Agrémens (Guy Van Waas) en aan Il Complesso Barocco (Alan Curtis).
In 2010 richtte ze het Quatuor DIALOGUES op dat zich wijdt aan het immense repertoire geschreven in de tweede helft van de 18de eeuw voor hobo en strijktrio.
Vinciane Baudhuin is docent kamermuziek aan de koninklijke conservatoria van Bergen (ARTS2) en Brussel, en heeft een klas barokhobo en moderne hobo aan de academie van Sint-Lambrechts-Woluwe.

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Bach Concentus

Bach Concentus was founded in 2007 by Ewald Demeyere. This orchestra, playing period instruments, devotes itself to the instrumental and vocal repertoire of the Baroque and Classical periods, specialising in works by the Bach dynasty. Historical authenticity, applied to all the parameters of performance, is the keystone of Bach Concentus. In order to get closest to the original sound concept and performance practice of Baroque and Classical music, Bach Concentus calls exclusively on the use of historical instruments, both for the strings and the wind. The core players of Bach Concentus consist of principally Belgian renowned specialists in the field of historical performance practice. An essential aspect of this approach consists of returning its central rôle to the basso continuo. Despite...
more
Bach Concentus was founded in 2007 by Ewald Demeyere. This orchestra, playing period instruments, devotes itself to the instrumental and vocal repertoire of the Baroque and Classical periods, specialising in works by the Bach dynasty.
Historical authenticity, applied to all the parameters of performance, is the keystone of Bach Concentus. In order to get closest to the original sound concept and performance practice of Baroque and Classical music, Bach Concentus calls exclusively on the use of historical instruments, both for the strings and the wind. The core players of Bach Concentus consist of principally Belgian renowned specialists in the field of historical performance practice. An essential aspect of this approach consists of returning its central rôle to the basso continuo. Despite these crucial aspects of a coherent and historical interpretation of Baroque and Classical music, Bach Concentus aims never to be academic or dogmatic; its respect for and constant application of the art of rhetoric contributes to a spontaneous, lively and dynamic communication with the audience.

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Ewald Demeyere (conductor)

Harpsichordist Ewald Demeyere believes that conveying the emotional content of a composition is a musician’s most important task. Since each period has its specifics, however, he intends to combine emotion with historical keyboard technique and performance practice in such a way as to obtain as captivating an interpretation as possible. Demeyere’s research, which, among others, resulted in a PhD and the publication of a book Johann Sebastian Bach’s Art of Fugue—Performance Practice Based on German Eighteenth-Century Theory (2013), is never an end in itself but always has to serve the eloquence of the musical performance. Demeyere has taken part in more than 100 CD recordings, many of which with chamber and solo repertoire. As a player of chamber music, Demeyere...
more
Harpsichordist Ewald Demeyere believes that conveying the emotional content of a composition is a musician’s most important task. Since each period has its specifics, however, he intends to combine emotion with historical keyboard technique and performance practice in such a way as to obtain as captivating an interpretation as possible. Demeyere’s research, which, among others, resulted in a PhD and the publication of a book Johann Sebastian Bach’s Art of Fugue—Performance Practice Based on German Eighteenth-Century Theory (2013), is never an end in itself but always has to serve the eloquence of the musical performance. Demeyere has taken part in more than 100 CD recordings, many of which with chamber and solo repertoire. As a player of chamber music, Demeyere works with, amongst others, Barthold Kuijken and Vinciane Baudhuin (Duo Capricornus) . He was a jury member for the Paola Bernardi International Harpsichord Competition in 2013 in Bologna. In 2018, he won the CPEB:CW Counterpoint Contest, with a unanimous verdict from the jury that his Ricercar a 5 per Cembalo was “the most accomplished and natural in its flow”.

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Composer(s)

Georg Philipp Telemann

Georg Philipp Telemann (14 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann. Telemann was one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be...
more
Georg Philipp Telemann (14 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann.
Telemann was one of the most prolific composers in history (at least in terms of surviving oeuvre) and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. Telemann's music incorporates several national styles (French, Italian) and is even at times influenced by Polish popular music. He remained at the forefront of all new musical tendencies and his music is an important link between the late Baroque and early Classical styles.

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Press

''I could say something about the con brio: at the beginning of the Nations you can't deny that a little bit more colour in the dynamics and finishing the trillers, that would make it more exiting: now it's quite set and straight, and the great hoboplayer could have played in more long notes and let us hear some more vibrato.''
Luister, 04-1-2016

In the newsletter Avrotros Classical:  Winner cd: Telemanns lively hobo concerten. 
Avrotros, 21-5-2015

Plaatpaal: Cd van de Week: Telemann - Bach Concentus
Radio 4, 05-5-2015

"The small string orchestra plays very concentrated and well balanced." 4 stars
rbb Kulturradio, 13-4-2015

Play album
01.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Ouverture
03:06
02.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Menuet 1 & 2
02:05
03.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Les Allemands anciens
01:30
04.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Les Allemands modernes
01:16
05.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Les Suédois anciens
02:27
06.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Les Suédois modernes
00:51
07.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Les Danois anciens
01:21
08.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Les Danois modernes
00:49
09.
Ouverture des Nations anciens et modernes in G major TWV 55: G4: Les vieilles femmes
01:32
10.
Oboe Concerto in C minor TWV 51: c2: Adagio
02:18
11.
Oboe Concerto in C minor TWV 51: c2: Allegro
01:21
12.
Oboe Concerto in C minor TWV 51: c2: Adagio
01:57
13.
Oboe Concerto in C minor TWV 51: c2: Allegro
01:52
14.
Overture La Gaillarde in D major TWV 55: D13: Ouverture
03:22
15.
Overture La Gaillarde in D major TWV 55: D13: Sicilienne
01:06
16.
Overture La Gaillarde in D major TWV 55: D13: Angloise
01:22
17.
Overture La Gaillarde in D major TWV 55: D13: Musette
01:42
18.
Overture La Gaillarde in D major TWV 55: D13: Batelière
00:46
19.
Overture La Gaillarde in D major TWV 55: D13: Polonoise
01:39
20.
Overture La Gaillarde in D major TWV 55: D13: Menuet 1 & 2
02:22
21.
Oboe Concerto in C minor TWV 51: c1: Adagio
01:25
22.
Oboe Concerto in C minor TWV 51: c1: Allegro
02:24
23.
Oboe Concerto in C minor TWV 51: c1: Adagio
01:46
24.
Oboe Concerto in C minor TWV 51: c1: Allegro
02:58
25.
Völker-Ouverture in B flat major TWV 55: B5: Ouverture
04:02
26.
Völker-Ouverture in B flat major TWV 55: B5: Menuet 1 & 2
03:42
27.
Völker-Ouverture in B flat major TWV 55: B5: Les Turcs
02:18
28.
Völker-Ouverture in B flat major TWV 55: B5: Les Suisses
01:40
29.
Völker-Ouverture in B flat major TWV 55: B5: Les Moscovites
00:54
30.
Völker-Ouverture in B flat major TWV 55: B5: Les Portugais
02:11
31.
Völker-Ouverture in B flat major TWV 55: B5: Les Boiteux & Les Coureurs
03:45
show all tracks

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