Rare Baroque Flute Concertos

Giuseppe Tartini

Johann JoachimQuantz

Jacques-ChristopheNaudot

Frantisek Benda

The Cambridge Baroque Camerata

Neil McLaren - fluteon original instruments

CD-SAR 52 DIGITALRECORDING

Rare Baroque Flute Concertos

2 7

Rare Baroque Flute Concertoson original instruments

played by Neil McLaren and The Cambridge Baroque Camerata

Judith Tarling - leaderJonathan Hellyer Jones - director

Neil McLaren - fluteJudith Tarling - violin Frances Turner - violinNicola Cleminson - viola Daniel Yeadon - 'cello

Ian Gammie - violone Jonathan Hellyer Jones - harpsichord

Recorded at Forde Abbey, Dorset: 21 - 22 January 1991Producer: Gary Cole

Executive Producer: Gef LucenaEngineer: David Wilkins (Valley Recordings)

Harpsichord tuned by Mark RansomFront illustration: Querflöte spieland 1796 (von Dillis) reproduced

by courtesy of Staatliche Graphische Sammlung, MunichPhotography: David Wilkins

Design: Genny LucenaMade in EC

ISRC: GBAJX91052 01 to 12

©1991, Saydisc Records, England

AMON RA RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S.GLOS. GL9 1BX, ENGLAND

Fax: 01454 299 858E-mail: Saydisc@aol.com

www.saydisc.com

orchestral works of the 17th and 18thcenturies. It consists of a nucleus ofCambridge musicians and the group isexpanded, according to requirements,with experienced players from London

and elsewhere, many of whom havestudied at Cambridge or have familyconnections with the city. Its first CD wasa collection of music from the era of SirIsaac Newton.

Some of our SAYDISC unusual, traditional & exotic albums and Amon Ra authentic performances onoriginal instruments. Visit www.saydisc.com or write for more details and suppliers:CD-SDL 325 Like Waves Against The Sand - trad music from China - pipa, erhu, yanqin, percussionCD-SDL 343 On Kielder Side - Northumbrian Pipe music from Kathryn TickellCD-SDL 353 Fleur Du Jura - Parisian style cafe music from Danielle Pauly - French accordion QueenCD-SDL 358 Keep The Home Fires Burning - music of the 1st World War from the original recordings CD-SDL 360 Under The Greenwood Tree - Carols and dances from Thomas Hardy manuscripts, etcCD-SDL 367 Kurokami- Traditional music of Japan -koto/shakuhachi/shamisenCD-SDL 373 Music From The Time Of The Spanish Armada -The York Waits renaissance town bandCD-SDL 374 The Music Of The Hurdy Gurdy - Nigel Eaton & friends—bourreés to VivaldiCD-SDL 376 Disappearing World - Unique recordings of music from 17 endangered cultures CD-SDL 378 Church Bells Of England - 16 famous peals, Cotswolds, Bristol incl. St. Pauls, Westminster CD-SDL 383 Sing Lustily & With Good Courage - Favourite 18th c. hymns - Maddy Prior/ Carnival BandCD-SDL 387 Traditional Arabic Music - Hassan Erraji with Arabesque - ud, nay, saz, darbouka, bandir, etcCD-SDL 388 Music Of the Andes - Caliche - pan-pipes, charango, quena, bombo drum, etcCD-SDL 391 Traditional Songs of Scotland - Ray Fisher with bagpipe, violin, accordion etcCD-SDL 393 English Country Dances - The Broadside Band - favourite Playford dancesCD-SDL 396 Vocal Traditions of Bulgaria - exciting music from the Archives of Radio SofiaCD-SDL 400 English National Songs - Lucie Skeaping & John Potter with The Broadside BandCD-SDL 402 Traditional Songs of England - Jo Freya with fiddles, concertina, hurdy-gurdy, viols, etcCD-SDL 408 The Victorian Musical Box - numerous rare disc and cylinder musical boxesCD-SDL 409 Songs and Dances From Shakespeare - The Broadside Band and singersCD-SDL 413 Cockney Kings of Music Hall - the original recordingsCD-SDL 417 A Celtic Christmas - from Wales, Scotland, Ireland, Isle of Man, Cornwall and BritannyCD-SDL 419 Old English Nursery Rhymes - Vivien Ellis / Tim Laycock and The Broadside BandCD-SDL 422 Compline & Other Chant: Latin & English, nuns of Stanbrook/monks of Prinknash AbbeysCD-SDL 430 The Celtic Harp - The Celtic heritage of harp music from Wales, Ireland and ScotlandCD-SAR 10 Clarinet Collection - Alan Hacker (historic clarinets) with keyboard, etcCD-SAR 18 Guitar Collection - Nigel North (historic guitars) with Maggie Cole (keyboards)CD-SAR 53 Music For Mandolin - Alison Stevens - mandolin duets, mandolin & fortepianoCD-SAR 62 A Golden Treasury of Elizabethan MusicCD-SAR 63 A Golden Treasury of Medieval MusicCD-SAR 69 A Golden Treasury of Ancient Instruments

