WGBH Radio WGBH Radio theclassicalstation.org

Handel, Geminiani, Purcell, Vivaldi, Albinoni, Telemann / Lamon, Tafelmusik

Tafelmusik-jeanne Lamon
Release Date: 02/28/2012 
Label:  Sony   Catalog #: 796334  
Composer:  George Frideric HandelFrancesco GeminianiHenry PurcellAlessandro Stradella,   ... 
Performer:  Stanley KingJulie BryeMichael McCrawTeresa Wasiak,   ... 
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Number of Discs: 6 
Import   
This title is currently unavailable.



Notes and Editorial Reviews

Some of the original recordings that make up this set:

Water Music:

The jubilant spirit of Water Music is splendidly captured in this version, which I have enjoyed as much as any I have heard for a long time. This young Canadian group have a good grasp of Handelian style, and lots of energy; there is plenty of vigour to their playing but no roughness. There are many nicely and unobtrusively managed details of timing and accent, yet always perfectly natural and justified from within. Their tempos in the main are on the quick side but not hurried. I specially liked their flowing Andante for the famous Air, which so readily becomes sticky if done slowly; here it sounds just right and no less
Read more expressive than usual. Only the D major Lentement seems to me heavy and ponderous, and perhaps the Bourree that follows is also a little clumsily done. The horn playing, recorded well forward, is particularly impressive – clean and clear, with a fine ring; it would have sounded well across the Thames. The movements are done here with the F major music first, then the D major and G major mixed, an unusual arrangement these days but one that probably has Handel’s authority: and it works well.

Tafelmusik get through the Water Music in some 52 minutes, and there is room for a substantial suite of dances from the second version of Il pastor fido, when Handel added ballet music for the French dancer Marie Salle and her troupe. These are charming and lively pieces and the final Chaconne, with its inventive textures, is particularly appealing. I find the sound here a shade middle- and bottom-heavy, rather more so than in The Water Music, but again the playing is splendidly fresh and spirited.

– Stanley Sadie, Gramophone [7/1996]

Fireworks:

It hasn’t been done before, but it makes excellent sense to devote a CD to the three Concerti a due cori and the Music for the Royal Fireworks – the four pieces of large-scale entertainment music from Handel’s late years. Here the Fireworks Music is done in the form, with strings as well as wind, that Handel preferred. The less familiar Concerti a due cori were composed in the late 1740s for use in the intervals of oratorio performances – their usual title is something of a misnomer, as they are really for three groups, a string band and two choirs of wind instruments (oboes, bassoon and horns in Nos. 2 and 3, just oboes and bassoon in No. 1). They borrow freely from other works – in particular Messiah (at the time scarcely known to London audiences) and Belshazzar – and some of the movements seem a little odd in shape because the structure is dictated, in the originals, by the texts; but they are cheerful, outgoing pieces and make very attractive listening, undemanding but, typically, touching here and there on deeper feeling.

These performances are splendidly spirited and enjoyable on every plane. Tafelmusik tend to favour speedy tempos in Handel. In the Fireworks Music “La paix” is taken steadily but it is all very nicely judged, and I liked in particular the jauntiness they bring to the main Allegro of the overture, making it a shade more detached than usual to good effect. Handel’s directions for the repeats in the dance movements are decidedly ambiguous, and Tafelmusik make sensible decisions of their own which don’t always quite accord with the instructions but work perfectly well. Once or twice there is a stylish lilt, almost a hint of inegalite, in the dances. The band sounds a big one, but the strings are only 5.6.3.3.2, with a fair number of wind – six oboes, three bassoons, four horns and three trumpets, with percussion (their collective intonation is as good as one has any right to expect). In the concertos, there is some first-rate wind playing, especially from the two first oboists, who match one another delightfully in their athleticism, their articulation and their sweetness of tone (notably in the finale of No. 2), and there is a fine, earthy ring from the horns throughout. One or two tempos may strike you as quickish; no one would think of singing “And the glory of the Lord” as fast as Tafelmusik play Handel’s transcription of it, but after all there’s no reason why it shouldn’t be done this way on instruments.

