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Phantasia Musica
Various composers

Antoinette Lohmann

Phantasia Musica

Price: € 19.95 13.97
Format: CD
Label: Globe
UPC: 8711525526501
Catnr: GLO 5265
Release date: 13 January 2017
old €19.95 new € 13.97
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19.95 13.97
old €19.95 new € 13.97
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Label
Globe
UPC
8711525526501
Catalogue number
GLO 5265
Release date
13 January 2017

"(...) A must for all Baroque music lovers (...)"

mania, 10-3-2017
Album
Artist(s)
Composer(s)
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About the album

Seventeenth-century music is rhetorical music: everything notated by the composer conceals an intrinsic emotion. However the task of expressing these emotions rests solely with the performer, who must convey them in such a compelling way that the audience is captivated and moved. Thus, when performing rhetorical music the musician should play in the same way that one adapts his manner of speaking to the emotion of the moment, for instance by taking more time, speaking more calmly or agitatedly, louder or softer.
The style of the works recorded on this album is often associated with Stylus Phantasticus, a term originally applied to a compositional method in which the composer's fantasy was the source of a composition. Later the term’s emphasis shifted to the freedom of performance. Phantasia Musica was another term signifying the importance of performer’s imagination, however the word ‘phantasia’ here refers to improvisation; many 17th-century compositions (e.g. toccata, fantasia and capriccio) are actually written-out improvisations.
Antoinette Lohmann recorded these works on a late 17th-century violin by Egidius Snoeck (Brussels), which is still in its original state and strung with four pure gut strings. The bow is a copy of a short, convex, 17th-century German bow, which is held with the thumb under the frog or on the hair; this was the most commonly used bow hold throughout Europe until the end of the 17th Century.

Lohmann speelt met veel bekwaamheid en fantasie zeldzame 17e-eeuwse werken
17e-eeuwse muziek is retorische muziek: alles wat de componist heeft genoteerd verbergt een wezenlijke emotie. De taak om deze emoties uit de drukken ligt uitsluitend bij de uitvoerende, die ze op een meeslepende manier moet overbrengen, zodat het publiek erdoor geraakt en geboeid wordt. De musicus die retorische muziek uitvoert moet dit dus doen op de manier waarop een spreker zijn manier van spreken aanpast aan de emotie van het moment, door bijvoorbeeld meer tijd te nemen, kalmer of geagiteerder te spreken, luider of zachter.

De titel van dit album, Phantasia Musica, verwijst naar een 17e-eeuwse instrumentale stijl die nu zelden gebruikt wordt: de Stylus Phantasticus. Deze term werd oorspronkelijk toegepast op een compositiemethode waarin de fantasie van de componist de bron vormde van het werk. Phantasia Musica was een andere tem waarmee het belang van de fantasie van de uitvoerende werd aangeduid. Het woord phantasia verwijst hier echter naar improvisatie.

Violiste Antoinette Lohmann speelt de zeldzame werken op dit album, waaronder drie door haarzelf ontdekte werken die nooit eerder werden opgenomen, met veel bekwaamheid en fantasie, op een viool van Egidius Snoeck uit de late 17e eeuw. Dit instrument is nog steeds in zijn oorspronkelijke staat en is bespannen met vier zuivere darmsnaren. De strijkstok is een kopie van een kort, bol, 17e-eeuws exemplaar uit Duitsland. Dit was het type strijkstok dat tot aan het einde van de 17e eeuw binnen Europa het meest gebruikt werd.

Die Musik des siebzehnten Jahrhunderts ist rhetorische Musik: alles vom Komponisten Niedergeschriebene birgt eine wesentliche Emotion. Doch die Aufgabe, diese Emotionen zum Ausdruck zu bringen, obliegt gänzlich dem Interpreten, der sie in so überzeugender Weise darbieten muss, dass sie das Publikum fesselt und bewegt. Wenn man also rhetorische Musik spielt, sollte ein Musiker so spielen, dass er seinen Ton der Emotion des Augenblickes anpasst, beispielsweise indem er sich mehr Zeit nimmt, ruhiger oder erregter spricht, lauter oder leiser.