36

talents. His father was the master of aguild that made linen cloth, and a folkmusician; his mother also came from afamily of Czech musicians. As a childBenda studied music; systematically andsang in church choirs in Prague. Whilst atschool in Dresden, however, he wasinfluenced by the compositions ofPisendel, Quantz and the Graun brothers.As an orchestral violinist he worked inWarsaw and Dresden, and in 1733 he wasappointed to the position of first violinistat Neu Ruppin at the court of PrinceFrederick of Prussia on therecommendation of Quantz. Hecontinued in this post when the Princebecame King in1740, moving with thecourt to Berlin. There he workedalongside C.P.E. Bach, Quantz, Hesseand C.H Graun, forming an ensemblethat was renowned throughout Europe.Benda wrote symphonies, violin andflute concertos and many chamber worksfor violin in different combinations. Hisstyle was rooted in Tartini and Vivaldi,later drawing on the music of the Graunbrothers and C.P.E. Bach, and anticipatesMozart. Jonathan Hellyer Jones, 1991

Neil McLaren studied at Trinity Collegeand The Royal College of Music where

he was awarded prizes which enabledfurther study in Paris and elsewhere. Hechooses to divide his time between operacompanies, symphony orchestras andperiod instrument orchestras, both inBritain and abroad. He appearsfrequently as a soloist in London,performing on flutes from theRenaissanee to the present day and onwhich he has recorded concertos for theBBC. He has performed many times inconcerts with the Camerata.

Jonathan Hellyer Jones was born inWarwickshire but has spent much of hislife in Cambridge where he read music atSt John's College. He studied theharpsichord with Christopher Hogwoodand Christopher Kite and has performedon BBC television and at numerousfestivals. He has issued two solo records.He lectures on Baroque PerformancePractice at Anglia Polytechnic and is aSenior Member of Hughes Hall, agraduate college in Cambridge.

The Cambridge Baroque Cameratawas founded in 1984 by theharpsichordist Jonathan Hellyer Jones topromote the performance on periodinstruments of the chamber and

Rare Baroque Flute ConcertosConcerto in G Giuseppe Tartini (1692-1770)1 Allegro non molto [3'07"]2 Andante [2'47"]3 Allegro [2'30"]

Concerto in E minor Johann Joachim Quantz (1697-1773}4 Allegro ma non tanto [4'48"]5 Affetuoso [3'03"]6 Vivace [3'46"]

Concerto in D, Op.11 No.1 Jacques-Christophe Naudot (c.1690-1762)7 Allegro [4'31"]8 Largo [2'02"]9 Allegro [3'12"]

Concerto in G Frantisek Benda (1709-1786)10 Allegro [7'24"]11 Largo [6'34"]12 Presto [4'48"]

Total duration: 48'32"

4 5

Tartini - Concerto in GSome will know of Giuseppe Tartini asthe composer of the Devil's Trill sonata,others that he was a renowned theorist.Few may be aware that as a student oflaw at Padua he was best known as aswordsman.

