Golden Age in Brandenburg
William BRADE (1560-1630)
Suite G-Dur [6:22]
Nicolaus ZANGIUS (1570-1619)
Vater unser im Himmelreich [3:53]
Bartholomäus PRAETORIUS (c.1590-1623)
Paduana & Galliard Nr. 1 d-Moll [4:56]
Dietrich STOEFFKEN (?1600-1673)
Suite d-Moll [11:55]
Adam JARZEBSKY (c.1590-1649)
La Berlinesa [4:14]
La Königsberga [3:32]
Thomas LUPO (1571-1627)
Fantasia [2:10]
Walter ROWE (c.1584-1671)
Coranto d-Moll [0:50]
Matthew LOCKE (1621-1677)
Suite V d-Moll [7:34]
Georg Wolfgang DRUCKENMULLER (1628-1675)
Suite II G-Dur [5:07]
Ambrosius SCHERLE (c.1600-?)
Suite g-Moll [8:05]
Hieronymus KRADENTHALLER (1627-1700)
Suite I d-Moll [4:29]
Juliane Laake (viola da gamba),
Ensemble Art d’Echo
rec. 15-18 February 2016, Andreaskirche, Berlin
QUERSTAND VKJK1616 [60:06]
The music on this CD centres on the Prussian Court at Brandenburg.
In the 18th Century, Frederick the Great, Johann Joachim Quanz
and Carl Philipp Emanuel Bach stood out as beacons at the court. Many regard
the preceding years as productively barren, musically. Quite the opposite
was true. This recording aims to redress the balance by exploring some of
its musical riches. With one or two exceptions, many of the composers are
new to me. The court at this time was dominated by English viol music, and
we are treated to works by such names as Walter Rowe, William Brade and Matthew
Locke.
In 1608, Johann Sigismund became Prince-Elector of Brandenburg, and he can
be credited with amassing a sizeable band of musicians around him, appointing
Nicolaus Zangius as leader. Zangius’ tenure was relatively short lived,
since he died in 1619, when William Brade replaced him. Walter Rowe was a
stellar figure during this time. He stayed at the court for six decades, and
his contribution was significant, introducing English repertoire amongst other
things. The orchestra was extensively pared down by Johann Sigismund’s
successor, Georg Wilhelm, probably in response to external events such as
the Thirty Years War. The ensemble shrunk dramatically from 37 to 7 musicians.
It was left to his successor Friedrich Wilhelm, ‘The Great Elector’,
to resuscitate the orchestra; he even went so far as learning to play the
gamba himself.
With Juliane Laake at the helm, the Ensemble Art d’Echo consists of
bass and alto gambas, Baroque harp and alto, tenor and bass recorders. Different
combinations of instruments are deployed throughout. There’s no sense
of uniformity or monotony here; the alternation of instrumentation provides
colour contrasts. Different moods are explored. Praetorius’ Galliard
is uplifting, whereas his Paduana is more sedate and serious-minded. Stoeffken’s
Suite in D minor explores darker instrumental sonorities, in contrast to William
Brade’s brighter scoring. Lupo’s Fantasia is quite meditative
in character. If I had to choose my favourites, they would be the Druckenmüller
and Kradenthaller Suites.
This is a beautifully realised programme, superbly recorded and expertly balanced.
The players deliver these works with expressive warmth and rhythmic freedom.
The accompanying booklet notes are exemplary, placing the composers and their
music in a historical context. It all makes for a fascinating collection,
and for those who admire the viola da gamba, I wouldn’t hesitate.
Stephen Greenbank
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