Der Stile der Werke auf diesem Album wird oft mit dem Stylus Phantasticus assoziiert, ein Begriff, der ursprünglich für eine Kompositionstechnik genutzt wurde, in der die Phantasie des Komponisten die Quelle der Komposition war. Später verschob sich der Schwerpunkt des Begriffes auf die Freiheit der Interpretation. Phantasia Musica war ein weiterer Begriff, der die Bedeutung der Vorstellungskraft des Komponisten unterstrich, doch das Wort „Phantasia“ bezieht sich hier auf Improvisation: viele Kompositionen des 17. Jahrhunderts wie eine Toccata, Fantasia oder ein Capriccio sind eigentlich ausgeschriebene Improvisationen.

Antoinette Lohman nahm diese Werke auf einer Violine aus dem späten 17. Jahrhundert von Egidius Snoeck (Brüssel) auf, die sich noch in ihrem Originalzustand mit vier reinen Darmsaiten befindet. Der Bogen ist eine Kopie eines kurzen, konvexen deutschen Bogens des 17. Jahrhunderts, der mit dem Daumen unter dem Frosch oder auf den Haaren gehalten wird, die gebräuchlichste Bogenhaltung in ganz Europa bis zum Ende des 17. Jahrhunderts.

Artist(s)

Antoinette Lohmann (violin)

ANTOINETTE LOHMANN (AMSTERDAM, 1969) studied violin, viola and historical violin at the Amsterdam Conservatory. Antoinette has been active in a variety of musical areas, including Argentinian tango, salon music, folk music and contemporary music. She has performed and recorded with many orchestras and ensembles over the years. Currently her repertoire extends from the early 17th to the 21st century, always performed from a historically informed perspective. She has a special interest in unusual instruments such as the viola d’amore, the tenor violin, the violino piccolo and the viola pomposa. She is also a keen performer of contemporary compositions for historical instruments. Her main focus is on reviving forgotten chamber music, with special emphasis on Dutch repertoire. She has recorded chamber...
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ANTOINETTE LOHMANN (AMSTERDAM, 1969) studied violin, viola and historical violin at the Amsterdam Conservatory. Antoinette has been active in a variety of musical areas, including Argentinian tango, salon music, folk music and contemporary music. She has performed and recorded with many orchestras and ensembles over the years. Currently her repertoire extends from the early 17th to the 21st century, always performed from a historically informed perspective. She has a special interest in unusual instruments such as the viola d’amore, the tenor violin, the violino piccolo and the viola pomposa. She is also a keen performer of contemporary compositions for historical instruments. Her main focus is on reviving forgotten chamber music, with special emphasis on Dutch repertoire. She has recorded chamber music by Joseph Martin Kraus, Margarethe Danzi, Franz Danzi, Franz Krommer, Belle van Zuylen and Dutch and German music of the early baroque. Antoinette teaches historical violin and viola as a principal study at the HKU Utrecht Conservatorium and the Conservatorium van Amsterdam. She is also the principal teacher of the Historical Performance department in Utrecht. Antoinette recorded these works on a late 17th-century violin by Egidius Snoeck (Brussels), which is still in its original baroque set-up, using four pure gut strings.