– Stanley Sadie, Gramophone [10/1998]

Purcell Ayres for the Theatre:

The various Purcell releases of the last few years have come in many guises, from the wildly entertaining to the merely informative. This disc, containing instrumental theatre music, need only be enjoyed for what it is, which is an exhilarating reminder that, whatever Purcell was, he was simply one of the greatest tune-writers Britain has ever produced. That would be beyond doubt, of course, even if all we knew were the show-stopping song-tunes contained here, such as “Fairest isle” from King Arthur or “If love’s a sweet passion” from The Fairy Queen. But when practically every Trumpet Tune and Rondeau has you tapping your feet and wanting to sing along, you know you are in the presence of genius. The four suites which Tafelmusik have selected from the Ayres for the Theatre, published by Purcell’s widow a few months after his death, are each taken from one of the composer’s great semi-operas of the 1690s, and the end result is a succession of 50 short, catchy numbers, mainly for strings but sometimes also featuring oboes and trumpets. Unlike a number of collections of this sort, it is never in any danger of outstaying its welcome.

Tafelmusik are surely one of the best-equipped baroque orchestras in the world to perform this music. They have an unparalleled ability to play straightforwardly well with uncomplicated energy and high polish, and given that performing this kind of music in suite form necessarily banishes all considerations of theatrical context, perhaps that is all that is needed. True, these performances probably reek more of the studio than the playhouse, but if after Purcell Year has gone all you want to do is sit back, relax and enjoy the music, then this is certainly a disc to do it with.

– Lindsay Kemp, Gramophone [2/1996]

Music for Trumpet and Orchestra:

From the opening strains of Stradella's wonderfully invigorating Sonata for solo trumpet (placed midway between a richly scored accompaniment of two string choirs), it is immediately apparent how the limitations of the natural trumpet provide it with the freedom to produce its own special range of tonal characteristics. This is the canvas Steele-Perkins has been championing for years: the scope in colour, articulation and subtle timbral nuance which characterize 'natural' trumpet playing at its most honest—in other words without all the modern paraphernalia which may make the instrument easier to play but destroys the capacity for expressive variety.

This is, then, a notable release, not least because there are so few current recordings of this type for solo natural trumpet (let alone for the slide trumpet whose mellow tones grace the Handel selection of 'airs' at the end of the disc). Steele-Perkins figured prominently on a Hyperion disc entitled ''Italian Baroque Trumpet Music'' recorded in 1987, though this latest project reveals more of the fibrous quality of the natural trumpet, sounding especially wholesome on David Edwards's copy of a 1667 instrument by Simon Beale of London. The accompaniment, too, is altogether more cultivated and immediate from Tafelmusik. A comparison of the Stradella sonata (the only work common to both discs) shows a greater resonance in the earlier recording but less vitality overall, and also less of a distinction between the two string groups.

Of the other works, the Biber sonatas are a joy (again, Steele-Perkins has already recorded them for Hyperion—1/86, nla—but the same observations apply here as with Stradella) and the Telemann Concerto for trumpet and two oboes is a paragon of homogeneity between instruments, which in their original form have more in common than is usually supposed. John Thiessen makes a fine impression as the co-principal in the two-trumpet works and there is a pleasing blend here too. The work described as Albinoni's Concerto for trumpet and three oboes is spurious (published erroneously as such by Sikorski in 1966) and sounds remarkably German to my ears. 'Attrib.' at the very least, please. A tiny gripe in an otherwise excellent release. I am not aware of a solo recording at present which exhibits so persuasively or musically the true essence of the old trumpet.

