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Track Listing:

Handel: L'arrivee de la reine de Saba
Bach: Concerto en do mineur pour violon et hautbois - Allegro
Bach: Concerto en do mineur pour violon et hautbois - Adagio
Bach: Concerto en do mineur pour violon et hautbois - Allegro
Tartini: Pastorale pour violon et orchestre a cordes - Allegro
Tartini: Pastorale pour violon et orchestre a cordes - Adagio
Tartini: Pastorale pour violon et orchestre a cordes - Allegro
Vivaldi: Concerto pour violon - Allegro
Vivaldi: Concerto pour violon - Andante
Vivaldi: Concerto pour violon - Allegro molto
Telemann: Concerto pour alto en sol majeur - Largo
Telemann: Concerto pour alto en sol majeur - Allegro
Telemann: Concerto pour alto en sol majeur - Andante
Telemann: Concerto pour alto en sol majeur - Presto
Bach: Suite no 3 en re majeur - Ouverture
Bach: Suite no 3 en re majeur - Air
Bach: Suite no 3 en re majeur - Gavotte I & II
Bach: Suite no 3 en re majeur - Bourree
Bach: Suite no 3 en re majeur - Gigue

National Arts Centre Orchestra :

Baroque Treasury

Canada's National Arts Centre Orchestra
With Pinchas Zukerman, Amanda Forsyth & Charles Hamann