As a youth he was expected to enterthe monastic life, but this apparently wasnot his wish, for in 1710 his marriage toElisabetta Premazore brought him intoconflict with the church, of which he wasalready a priest. As a result of thedisapproval of the Bishop of Padua,Tartini went to Assisi to study music withPadre Boemo, an organist whosubsequently became a colleague inPadua. It was in Ancona, in 1714, as aviolinist in the opera orchestra thatTartini discovered what he called 'thethird sound' or difference tone, whichwas to play an important part in histheories of acoustics. The following yearhe returned to Padua, was pardoned andreunited with his wife. His renown as aviolinist increased in the period up toabout 1740 when this was threatened byan arm injury.

Most of his compositions appear todate from the middle of the 1720s, after athree year spell in Prague in the employ

of the Court Chancellor. A precisechronology of his compositions is almostimpossible; for example, although weknow about the publications of sonatas of1734 and 1745 and the trios brought outin London in 1750, we do not know howmuch time elapsed between compositionand publication of such works. It hasbeen suggested that most of hiscompositions were written by 1750, afterwhich time Tartini was increasinglyconcerned with theoretical writings.

Quantz - Concerto in E minorThe writer J.J. Quantz is well knownamongst flautists as having provideddetailed information on how to play theirinstrument. His essay On Playing theFlute, published in Berlin in 1752, alsoprovides guidance on performance ofmusic generally. This is of interest toplayers of other instruments as well as tolisteners to the music of 1730 -1750. Onone occasion he compares a musicalperformer with an orator: both aim "tomake themselves masters of the hearts oftheir listeners, to arouse or still theirpassions, and to transport them now tothis sentiment, now to that". As a highlyesteemed member of the court ofFrederick the Great of Prussia, Quantz

must have been aware of the necessity fortactful speech; for when in 1741 he wasfinally persuaded to join the court atBerlin, leaving his position in the Kapelleat Dresden, he was required to supervisethe King's private concerts and he alonewas permitted to criticize the King'splaying of the flute.

His Essay abounds in practicaladvice. For example: "In the Allegro, asin the Adagio, the plain air must beembellished and made more agreeable byappoggiaturas, and by the other littleessential graces, as the passion of themoment demands."

Also, "To play an Adagio well, youmust enter as much as possible into acalm and almost melancholy mood, sothat you can execute what you have toplay in the same state of mind as that inwhich the composer wrote it.... Thatwhich does not come from the heart doesnot easily reach the heart." And onknowledge of composition: "(this)provides some useful benefits if, unlikemany, you do not wish simply tomemorize cadenzas by rote, as the birdslearn their songs, without knowing ofwhat they consist."

Of the 300 concertos for flute, manypredate his employment with Frederick

the Great. The King however, furtherencouraged his famous teacher tocompose concerted pieces for flute aswell as many sonatas,

Naudot - Concerto in DJacques-Christophe Naudot wasparticularly celebrated as a flautist inParis. As early as 1719 he was referred toas a 'master of music', and both Quantzand Walther mention him by name asbeing active as a player. In 1739 Naudotwas one of the three flautists to whom thepoet Denesle dedicated his poem 'Syrinx,ou l'origine de la flute'.

Details of his employment are scarce,but it is likely that he taught thehurdy-gurdy and musette as well as theflute. His compositions date from theyears 1726 - 1752 and the opus 11 set of6 concertos for flute were published by1737 being the second printed set of fluteconcertos in Europe after Vivaldi's opus10 collection. From these years date aninterest in freemasonry and in 1737Naudot produced the first volume ofmasonic songs to appear in France.

Benda - Concerto in GFrantisek Benda came from a largefamily known for its remarkable musical

4 5

Tartini - Concerto in GSome will know of Giuseppe Tartini asthe composer of the Devil's Trill sonata,others that he was a renowned theorist.Few may be aware that as a student oflaw at Padua he was best known as aswordsman.

As a youth he was expected to enterthe monastic life, but this apparently wasnot his wish, for in 1710 his marriage toElisabetta Premazore brought him intoconflict with the church, of which he wasalready a priest. As a result of thedisapproval of the Bishop of Padua,Tartini went to Assisi to study music withPadre Boemo, an organist whosubsequently became a colleague inPadua. It was in Ancona, in 1714, as aviolinist in the opera orchestra thatTartini discovered what he called 'thethird sound' or difference tone, whichwas to play an important part in histheories of acoustics. The following yearhe returned to Padua, was pardoned andreunited with his wife. His renown as aviolinist increased in the period up toabout 1740 when this was threatened byan arm injury.