– Jonathan Freeman-Attwood, Gramophone [4/1995]
Read less

Works on This Recording

1.
Music for the Royal Fireworks, HWV 351 by George Frideric Handel
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1749; London, England 
Date of Recording: 03/1997 
Venue:  Humbercrest United Church, Toronto 
2.
Concerto a due cori no 2 in F major, HWV 333 by George Frideric Handel
Performer:  Stanley King (Oboe), Julie Brye (Oboe), Michael McCraw (Bassoon),
Teresa Wasiak (French Horn), Derek Conrod (French Horn), Ronald George (French Horn),
Washington McClain (Oboe), Nadina Mackie Jackson (Bassoon), Thomas Müller (French Horn),
John Abberger (Oboe)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: circa 1746-1747; London, England 
Date of Recording: 03/1997 
Venue:  Humbercrest United Church, Toronto 
3.
Concerto a due cori no 1 in B major, HWV 332 by George Frideric Handel
Performer:  Ronald George (French Horn), Julie Brye (Oboe), Washington McClain (Oboe),
Derek Conrod (French Horn), Michael McCraw (Bassoon), Stanley King (Oboe),
Teresa Wasiak (French Horn), Thomas Müller (French Horn), John Abberger (Oboe),
Nadina Mackie Jackson (Bassoon)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: circa 1746-1747; England 
Date of Recording: 03/1997 
Venue:  Humbercrest United Church, Toronto 
4.
Concerto a due cori no 3 in F major, HWV 334 by George Frideric Handel
Performer:  Derek Conrod (French Horn), Teresa Wasiak (French Horn), Thomas Müller (French Horn),
Ronald George (French Horn), Washington McClain (Oboe), Stanley King (Oboe),
John Abberger (Oboe), Michael McCraw (Bassoon), Nadina Mackie Jackson (Bassoon),
Julie Brye (Oboe)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: circa 1746-1747; London, England 
Date of Recording: 03/1997 
Venue:  Humbercrest United Church, Toronto 
5.
Water Music, HWV 348-350 by George Frideric Handel
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1715/1736; London, England 
Date of Recording: 1995 
Venue:  Glenn Gould Studio, Toronto, Canada 
6.
Il pastor fido, HWV 8a: Suite by George Frideric Handel
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1712/1734; London, England 
Date of Recording: 1995 
Venue:  Glenn Gould Studio, Toronto, Canada 
7.
Concerti grossi (6), Op. 2: no 3 in D minor by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1732; England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 6 Minutes 45 Secs. 
8.
Concerti grossi (6), Op. 2: no 1 in C minor by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1732; England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 6 Minutes 59 Secs. 
9.
Concerti grossi (6), Op. 2: no 6 in A major by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1732; England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 6 Minutes 20 Secs. 
10.
Concerti grossi (6), Op. 2: no 2 in C minor by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1732; England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 8 Minutes 47 Secs. 
11.
Concerti grossi (6), Op. 2: no 4 in D major by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1732; England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 6 Minutes 22 Secs. 
12.
Concerti grossi (6), Op. 2: no 5 in D minor by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1732; England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 6 Minutes 27 Secs. 
13.
Concerti grossi (12) after Op. 5 of Arcangelo Corelli: no 3 in C major by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: by 1726; London, England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 9 Minutes 23 Secs. 
14.
Concerti grossi (12) after Op. 5 of Arcangelo Corelli: no 5 in G minor by Francesco Geminiani
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: by 1726; London, England 
Date of Recording: 04/1990 
Venue:  Notre Dame Convent, Waterdown, Canada 
Length: 7 Minutes 53 Secs. 
15.
Concerti grossi (6), Op. 3/HWV 312-317 by George Frideric Handel
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: circa 1715-1717; London, England 
Date of Recording: 11/1991 
Venue:  Humbercrest United Church, Toronto 
Length: 60 Minutes 18 Secs. 
16.
Prophetess, Z 627: Suite by Henry Purcell
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1690; England 
17.
King Arthur, or The British Worthy, Z 628: Suite by Henry Purcell
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1691; England 
18.
Fairy Queen, Z 629: Suite by Henry Purcell
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1692; England 
19.
Indian Queen, Z 630: Suite by Henry Purcell
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1695; England 
20.
Sonata for Trumpet in D major by Alessandro Stradella
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 17th Century; Italy 
21.
Fidicinium sacroprofanum: Sonata no 4 in G minor by Heinrich Ignaz Biber
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: by 1683; Salzburg, Austria 
22.
Concerto for 2 Trumpets in C major by Antonio Vivaldi
Performer:  Crispian Steele-Perkins (Trumpet), John Thiessen (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
23.
Concerto for Trumpet in C major by Tomaso Albinoni
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: Italy 
24.
Serse, HWV 40: Caro voi siete all'alma by George Frideric Handel
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1738; London, England 
Date of Recording: 1993 
25.
Sonatae tam aris, quam aulis servientes: no 1 in D major by Heinrich Ignaz Biber
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: by 1676; Salzburg, Austria 
26.
Sonatae tam aris, quam aulis servientes: no 10 in G minor by Heinrich Ignaz Biber
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: by 1676; Salzburg, Austria 
27.
Duet for 2 Trumpets no 1 in C major by Heinrich Ignaz Biber
Performer:  John Thiessen (Trumpet), Crispian Steele-Perkins (Trumpet)
Period: Baroque 
Written: 17th Century; Bohemia 
28.
Duet for 2 Trumpets no 5 in C major by Heinrich Ignaz Biber
Performer:  John Thiessen (Trumpet), Crispian Steele-Perkins (Trumpet)
Period: Baroque 
Written: 17th Century; Bohemia 
29.
Duet for 2 Trumpets no 11 in G minor by Heinrich Ignaz Biber
Performer:  John Thiessen (Trumpet), Crispian Steele-Perkins (Trumpet)
Period: Baroque 
Written: 17th Century; Bohemia 
30.
Duet for 2 Trumpets no 13 in A minor by Heinrich Ignaz Biber
Performer:  John Thiessen (Trumpet), Crispian Steele-Perkins (Trumpet)
Period: Baroque 
Written: 17th Century; Bohemia 
31.
Admeto, Rè di Tessaglia, HWV 22: Se l'arcoavessi by George Frideric Handel
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: by 1727; London, England 
Date of Recording: 1993 
32.
Scipione, HWV 20: March by George Frideric Handel
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1726; London, England 
Date of Recording: 1993 
33.
Judas Maccabaeus, HWV 63: See the conqu'ring hero comes by George Frideric Handel
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1747; London, England 
Date of Recording: 1993 
34.
Atalanta, HWV 35: Trumpet Overture by George Frideric Handel
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: 1736; London, England 
Date of Recording: 1993 
35.
Concerto for Trumpet in D major, TV 51 no D 7 by Georg Philipp Telemann
Performer:  Crispian Steele-Perkins (Trumpet)
Conductor:  Jeanne Lamon
Orchestra/Ensemble:  Tafelmusik
Period: Baroque 
Written: circa 1708-1714; Eisenach, Germany 