The "Arrival of the Queen of Sheba" actually comes from a larger work, the oratorio Solomon . Founded in 1749, the play traces the life of the great King Solomon who reigned over Judea and Israel at X e century BC, according to the books of Chronicles and Kings. Acts I and II of the oratorio evoke the power of the king and the splendor of his court, and show the famous judgment given by him in the dispute between two women who claimed to be both the mother of the same child. In Act III, the beautiful Queen of Sheba (corresponding country today in Yemen, the southwestern tip of the Arabian Peninsula) visits Solomon. As a prelude to its entry into the city, Handel wrote the bright and festive music we now call the "Arrival of the Queen of Sheba," a title that is not the composer, but probably the leader English conductor Sir Thomas Beecham. This is not a solemn and pompous piece, but rather an atmosphere of music that describes the excitement that reigns in the court of King Solomon, where it is preparing for the arrival imminent queen. JOHANN SEBASTIAN BACH (1685 - 1750) CONCERTO fOR OBOE aND VIOLIN iN C MINOR, BWV 1060 at the time of Bach , it was a common and accepted practice in musicians to transcribe, arrange or adapt for a special music written previously by them or by someone else. For example, all of Bach harpsichord concertos are transcriptions of concertos for other melodic instruments, sometimes composed by other musicians. Bach has signed his seven concertos for solo harpsichord and orchestra, as well as six others for several harpsichords (two, three or four) in the early 1730s in Leipzig, probably for the Collegium Musicum ensemble of amateur musicians of flexible structure which occurred mainly in the Café Zimmermann. The original music including Bach was inspired to compose his Concerto in do minor for two harpsichords (BWV 1060) no longer exists. The work recorded here is a reconstruction of an original music that Bach probably written around 1720, when it was in the service of the court of Köthen. It is not difficult to imagine the differences between the version for two harpsichords and the presumed original version for violin and oboe. Both single melody line instruments can produce chords and rich sounds of keyboard instruments, but in return they can offer volume gradations including harpsichord is unable and fascinating exchanges of colors and shades off scope for two instruments of the same stamp. This work follows the usual formula of the baroque concerto established mainly by Vivaldi : it is a play in three bright-slow-fast movements, the center of gravity lies in the first movement. Generally, the orchestra was composed only of strings to which we added a harpsichord to enrich the sound (except in the case of a harpsichord concerto). External movements consisted of ritornellos Orchestra (repeated presentations of the opening material in whole or in part) alternating with passages for the instrument or the solo instruments. The slow central movement was invariably lyrical and often designed on the voice mode. In the case of the Concerto for oboe and violin, the second movement offers a serene dialogue of ravishing sweetness offering a respite in music that is otherwise highly energetic and dynamic. GIUSEPPE TARTINI (1692 - 1770) PASTORAL (Transc .: OTTORINO RESPIGHI) the career of the composer, violinist, teacher, theorist, traveler and fencing master Giuseppe Tartini is one of the most famous in the history of music. With Corelli and Vivaldi, Tartini formed a sort of unofficial triumvirate whose influence ensured the supremacy of the violin for over a century. Many years later, inspired by his particular interest in music of past centuries, the Italian composer Ottorino Respighi (1879-1936) wrote some of his best known works such as the ballet La Boutique fantastic (on a Rossini's music), the Birds (from the old harpsichord) and Dances and Airs old (lute music of the XVII th and XVIII th centuries). Respighi was also transcribed or arranged some pieces many masters of baroque music like Bach, Vivaldi, Frescobaldi and Tartini. In 1908, he arranged two sonatas for violin Tartini to their interpretation on modern instruments. The A major sonata is known as the "Pastoral", a name quite appropriate since the third movement (Largo) contains drones evoking the musette and adopt the pace of the Sicilian traditionally associated with the music of the shepherds. The melody of the violin remains more or less the same as that Tartini had written but Respighi Deputy him a more elaborate accompaniment of string orchestra. ANTONIO VIVALDI (1678 - 1741) CONCERTO FOR VIOLIN AND CELLO IN SI FLAT MAJOR, RV 547 A double concerto for violin and cello made figure of scarcity. Many concert goers know the great Brahms double concerto written for the same pair of soloists, work that is by far the best-known example of this type of directory. However, more than a century before the release of the Brahms concerto, Vivaldi had composed three works of this kind. (He also wrote a double concerto for cello and a concerto for two violins and two cellos, a double concerto "double." Nothing stopped Vivaldi!) Both soloists have a strictly equal treatment and offer the good time by multiplying the acrobatics, major differences quick and agile jitter. They do so the pair to expect the final to see them put forward individually, albeit briefly. GEORG PHILIPP TELEMANN (1681 - 1767) CONCERTO FOR ALTO IN G MAJOR Among the German composers of his time, Telemann was the most famous and the one who had the most success, eclipsing even Bach in prestige (it is on him that stopped the first choice of the city council of Leipzig, but he was not available, it's Bach who inherited the post of cantor), also by exceeding the salary (Telemann earned three times what Bach) and productivity (Telemann wrote more works by Bach and Handel together). The Viola Concerto by Telemann is generally considered the first concerto for this instrument. It is not known exactly when it was written, but it is likely to date back to the period between 1712 and 1721. The texture for strings is in four parts, there are dance-like movements (the second and fourth), and work prefers transparent textures in contrapuntal style - especially suitable characteristic for not covering the soft voice of the soloist. A gentle heat exhales the opening movement which is all the more remarkable that its construction is based on little more than a melodic cell of three notes repeated and subject to variations throughout the movement. The second movement gives the soloist plenty of opportunities to demonstrate its technical ease. The dark yet elegant Andante in E minor is remarkable for the absence of a bass voice (cellos and continuo) in the solo passages, which allows the viola to break away even when accompanied by 'string orchestra. The concerto ends with a vivacious Presto, in the spirit of a French drunk, stylized dance binary rhythm with a pickup, common in the XVII th century. JOHANN SEBASTIAN BACH (1685 - 1750) SUITE No. 3 IN ORCHESTRAL RE MAJOR, BWV 1068 (VERSION bY ASSEMBLY / VERSION ASSEMBLED bY P. Traugott) Four orchestral suites of Bach have survived, but it is likely that the composer wrote others that are now lost. Each of these suites is a magnificent work that begins with a majestic and complex opening, and continues with a series of shorter and contrasting movements, coating most often in the form of dances. Each suite is written for a different combination of instruments (although the 3 and 4 are almost identical). Bach himself did not give these works the title of "Suite". Instead, he used the term "opening" and French spelling was deliberate since the opening movement was inspired by the festive opening with French composer Jean-Baptiste Lully (1632-1687). In Lully, the opening was long, stately, dignified and generally consisting of three interconnected parts: 1) a statutory section Grave , characterized by a slow tempo, a majestic look and abundant use of what is called the rhythm "pointed" (the process by alternating long and short notes); 2) a passage Allegro lively, characterized by imitation between voices and complex polyphonic texture; 3) a return to the section Grave of the beginning. Since the opening was by far the longest and most movement consisting of the suite for orchestra, Bach adopted the literary style figure of synecdoche of using a part to represent the whole. In the following, the famous Air is distinguished by the absence of wind instruments. After the trumpets, oboes and timpani back brilliantly in all their glory for the interpretation of both gavotte. Then comes another French dance in duple meter, the Bourree , which is slightly faster and upbeat which comprises only black or, in this case, two eighth. The festive atmosphere and very extroverted of the Third Suite (excluding Air) now continues to the last number, jitter - normally fast and light dance in 6/8 (often on a rhythmic pattern longbref) - which takes on a more noble bearing and is running smoothly. Translated by Robert Markow