Weckmann's inventive and surprising Sonatas c.1650 - The pupils of Schütz series (Part 2) HD скачать в хорошем качестве

Weckmann's inventive and surprising Sonatas c.1650 - The pupils of Schütz series (Part 2) HD

Matthias Weckmann Sonatas Prima e Quinta à 4 Performed by InAlto Lambert Colson cornetto, cornettino & direction Marie Rouquié violin Guy Hanssen sackbut Anaïs Ramage dulcian Justin Glaie theorbo and bass viol Marc Meisel organ www.inalto.be Buy miniature harpsichords at https://leocerante.com Matthias Weckmann was born c. 1616 in Niederorla (Thuringia), son of the Lutheran pastor Jacob Weckmann, a talented poet and musician. In 1630 Matthias Weckmann entered the court chapel at Dresden, where he took lessons in composition from Schütz. When Jacob Weckmann died in 1631, the recently widowed Schütz took Weckmann under his own protection, a service for which Weckmann would regard Schütz as a “fatherly friend” (“einen väterlichen Freundt”) for the rest of his life. Through the 1630s, Saxony suffered greatly from the Thirty Years’ War, and the chapel at Dresden was reduced to a minimum. Nevertheless, Schütz encouraged Weckmann’s artistic development, and in 1637 took him to Hamburg to meet the famous Jacob Praetorius, organist at the Petrikirche. Schütz also organised a bursary from the Elector of Saxony to pay for Weckmann’s lessons with Praetorius, who initiated him into the tradition of Sweelinck. In 1641, Weckmann was appointed as court organist in Dresden, but the elector subsequently lent his services to his son-in-law, Crown Prince Christian of Denmark. When Christian died in 1647, Weckmann returned to Dresden, but in 1655 he successfully applied for the position of organist of the Jacobikirche in Hamburg. Here he established himself at the centre of musical life in the city, establishing a Collegium musicum, which regularly performed music from Italy and the Holy Roman Empire. Weckmann’s sonatas, composed for the Collegium musicum, are preserved in a single manuscript (Lüneburg, Ratsbücherei Mus.ant.pract. K.N. 207/14). They show considerable wit and imaginative scoring. In their changes of mood they recall the style of Italian predecessors such as Castello and Fontana. Sonata quinta is a comic battle piece, like the pseudo-Homeric Battle of the Frogs and Mice. The trumpet calls begin strongly but soon fizz out as the soldiers rush about in disarray and take successive pratfalls in the mud. The central lamento section begins with a pathetic falling fourth which Weckmann repeats in a sequence that rises higher and higher, rendering the mood of lamentation increasingly more ridiculous, until the battle begins again in earnest. Sonata prima ss constructed like a miniature drama in which the four characters introduce themselves and then enter into a dialogue with the others. However, the characters soon begin to talk over the top of each other, the pace of the conversation increasing as the entries are squeezed ever more tightly together.