Customer Reviews

Average Customer Review:  4 Customer Reviews )
 Excellent recordings but there should have been a June 28, 2012 By Ronald S. Ratney (Boston, MA) See All My Reviews "These performances are excellent, the music is excellent and the recordings are excellent. I appreciated that there were a number of works that I hadn't heard before. However the package could have been much improved if there had been an album booklet describing the works and introducing the artists." Report Abuse
 Excellent Versions of Handel's WM & RFWM May 18, 2012 By GEORGE D D. (ORO VALLEY, AZ) See All My Reviews "I own several versions of this music and I'd have to say these are probably my favorites. The others are also wonderful. I'm a great admirer of Baroque brass music and these are among the best!" Report Abuse
 Bargain quality set. May 8, 2012 By Vincent W. (Huntington, WV) See All My Reviews "I have loved the 'original instument' sound since I first heard it with the Academy of Ancient Music. This gorgeous boxed set has the classics of the Baroque era. Wonderful performance, great recordings!" Report Abuse
Review This Title
Review This Title Share on Facebook




YOU MUST BE A SUBSCRIBER TO LISTEN TO ARKIVMUSIC STREAMING.
TRY IT NOW FOR FREE!
Sign up now for two weeks of free access to the world's best classical music collection. Keep listening for only $19.95/month - thousands of classical albums for the price of one! Learn more about ArkivMusic Streaming
Aleady a subscriber? Sign In