Most of his compositions appear todate from the middle of the 1720s, after athree year spell in Prague in the employ

of the Court Chancellor. A precisechronology of his compositions is almostimpossible; for example, although weknow about the publications of sonatas of1734 and 1745 and the trios brought outin London in 1750, we do not know howmuch time elapsed between compositionand publication of such works. It hasbeen suggested that most of hiscompositions were written by 1750, afterwhich time Tartini was increasinglyconcerned with theoretical writings.

Quantz - Concerto in E minorThe writer J.J. Quantz is well knownamongst flautists as having provideddetailed information on how to play theirinstrument. His essay On Playing theFlute, published in Berlin in 1752, alsoprovides guidance on performance ofmusic generally. This is of interest toplayers of other instruments as well as tolisteners to the music of 1730 -1750. Onone occasion he compares a musicalperformer with an orator: both aim "tomake themselves masters of the hearts oftheir listeners, to arouse or still theirpassions, and to transport them now tothis sentiment, now to that". As a highlyesteemed member of the court ofFrederick the Great of Prussia, Quantz

must have been aware of the necessity fortactful speech; for when in 1741 he wasfinally persuaded to join the court atBerlin, leaving his position in the Kapelleat Dresden, he was required to supervisethe King's private concerts and he alonewas permitted to criticize the King'splaying of the flute.

His Essay abounds in practicaladvice. For example: "In the Allegro, asin the Adagio, the plain air must beembellished and made more agreeable byappoggiaturas, and by the other littleessential graces, as the passion of themoment demands."

Also, "To play an Adagio well, youmust enter as much as possible into acalm and almost melancholy mood, sothat you can execute what you have toplay in the same state of mind as that inwhich the composer wrote it.... Thatwhich does not come from the heart doesnot easily reach the heart." And onknowledge of composition: "(this)provides some useful benefits if, unlikemany, you do not wish simply tomemorize cadenzas by rote, as the birdslearn their songs, without knowing ofwhat they consist."

Of the 300 concertos for flute, manypredate his employment with Frederick

the Great. The King however, furtherencouraged his famous teacher tocompose concerted pieces for flute aswell as many sonatas,

Naudot - Concerto in DJacques-Christophe Naudot wasparticularly celebrated as a flautist inParis. As early as 1719 he was referred toas a 'master of music', and both Quantzand Walther mention him by name asbeing active as a player. In 1739 Naudotwas one of the three flautists to whom thepoet Denesle dedicated his poem 'Syrinx,ou l'origine de la flute'.

Details of his employment are scarce,but it is likely that he taught thehurdy-gurdy and musette as well as theflute. His compositions date from theyears 1726 - 1752 and the opus 11 set of6 concertos for flute were published by1737 being the second printed set of fluteconcertos in Europe after Vivaldi's opus10 collection. From these years date aninterest in freemasonry and in 1737Naudot produced the first volume ofmasonic songs to appear in France.

Benda - Concerto in GFrantisek Benda came from a largefamily known for its remarkable musical

36

talents. His father was the master of aguild that made linen cloth, and a folkmusician; his mother also came from afamily of Czech musicians. As a childBenda studied music; systematically andsang in church choirs in Prague. Whilst atschool in Dresden, however, he wasinfluenced by the compositions ofPisendel, Quantz and the Graun brothers.As an orchestral violinist he worked inWarsaw and Dresden, and in 1733 he wasappointed to the position of first violinistat Neu Ruppin at the court of PrinceFrederick of Prussia on therecommendation of Quantz. Hecontinued in this post when the Princebecame King in1740, moving with thecourt to Berlin. There he workedalongside C.P.E. Bach, Quantz, Hesseand C.H Graun, forming an ensemblethat was renowned throughout Europe.Benda wrote symphonies, violin andflute concertos and many chamber worksfor violin in different combinations. Hisstyle was rooted in Tartini and Vivaldi,later drawing on the music of the Graunbrothers and C.P.E. Bach, and anticipatesMozart. Jonathan Hellyer Jones, 1991

Neil McLaren studied at Trinity Collegeand The Royal College of Music where

he was awarded prizes which enabledfurther study in Paris and elsewhere. Hechooses to divide his time between operacompanies, symphony orchestras andperiod instrument orchestras, both inBritain and abroad. He appearsfrequently as a soloist in London,performing on flutes from theRenaissanee to the present day and onwhich he has recorded concertos for theBBC. He has performed many times inconcerts with the Camerata.

