Caroline Eidsten Dahl

Recorder Sonatas

Price: € 19.95
Format: CD
Label: Lawo Classics
UPC: 7090020182032
Catnr: LWC 1181
Release date: 03 January 2020
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Label
Lawo Classics
UPC
7090020182032
Catalogue number
LWC 1181
Release date
03 January 2020
Album
Artist(s)
Composer(s)
EN

About the album

GEORG PHILIPP TELEMANN (1681–1767) gained fame over much of Europe during the middle of his own life for his gallant and mixed style. In 1726, learnèd poet Christian Friedrich Weichmann (1698–1770) compared him to the greatest musicians in Venice, Rome, Paris and London (Poesie der Nieder-Sachsen, part 3) and he was to receive increasing acclaim over the next 10 years. In 1740, influential music writer Johann Mattheson asserted in his Grundlage einer Ehrenpforte that Telemann had even eclipsed the two pioneers of the era, Lully (French style) and Corelli (Italian style).

However, after his death in 1767 Telemann quickly faded into oblivion. With Viennese classical style in full bloom and soon to transform into early Romanticism, Telemann’s body of work was to become passé. The new artistic ideal was that of the sensitive genius. Later Baroque composers who had a penchant for short, gallant phrases, and who even allowed themselves to caricature nations and imitate nature and weather phenomena, no longer conformed to the musical zeitgeist. In fact, most Baroque music was past its use-by date, with only parts of Handel and Bach’s oeuvres remaining sacrosanct. Advocates of J.S Bach kept him relatively au courant by using the successful tactic of portraying him as a true genius, a scientist – a musical Isaac Newton. The still famous Telemann of 1750 seemed to see it coming when writing an obituary about his newly deceased friend Bach (in sonnet form), looking into the future and predicting that his name would never “go under”.

After World War II Telemann, and several other contemporaries such as Vivaldi, made a strong come-back and he is still recognised today as among the great talents of the 18th century. We know that he provided important impetus to the stylistic development of the early Age of Enlightenment. Norwegian music historian Harald Herresthal presents an updated view of Telemann in his 2007 book about classical music, Musikkens verden (The World of Music):
There is a lightness to Telemann’s writing, but this is not to say it is weak and insignificant music. The craftsmanship is characterised by solidity and great knowledge. With his incredible ability to absorb musical impulses, he became in many ways a stylistic chameleon. There was no other composer in Germany who, in the same way, could alternate between styles.
(page 186)


The motto “Singen ist das Fundament in Music in allen Dingen” (the first sentence in a small poem in a letter to Mattheson in 1718) aptly summarises Telemann’s fundamental principle of always adhering to the singable and melodious. In addition, he was partial to spicing it up with some cultivated folklore, most notably the “all Polacca” melodies.

Colourful instrumentation is a feature of Telemann’s oeuvre and this can especially be heard in his cantatas, operas and orchestral suites, or in his original configurations such as the Concertos for Four Violins without orchestra. Another typical feature of his work, and one which strongly appeals to musicians such as Caroline Eidsten Dahl, is his ability to compose idiomatically. This is hardly surprising, as according to his autobiographical texts, he played harpsichord, lute, violin and recorder during his childhood, and then later learned basic skills on the oboe, the transverse flute, the viola da gamba, double bass and the trombone.

As a composer, multi-instrumentalist, poet, correspondent, opera and church music director, he reached out to both scholars and to the public sphere. He ran his own publishing company in the period from 1715–40 and taught himself to engrave notes on copper plates. Telemann researchers estimate that he composed approximately 3600 works and he is well represented in all three categories in the 18th century: church, chamber and theatre music. Despite this huge output, he rarely reused his own material. This is rather unusual and is in stark contrast to his good friend Georg F. Handel, the master of recycling his own work. Handel was known to “steal” regularly, both from himself, and with permission granted, from his good friend Telemann.

Artist(s)

CAROLINE EIDSTEN DAHL – RECORDER
Caroline Eidsten Dahl (b. 1980) is one of Norway’s most active recorder players. Her training took place under the auspices of Frode Thorsen at the Grieg Academy in Ber­gen as well as with Dan Laurin at the Royal College of Music in Stockholm, where in 2006 she completed her studies specialising in chamber music. Caroline is a permanent mem­ber of several ensembles including the Wood­peckers recorder quartet, Ensemble Freithoff, Bragernes Barokk and the Christian IV Con­sort. She performs concerts regularly through­out Norway, Sweden and Denmark, both as a chamber musician and a soloist.

In the spring of 2007 she was one of three winners of Concerts Norway’s launch program “INTRO-klassisk” for performances during the 2008–2009 season. Under the direction of Concerts Norway, she travelled to India and China performing Norwegian and Chinese mu­sic with musicians from Shanghai.

Caroline has performed at numerous festivals including the Innsbruck Festival of Early Music, where she played with Academia Montis Regalis, the Early Music Festival in London, Stockholm Early Music Festival, the Stavanger International Chamber Music Festival, the Oslo Opera Festival, the Oslo Chamber Music Festival, Oslo Interna­tional Church Music Festival, Glogerfestspillene and the Barokkfest festival in Trondheim.

2014 saw the release of Caroline’s debut solo album “Blockbird – Norwegian Recorder Music” on the LAWO Classics label, receiving rave re­views both on the home front and abroad. This was followed in 2018 by the release of “Sonata Norwegica” on the same label, featuring Nor­wegian and Swedish baroque music.

