Johann Valentin Rathgeber (1682-1750)

Concerto 19 in C-dur

From Chelys sonora op. 6






Adrianna van Leeuwen, Baroque Clarinet in C

Xiangji Zeng and Elise van der Wel, violins

Anna Lachegyi, cello

Zhou Feng, bass

Jean-Loup Gagnon, organ

I have recomposed the Adagio and added a small line for the clarinet.  In Rathgeber's version he had ommited the clarint all together.  The idea is to display the lyrical and singing qualities of the Baroque clarinet, compared to the trumpet.

Georg Philipp Telemann 1681-1767

Cantata TWV 1:320 for Easter Sunday

'Der Tod ist verschlungen in den Sieg'

Georg Philipp Telemann 1681-1767

Cantata TWV 1:1061 for New Year’s Day

'Lobet den Herrn, alle seine Heerscharen'

Bach Ensemble Koninklijk Convservatorium

Guy van Waas, director

May Kristein Svanholm Hegvold, soprano

Korneel van Neste, alto

Carlos Negrin Lopez, tenor (TWV 1:320)

Pablo Gregorian, tenor (TWV 1:1061)

Yuichi Saka, bass

Alessandro Scarlatti (1660-1725)

Su le sponde del Tebro H. 705


Sinfonia - Recitative - Aria


Adrianna van Leeuwen, Baroque clarinet in D

Bethany Shepherd, soprano

Xiangji Zeng and Elise van der Wel, violins

Anna Lachegyi, cello

Zhou Zeng, bass

Jean-Loup Gagnon, harpsichord and organ

Scarlatti's cantata was originally scored for “Tromba” (trumpet), strings and continuo, however the trumpet part is well suited for the 3-keyed clarinet in D.  Although, the date of the cantata predates the baroque clarinet, there is contemporary evidence from the 18th century to suggest “that for want of good clarino players, the part was played at sight on the clarinet which was eminently suitable in pitch, range and timbre.” (The clarinet – A cultural history, Kurt Birsak, pg. 28)  It is therefore my intention to showcase the instruments bright, brassy and fanfare-esque character.  Qualities that Telemann later exploited in his Frankfurt cantata cycles of the 1720’s.