Concerti con varii strumenti. Dresdner Konzerte (FBO)
Listen
(14)
- Allegro
- Adagio
- Allegro
- Fantasie. Imitation des Caractères de la Danse
- Largo e staccato
- Allegro
- Largo
- Allegro
- Allegro
- Vivace
- Andante
- Allegro
- Andante
- Concerto in D major
Contents
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Composer
Johann Georg Pisendel
| 1687-1755
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Preface writer
Wolfgang Horn
| 1956-2019
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Ensemble
Freiburger Barockorchester
The Freiburger Barockorchester (Freiburg Baroque Orchestra, FBO) can look back on a success story lasting over 25 years: From student beginnings, within a few years an internationally-recognized orchestra developed which now performs regularly at leading concert halls and opera houses. Since May 2012 the “Freiburger”, together with their colleagues from ensemble recherche, have been able to enjoy an internationally unique home: the Ensemblehaus Freiburg, a music workshop and think tank for two top ensembles in the early and contemporary music scene under one roof. The FBO continuously collaborates with important artists such as René Jacobs, Andreas Staier, Jean-Guihen Queyras, Isabelle Faust, Kristian Bezuidenhout, Christian Gerhaher, and Pablo Heras-Casado. The artistic success of these musical partnerships is manifested in numerous CD productions and the receipt of prominent awards, such as the ECHO Classical German Music Prize 2011, 2012, 2013, and 2014, the Edison Classical Music Award 2012 and 2013, the Gramophone Award 2011 and 2012, as well as the Jahrespreis der Deutschen Schallplattenkritik 2009. Under the artistic directorship of its two concert-masters Gottfried von der Goltz and Petra Müllejans, and under the baton of selected conductors, the FBO presents itself with about one hundred performances per year in a variety of formations from chamber to opera orchestra: a selfadministrated ensemble with its own subscription concerts at Freiburg’s Concert Hall, Stuttgart’s Liederhalle, and Berlin’s Philharmonie and with tours all over the world. Personal details
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Conductor
Gottfried von der Goltz
Gottfried von der Goltz has made a respected international name for himself as a Baroque violinist and Artistic Director of the Freiburger Barockorchester. As was common during the 18th century, he leads the FBO from the platform of the concertmaster. He also occasionally swaps the violin for the baton as, for example, in the Freiburger Barockorchester’s Beethoven Series which stretched over a period of many years. Gottfried von der Goltz made the specialist world sit up and take notice with successful CD recordings of the regrettably long-forgotten music of the Dresden Baroque and Bach’s sons. Nevertheless, he does not want to restrict himself to being a specialist in a particular repertoire. His diverse discography, ranging from the 17th century to the modern, shows instead that he is a tremendously versatile and flexible musician. In addition to his multi-layered chamber music engagements, Gottfried von der Goltz is Artistic Director of the Norsk Barokkorkesters. As a Professor, he is also a sought after teacher of Baroque and modern violin at the Hochschule für Musik in Freiburg. Personal details
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Soloist - violin
Gottfried von der Goltz
Gottfried von der Goltz has made a respected international name for himself as a Baroque violinist and Artistic Director of the Freiburger Barockorchester. As was common during the 18th century, he leads the FBO from the platform of the concertmaster. He also occasionally swaps the violin for the baton as, for example, in the Freiburger Barockorchester’s Beethoven Series which stretched over a period of many years. Gottfried von der Goltz made the specialist world sit up and take notice with successful CD recordings of the regrettably long-forgotten music of the Dresden Baroque and Bach’s sons. Nevertheless, he does not want to restrict himself to being a specialist in a particular repertoire. His diverse discography, ranging from the 17th century to the modern, shows instead that he is a tremendously versatile and flexible musician. In addition to his multi-layered chamber music engagements, Gottfried von der Goltz is Artistic Director of the Norsk Barokkorkesters. As a Professor, he is also a sought after teacher of Baroque and modern violin at the Hochschule für Musik in Freiburg. Personal details
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Soloist - violin
Petra Müllejans
Reviews
Galante Eleganz
Galante Eleganz
Seit Reinhard Goebels preisgekrönter CD mit den Dresdner Orchesterwerken Johann David Heinichens tritt die Elbmetropole mit ihren höfischen Konzertmusik auch im Bewusstsein des Musikhörers langsam aus dem Schatten der Rivalin Leipzig. Gewiss, einen Bach hat sie nicht zu bieten. Aber der Thomaskantor Bach hat nicht ohne Grund als Hofkompositeur auch in der sächsischen Residenzstadt Fuß zu fassen versucht, wo neben Heinichen noch Pisendel, Zelenka und später Hasse wirkten. Pisendel war es, der als bedeutendster deutscher Violinvirtuose seiner Zeit und Konzertmeister bis zu seinem Tod für die Qualität des viel gerühmten Dresdner Orchesters einstand, das noch ein Jean-Jacques Rousseau 1768 in seinem „Dictionnaire de musique” als das beste in ganz Europa bezeichnen sollte. Von Pisendels kompositorischem Schaffen sind noch keine zwanzig Werke überliefert, sodass die vorliegende CD des Freiburger Barockorchesters mit ihren insgesamt sieben Instrumentalwerken als ein repräsentativer Querschnitt seines Könnens wie des Könnens seines Orchesters gelten darf. Traditionellere Violinkonzerte der Vivaldischen Form stellen hier neben förmlichen Orchesterkonzerten, in denen alle Instrumente am konzertierenden Geschehen beteiligt sind. Das reicht von der Gravitas eines konventionelleren Kirchenstücks wie dem g-Moll-Concerto über die galante Eleganz einer französischen Tanzsuite bis zu den vollstimmigen Concerti aus Pisendels letzter Lebenszeit, in denen – so Wolfgang Horn – „das recht klar umrissene Rollenspiel des Solokonzerts in der Idee eines allumfassenden Konzertierens aufgeht”. [ ]
Die Freiburger, die seit der Trennung von Thomas Hengelbrock ein neues Selbstbewusstsein gewonnen haben, musizieren die Sätze und Konzerte mit Spielfreude, Virtuosität und jenem interpretatorischen Entdeckerstolz, den Goebels „Musica Antiqua Köln” oder „Concerto Köln” in vergleichbaren Einspielungen seit längerem an den Tag legen. Die neue CD jedenfalls ist ein interpretatorischer Volltreffer.
Uwe Schweikert
Quelle: Neue Musikzeitung 10/1999
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