Ziani / Fux / Furchheim: Sonaten Aus Dresden
Challenge Classics - CC 72032
Kompozytor
Johann Joseph Fux (1660-1741)
Pietro Andrea Ziani (1616-1684)
Johann-Wilhelm Furchheim (1635-1682)
Johann Joseph Fux (1660-1741)
Pietro Andrea Ziani (1616-1684)
Johann-Wilhelm Furchheim (1635-1682)
Wykonawcy
Musica Antiqua Koln
Musica Antiqua Koln
Nagrody i rekomendacje
Utwory na płycie:
Sonate Nr. 11 g-mol
Sonate Es-dur, Sonatella A-dur, Sonate D-dur
Sonate Nr. 12 d-moll
Sonate e-moll, Sonate d-moll
Rondeau A7
Sonate Es-dur, Sonatella A-dur, Sonate D-dur
Sonate Nr. 12 d-moll
Sonate e-moll, Sonate d-moll
Rondeau A7
Born in Siegen in Westphalia, Germany, on 31 July 1952, Reinhard Goebel began to study the violin at the age of twelve. At seventeen, he entered into the violin class of Franzjosef Maier, a member of Collegium Aureum, at Köln Conservatory. He followed his studies in Essen under the direction of Saschko Gawriloff, a musician specialized in contemporary music, and in the Low Countries under Marie Leonhardt, who trained him on the Baroque violin. His immense knowledge of Baroque music and culture was built during his musicological studies at Cologne University. However, in an interview for a Spanish magazine, he considers himself "merely a craftsman whose aim is to give an optimum performance of chamber music composed for stringed instruments between 1600 and 1750."
The very distinctive style of Musica Antiqua Köln is clear since its first recordings: fast tempi, avoidance of vibrato, strong dynamic accents on the main beats and the messa di voce which has been a model for many Baroque ensembles. In a recent interview for the French magazine Diapason, Goebel says that his German playing technique is based on Quantz and Pisendel, his ensemble searching for an intense and male sound in which the rhythmic impact of articulations express the common desire of his musicians for perfection, this associated with the search for absolute tuning and the use of the right instruments.
The career of the group can be divided into four generations, with some overlapping. The first generation of Musica Antiqua Köln was a chamber group, with a strong bias toward German and French music. Bach's Musical Offering and Chamber Music records, and French Baroque Concerts are highlights of that time. The second generation was formed around an orchestra at the beginning of the eighties. Telemann's Wassermusik, Bach's Ouvertures and Brandenburg Concertos are among the best. The third generation was mainly an orchestra centered on Dresden orchestral repertory, and according to Reinhard Goebel himself, it happened because he could not play due to the laming of his left hand after recording Biber's Mystery Sonatas. The two Heinichen recordings have made a great stir in the small Baroque world and beyond. After ten or so years playing as a left-handed player, "the best second violinist in the world," Goebel played right-handed again, and recorded Biber's Harmonia-artificioso ariosa and Telemann's Flute quartets as a soloist, among a few others. However, according to a note published by the group at the beginning of May 2006, his left hand was injured again and forced him to abandon the violin forever. Musica Antiqua Köln will be dissolved by the end of this year, and Reinhard Goebel will concentrate his efforts to conduct "modern" orchestras.
The following list was originally developed by Maurizio Frigeni, who has listed all the recordings sorted by release date and with links to detailed contents files. Only original recordings are taken into account here, but in the accompanying file he has usually given some indications about reissues. I have been undertaken a revision since 2004.
Eduardo Kickhöfel
The very distinctive style of Musica Antiqua Köln is clear since its first recordings: fast tempi, avoidance of vibrato, strong dynamic accents on the main beats and the messa di voce which has been a model for many Baroque ensembles. In a recent interview for the French magazine Diapason, Goebel says that his German playing technique is based on Quantz and Pisendel, his ensemble searching for an intense and male sound in which the rhythmic impact of articulations express the common desire of his musicians for perfection, this associated with the search for absolute tuning and the use of the right instruments.
The career of the group can be divided into four generations, with some overlapping. The first generation of Musica Antiqua Köln was a chamber group, with a strong bias toward German and French music. Bach's Musical Offering and Chamber Music records, and French Baroque Concerts are highlights of that time. The second generation was formed around an orchestra at the beginning of the eighties. Telemann's Wassermusik, Bach's Ouvertures and Brandenburg Concertos are among the best. The third generation was mainly an orchestra centered on Dresden orchestral repertory, and according to Reinhard Goebel himself, it happened because he could not play due to the laming of his left hand after recording Biber's Mystery Sonatas. The two Heinichen recordings have made a great stir in the small Baroque world and beyond. After ten or so years playing as a left-handed player, "the best second violinist in the world," Goebel played right-handed again, and recorded Biber's Harmonia-artificioso ariosa and Telemann's Flute quartets as a soloist, among a few others. However, according to a note published by the group at the beginning of May 2006, his left hand was injured again and forced him to abandon the violin forever. Musica Antiqua Köln will be dissolved by the end of this year, and Reinhard Goebel will concentrate his efforts to conduct "modern" orchestras.
The following list was originally developed by Maurizio Frigeni, who has listed all the recordings sorted by release date and with links to detailed contents files. Only original recordings are taken into account here, but in the accompanying file he has usually given some indications about reissues. I have been undertaken a revision since 2004.
Eduardo Kickhöfel
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