Jonathan Hellyer Jones was born inWarwickshire but has spent much of hislife in Cambridge where he read music atSt John's College. He studied theharpsichord with Christopher Hogwoodand Christopher Kite and has performedon BBC television and at numerousfestivals. He has issued two solo records.He lectures on Baroque PerformancePractice at Anglia Polytechnic and is aSenior Member of Hughes Hall, agraduate college in Cambridge.

The Cambridge Baroque Cameratawas founded in 1984 by theharpsichordist Jonathan Hellyer Jones topromote the performance on periodinstruments of the chamber and

Rare Baroque Flute ConcertosConcerto in G Giuseppe Tartini (1692-1770)1 Allegro non molto [3'07"]2 Andante [2'47"]3 Allegro [2'30"]

Concerto in E minor Johann Joachim Quantz (1697-1773}4 Allegro ma non tanto [4'48"]5 Affetuoso [3'03"]6 Vivace [3'46"]

Concerto in D, Op.11 No.1 Jacques-Christophe Naudot (c.1690-1762)7 Allegro [4'31"]8 Largo [2'02"]9 Allegro [3'12"]

Concerto in G Frantisek Benda (1709-1786)10 Allegro [7'24"]11 Largo [6'34"]12 Presto [4'48"]

Total duration: 48'32"

2 7

Rare Baroque Flute Concertoson original instruments

played by Neil McLaren and The Cambridge Baroque Camerata

Judith Tarling - leaderJonathan Hellyer Jones - director

Neil McLaren - fluteJudith Tarling - violin Frances Turner - violinNicola Cleminson - viola Daniel Yeadon - 'cello

Ian Gammie - violone Jonathan Hellyer Jones - harpsichord

Recorded at Forde Abbey, Dorset: 21 - 22 January 1991Producer: Gary Cole

Executive Producer: Gef LucenaEngineer: David Wilkins (Valley Recordings)

Harpsichord tuned by Mark RansomFront illustration: Querflöte spieland 1796 (von Dillis) reproduced

by courtesy of Staatliche Graphische Sammlung, MunichPhotography: David Wilkins

Design: Genny LucenaMade in EC

ISRC: GBAJX91052 01 to 12

©1991, Saydisc Records, England

AMON RA RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S.GLOS. GL9 1BX, ENGLAND

Fax: 01454 299 858E-mail: Saydisc@aol.com

www.saydisc.com

orchestral works of the 17th and 18thcenturies. It consists of a nucleus ofCambridge musicians and the group isexpanded, according to requirements,with experienced players from London

and elsewhere, many of whom havestudied at Cambridge or have familyconnections with the city. Its first CD wasa collection of music from the era of SirIsaac Newton.