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Furor Musicus

FUROR MUSICUS was founded by Antoinette in 2008. The group has released several recordings: transcriptions of works by J.S. Bach, among them Antoinette’s reconstruction of a J.S. Bach viola concerto; the violin sonatas opus 1 & 2 by the Dutch baroque composer Jacob Nozeman; and the critically acclaimed Phantasia Musica album (2017), featuring previously unknown 17th-century repertoire. Phantasia Musica scored a 10 with distinction in the Dutch classical music magazine Luister, 5 stars in the Dutch daily de Volkskrant and an A in the Italian magazine Amadeus. The ensemble is primarily devoted to performing and recording little-known 17th- and 18th-century repertoire on period instruments and carrying out the necessary historical research. The performers wish to guard against simply going with...
more
FUROR MUSICUS was founded by Antoinette in 2008. The group has released several recordings: transcriptions of works by J.S. Bach, among them Antoinette’s reconstruction of a J.S. Bach viola concerto; the violin sonatas opus 1 & 2 by the Dutch baroque composer Jacob Nozeman; and the critically acclaimed Phantasia Musica album (2017), featuring previously unknown 17th-century repertoire. Phantasia Musica scored a 10 with distinction in the Dutch classical music magazine Luister, 5 stars in the Dutch daily de Volkskrant and an A in the Italian magazine Amadeus. The ensemble is primarily devoted to performing and recording little-known 17th- and 18th-century repertoire on period instruments and carrying out the necessary historical research. The performers wish to guard against simply going with the flow of traditions that have developed over the past decades within the historically informed performance movement. There is still so much fantastic repertoire that has been unjustly neglected and never performed, and they view it as an important challenge to immerse themselves in previously unheard repertoire and to avoid being influenced by other performances. The name Furor Musicus derives from the term Furor Poeticus, a Latin expression often used to refer to poetic inspiration in ancient Greek and Roman literature. The word ‘furor’ refers to a state of intense excitement, in some cases even bordering on madness. The term Furor Poeticus refers to the capacity to be inspired and inspire others. Poetic inspiration is often described as a state in which the poet is the passive and unconscious mouthpiece of a higher power, but in fact, there was an equal emphasis on craft and inspiration throughout antiquity. It was the same with music of the 17th and 18th centuries.
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Jörn Boysen (organ)

Harpsichordist Jörn Boysen was born in Lübeck, Germany, in 1976. Initially he studied at the Musikhochschule Lübeck and later at the Royal Conservatory in The Hague with Tini Mathot and Ton Koopman. As a conductor, soloist or continuo player he works and plays regularly with ensembles and choirs in Germany, Spain, the Netherlands and France. He gives workshops for historical performance practice and basso continuo. Since 2006 Boysen is director of the Hollands Vocaal Ensemble with which he successfully performed programs as the ‘Messe des Morts’ by Jean Gilles, music from the “Altbachisches Archiv” and a program with the Requiem by Mozart and the Libera me by Neukomm. He conducted a production at the O.T. Opera Rotterdam in 2005. In 2009 he...
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Harpsichordist Jörn Boysen was born in Lübeck, Germany, in 1976. Initially he studied at the Musikhochschule Lübeck and later at the Royal Conservatory in The Hague with Tini Mathot and Ton Koopman.
As a conductor, soloist or continuo player he works and plays regularly with ensembles and choirs in Germany, Spain, the Netherlands and France. He gives workshops for historical performance practice and basso continuo.
Since 2006 Boysen is director of the Hollands Vocaal Ensemble with which he successfully performed programs as the ‘Messe des Morts’ by Jean Gilles, music from the “Altbachisches Archiv” and a program with the Requiem by Mozart and the Libera me by Neukomm. He conducted a production at the O.T. Opera Rotterdam in 2005. In 2009 he will be musical director of the production of Molière’s/Charpentier’s ‘Le Malada Imaginaire’ at ‘De Utrechtse Spelen’.
As a composer Boysen wrote orchestral and vocal music and a string quartet. Currently he is composing the music for the poems by German painter and writer Rainer Erhard Teubert.

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Sarah Walder (gamba)

Press

(...) A must for all Baroque music lovers (...)
mania, 10-3-2017

" (...) What a blessing it is that she was recorded anyways (...) "
Luister, 06-3-2017

The interaction with her ensemble is outstanding, the sound is honest and it is as though one is present in the intimacy of a real live concert.
De Volkskrant, 03-2-2017

Phantasia Musica. Great music, musical fantasy, both are true if you ask me.
Opus Klassiek, 02-1-2017

Violinist Antoinette Lohmann is constantly on the lookout for unknown repertoire from the 17th century and 18th century.
Tom tijdschrift oudemuziek

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