Quantz Triosonata 2. Alla breve

June 7th, 2006

Quantz Triosonata 2. Alla breve

About the Quantz Triosonata

May 22nd, 2006

Johann Joachim Quantz, 1697-1773.

This trio is one of the few pieces out there for recorder, flute, and continuo. The recording is from the March concert with Emily and Miyuki. We originally planned on only doing two triosonatas in the concert, and since we’d all done this piece before we were going to do two other ones in order to do new repertory. At the end of the session where we chose the other two trios, we decided we loved this one enough that we were going to add it in as well. So we ended up with a longer program than intended but I think it worked out very well.

Quantz Triosonata 1. Affetuoso

May 22nd, 2006

Quantz Triosonata 1. Affettuoso

Barsanti Sonata II 4. Presto

May 9th, 2006

Barsanti Sonata II 4. Presto

About the Barsanti Sonata II 3. Largo

May 1st, 2006

The third movement of the sonata, from the concert on 3/19/06

Barsanti Sonata II 3. Largo

May 1st, 2006

Barsanti Sonata II 3. Largo

About the Quantz

April 24th, 2006

Vivace alla Francese. From the Giedde collection, excerpted in The Baroque Solo Book. Johann Joachim Quantz, 1697-1773, was a German flute maker, player and composer. He was considered one of the finest flute players in Europe, and wrote a famous treatise, “ersuch einer Anweisung die Flöte traversière zu spielen” (1752), which is a valuable resource today on baroque performance practice and flute technique.

Quantz Vivace alla Francese

April 24th, 2006

Quantz Vivace alla Francese

About the Castello

April 17th, 2006

Another piece from my concert on 3/19/06, with Emily O’Brien (recorder) and Miyuki Tsurutani (organ).

Dario Castello (15??-1630?). This piece is a lovely example of 16th century italian canzona style. This style is really a genre of its own. It starts with a completely characteristic half note-quarter-quarter rhythm and the two recorders keep up a merry chase. There are dramatic tempo and mood shifts throughout.

A note on the organ, we (luckily) managed a rehearsal in the performance space the day before, which was good because Miyuki had not played that particular organ before in an ensemble and she got a suprise–the lag between hitting the keys and when the sound came out of the pipes on the other end of the room was a good quarter second. Brings the concept of anticipating the beat to new levels. She did a fabulous job in the performance.

Castello Terza Sonata a due soprani

April 17th, 2006

Castello Terza Sonata a due soprani