Caroline received the Arts Council of Norway’s scholarship for newly established artists for a two-year period from 2010 to 2012.


KATE HEARNE – BAROQUE CELLO
Born in Dublin, Ireland, Kate is a graduate of the Royal Irish Academy of Music and Stock­holm’s Royal College of Music. Equally at home on the baroque cello as on the recorder, she plays both instruments professionally and tours extensively as a soloist and chamber musician, performing with an array of baroque and contemporary music ensembles.

During her student years, Kate was recipient of many awards for her playing, including first prize at the inaugural Montréal International Recorder Competition and scholarships from the Bank of Ireland Millennium Scholars Trust, the Arts Council of Ireland, the Swedish Arts Council and Konstnärsnämnden, among oth­ers. She has recorded for labels such as BIS, CPO, Decca, Lyric, and ECM with ensembles including Concerto Copenhagen, Barokksolis­tene, the Norwegian Soloists Choir and the Irish Baroque Orchestra.

Kate is adamant about spreading her knowl­edge and enthusiasm on to the next gen­eration and she is involved in some fantastic projects for children and young people. Her­self and Caroline Eidsten Dahl make up half of the virtuoso recorder quartet Woodpeckers, which insures that live music reaches the ears of thousands of children every year. She has given master classes at the Royal Irish Acad­emy of Music and teaches at various summer courses throughout Europe. Since 2017, Kate is employed with Musikalliansen in Sweden, which gives her the freedom to pursue her freelance career while offering security. She lives with her family in the seaside town of Helsingborg.


CHRISTIAN KJOS – HARPSICHORD
After studying harpsichord at the Norwe­gian Academy of Music, Christian Kjos took a diploma in early music at Schola Cantorum Basiliensis, Basel, Switzerland, studying with Jesper Christensen.

Christian is a very active continuo player play­ing with orchestras such as Barokkanerne, Norwegian Baroque Orchestra (now merged into Barokkanerne – Norwegian Baroque En­semble) and Concerto Copenhagen. He has participated in several CD recordings, radio-, TV- and opera productions in Norway and abroad. In 2004, Christian was the first Nor­wegian ever to be a member of The European Union Baroque Orchestra (EUBO) under the direction of Lars Ulrik Mortensen, Ton Koopman and Andrew Manze. He is also a member of Ensemble Meridiana, who has won multiple first prizes in international early music com­petitions and performs regularly in England, Switzerland and Germany.

Christian is particularly interested in continuo playing based on historical sources. Since 2015 Christian is a research fellow at the Norwegian Academy of Music with his artistic research project, «Releasing the loudie», that deals with continuo playing in George Fredrick Handel’s Italian continuo cantatas.

Press

Play album
01.
Sonatina in C minor, TWV 41:c2: I. Largo
01:32
02.
Sonatina in C minor, TWV 41:c2: II. Allegro
01:29
03.
Sonatina in C minor, TWV 41:c2: III. Dolce
02:23
04.
Sonatina in C minor, TWV 41:c2: IV. Vivace
01:40
05.
Sonatina in A minor, TWV 41:a4: I. Andante
02:24
06.
Sonatina in A minor, TWV 41:a4: II. Allegro
01:48
07.
Sonatina in A minor, TWV 41:a4: III. Andante
02:15
08.
Sonatina in A minor, TWV 41:a4: IV. Presto
01:43
09.
Sonata in C major, TWV 41:C2: I. Cantabile
01:18
10.
Sonata in C major, TWV 41:C2: II. Allegro
01:50
11.
Sonata in C major, TWV 41:C2: III. Grave
01:19
12.
Sonata in C major, TWV 41:C2: IV. Vivace
01:59
13.
Sonata in F minor, TWV 41:f1: I. Triste
01:53
14.
Sonata in F minor, TWV 41:f1: II. Allegro
03:37
15.
Sonata in F minor, TWV 41:f1: III. Andante
01:28
16.
Sonata in F minor, TWV 41:f1: IV. Vivace
01:57
17.
Sonata in F major, TWV 41:F2: I. Vivace
02:07
18.
Sonata in F major, TWV 41:F2: II. Largo
01:50
19.
Sonata in F major, TWV 41:F2: III. Allegro
01:31
20.
Sonata in B major, TWV 41:B3: I. Largo
01:20
21.
Sonata in B major, TWV 41:B3: II. Allegro
01:50
22.
Sonata in B major, TWV 41:B3: III. Largo
01:26
23.
Sonata in B major, TWV 41:B3: IV. Vivace
01:47
24.
Sonata in C major, TWV 41:C5: I. Adagio – Allegro – Adagio – Allegro
02:19
25.
Sonata in C major, TWV 41:C5: II. Larghetto
01:40
26.
Sonata in C major, TWV 41:C5: III. Vivace
02:37
27.
Sonata in D minor, TWV 41:d4: I. Affettuoso
01:47
28.
Sonata in D minor, TWV 41:d4: II. Presto
03:10
29.
Sonata in D minor, TWV 41:d4: III. Grave
00:46
30.
Sonata in D minor, TWV 41:d4: IV. Allegro
02:53
31.
Sonata in F minor, TWV 41:f2: I. Adagio
02:13
32.
Sonata in F minor, TWV 41:f2: II. Allegro
01:32
33.
Sonata in F minor, TWV 41:f2: III. Adagio
01:37
34.
Sonata in F minor, TWV 41:f2: IV. Gigue
01:11
show all tracks

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