Some of our SAYDISC unusual, traditional & exotic albums and Amon Ra authentic performances onoriginal instruments. Visit www.saydisc.com or write for more details and suppliers:CD-SDL 325 Like Waves Against The Sand - trad music from China - pipa, erhu, yanqin, percussionCD-SDL 343 On Kielder Side - Northumbrian Pipe music from Kathryn TickellCD-SDL 353 Fleur Du Jura - Parisian style cafe music from Danielle Pauly - French accordion QueenCD-SDL 358 Keep The Home Fires Burning - music of the 1st World War from the original recordings CD-SDL 360 Under The Greenwood Tree - Carols and dances from Thomas Hardy manuscripts, etcCD-SDL 367 Kurokami- Traditional music of Japan -koto/shakuhachi/shamisenCD-SDL 373 Music From The Time Of The Spanish Armada -The York Waits renaissance town bandCD-SDL 374 The Music Of The Hurdy Gurdy - Nigel Eaton & friends—bourreés to VivaldiCD-SDL 376 Disappearing World - Unique recordings of music from 17 endangered cultures CD-SDL 378 Church Bells Of England - 16 famous peals, Cotswolds, Bristol incl. St. Pauls, Westminster CD-SDL 383 Sing Lustily & With Good Courage - Favourite 18th c. hymns - Maddy Prior/ Carnival BandCD-SDL 387 Traditional Arabic Music - Hassan Erraji with Arabesque - ud, nay, saz, darbouka, bandir, etcCD-SDL 388 Music Of the Andes - Caliche - pan-pipes, charango, quena, bombo drum, etcCD-SDL 391 Traditional Songs of Scotland - Ray Fisher with bagpipe, violin, accordion etcCD-SDL 393 English Country Dances - The Broadside Band - favourite Playford dancesCD-SDL 396 Vocal Traditions of Bulgaria - exciting music from the Archives of Radio SofiaCD-SDL 400 English National Songs - Lucie Skeaping & John Potter with The Broadside BandCD-SDL 402 Traditional Songs of England - Jo Freya with fiddles, concertina, hurdy-gurdy, viols, etcCD-SDL 408 The Victorian Musical Box - numerous rare disc and cylinder musical boxesCD-SDL 409 Songs and Dances From Shakespeare - The Broadside Band and singersCD-SDL 413 Cockney Kings of Music Hall - the original recordingsCD-SDL 417 A Celtic Christmas - from Wales, Scotland, Ireland, Isle of Man, Cornwall and BritannyCD-SDL 419 Old English Nursery Rhymes - Vivien Ellis / Tim Laycock and The Broadside BandCD-SDL 422 Compline & Other Chant: Latin & English, nuns of Stanbrook/monks of Prinknash AbbeysCD-SDL 430 The Celtic Harp - The Celtic heritage of harp music from Wales, Ireland and ScotlandCD-SAR 10 Clarinet Collection - Alan Hacker (historic clarinets) with keyboard, etcCD-SAR 18 Guitar Collection - Nigel North (historic guitars) with Maggie Cole (keyboards)CD-SAR 53 Music For Mandolin - Alison Stevens - mandolin duets, mandolin & fortepianoCD-SAR 62 A Golden Treasury of Elizabethan MusicCD-SAR 63 A Golden Treasury of Medieval MusicCD-SAR 69 A Golden Treasury of Ancient Instruments

Rare Baroque Flute Concertos

Giuseppe Tartini

Johann JoachimQuantz

Jacques-ChristopheNaudot

Frantisek Benda

The Cambridge Baroque Camerata

Neil McLaren - fluteon original instruments

CD-SAR 52 DIGITALRECORDING

Rare Baroque Flute Concertos

AMON RA is a trade mark of SAYDISC RECORDS, THE BARTON, INGLESTONE COMMON,

BADMINTON, S.GLOS. GL9 1BX, ENGLAND. Fax: +(0)1454 299 858 E-Mail: Saydisc@ aol.com Website: www.saydisc.com

Made in EC

STEREO CD-SAR 52

CD

-SA

R 52

Concerto in GGiuseppe Tartini (1692-1770)1 Allegro non molto [3'07"]2 Andante [2'47"]3 Allegro [2'30"]

Concerto in E minorJohann Joachim Quantz (1697-1773}4 Allegro ma non tanto [4'48"]5 Affetuoso [3'03"]6 Vivace [3'46"]

Concerto in D, Op. 11 No.1Jacques-Christophe Naudot (c.1690-1762)7 Allegro [4'31"]8 Largo [2'02"]9 Allegro [3'12"]

Concerto in GFrantisek Benda (1709-1786)10 Allegro [7'24"]11 Largo [6'34"]12 Presto [4'48"]

Total duration: 48'32"

Rare B

aroque Flute C

oncertos Neil M

cLaren

CD

-SA

R 52

Rare B

aroque Flute C

oncertos Neil M

cLaren

TM

Rare Baroque Flute Concertos

The Cambridge Baroque CamerataNeil McLaren - fluteon original instruments