Classical The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://www.theblues-thatjazz.com/en/classical/4345.html Wed, 01 Dec 2021 16:34:01 +0000 Joomla! 1.5 - Open Source Content Management en-gb Johann Joachim Quantz - Flute Sonatas Nos. 272-277 (2009) http://www.theblues-thatjazz.com/en/classical/4345-quantz-johann-joachim/16392-johann-joachim-quantz-flute-sonatas-nos-272-277-2009.html http://www.theblues-thatjazz.com/en/classical/4345-quantz-johann-joachim/16392-johann-joachim-quantz-flute-sonatas-nos-272-277-2009.html Johann Joachim Quantz - Flute Sonatas Nos. 272-277 (2009)

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1. Flute Sonata No. 272 in F Major, QV 1:93: I. Allegro	2:43	
2. Flute Sonata No. 272 in F Major, QV 1:93: II. Largo	3:57	
3. Flute Sonata No. 272 in F Major, QV 1:93: III. Vivace	4:59	
4. Flute Sonata No. 273 in G Major, QV 1:109: I. Presto ma fiero		3:05
5. Flute Sonata No. 273 in G Major, QV 1:109: II. Grave	4:00	
6. Flute Sonata No. 273 in G Major, QV 1:109: III. Vivace	4:19
7. Flute Sonata No. 274 in A Major, QV 1:145: I. Allegro		2:53	
8. Flute Sonata No. 274 in A Major, QV 1:145: II. Alla Siciliana	3:00	
9. Flute Sonata No. 274 in A Major, QV 1:145: III. Grazioso ma vivace	5:31	
10. Flute Sonata No. 275 in B-Flat Major, QV 1:161: I. Allegro di molto	2:42	
11. Flute Sonata No. 275 in B-Flat Major, QV 1:161: II. Affetuoso	3:29
12. Flute Sonata No. 275 in B-Flat Major, QV 1:161: III. Vivace	3:57	
13. Flute Sonata No. 276 in C Minor, QV 1:18: I. Allegro ma con brio	2:37	
14. Flute Sonata No. 276 in C Minor, QV 1:18: II. Cantabile	2:57	
15. Flute Sonata No. 276 in C Minor, QV 1:18: III. Presto		2:41	
16. Flute Sonata No. 277 in D Major, QV 1:42: I. Allegro assai	2:43
17. Flute Sonata No. 277 in D Major, QV 1:42: II. Arioso		3:29	
18. Flute Sonata No. 277 in D Major, QV 1:42: III. Alla Forlana ma presto	3:48

Verena Fischer – flute
Klaus-Dieter Brandt – baroque cello
Leon Berben – harpsichord

 

Flutist Verena Fischer's complete Quantz sonata cycle began this year, with Sonatas Nos. 272-277. The numbering is confusing: original pieces are mixed up with those actually composed by Frederick the Great, but at least 204 authentic works by Quantz survive. With approximately five sonatas per disc, and the projected release of one disc per year, the complete cycle should be finished by 2050. It will be interesting to see if the artists (not to mention the record industry) survive the entire process, or if Sharon Bezaly on BIS beats them to it. -- Classics Today, David Hurwitz, January 2010

 

The name of Johann Joachim Quantz appears in every music history text, with mention of his treatise on flute playing and perhaps the intersections of his career with those of the members of the Bach family. His music itself, as annotator Meike ten Brink points out in the booklet for this Naxos release (in German and English), is actually quite uncommon; most of it has not even been published or edited. Perhaps compilers have been daunted by Quantz's sheer productivity; the sonatas heard here, numbered from 272 to 277, come from a corpus of more than 300 works in the genre, and the composer was prolific in other chamber genres, as well. Thus, this beautifully performed collection is most welcome. The packaging doesn't quite give an idea of what the music sounds like. There's lots of mention of Quantz's "mixed taste," combining various national styles and of his galant tendencies. These descriptions may be relevant for other Quantz compositions, but these sonatas are Italianate to the core, and they are only intermittently -- in the central movements and a few of the finales -- galant. The opening movements are the strongest, and there the model is Italian opera. Quantz challenges the flutist by writing what are essential soprano arias for it, and that's extremely exciting to listen to. Baroque flutist Verena Fischer keeps up with the abrupt registral shifts, the dramatic outbursts, and the long strings of notes at the top of her range, all without ever letting the sound of the instrument degenerate, and the continuo accompaniment of Baroque cellist Klaus-Dieter Brandt and harpsichordist Léon Berben is equally vigorous if not so sensitive in, say, the middle movement of the Flute Sonata No. 274 in A major, AV 1:145, where there isn't much of a Siciliana feeling. It's good to have a new disc of music by Quantz to put to the many mentions of his name in print, and the opening movements of these sonatas are especially commended to aspiring flute recitalists. –James Manheim, Rovi

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administration@theblues-thatjazz.com (bluesever) Quantz Johann Joachim Thu, 14 Aug 2014 08:31:13 +0000
Quantz - 4 Concertos for Flute (Csalog) [2014] http://www.theblues-thatjazz.com/en/classical/4345-quantz-johann-joachim/16416-quantz-4-concertos-for-flute-csalog-2014.html http://www.theblues-thatjazz.com/en/classical/4345-quantz-johann-joachim/16416-quantz-4-concertos-for-flute-csalog-2014.html Quantz - 4 Concertos for Flute (Csalog) [2014]

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1. Concerto for flute & orchestra in G minor: I. Allegro Di Molto, Ma Con Brio
2. Concerto for flute & orchestra in G minor: II. Larghetto
3. Concerto for flute & orchestra in G minor: III. Presto
4. Flute Concerto in D major, QV5:74/70: I. Allegro Ma Non Tanto
5. Flute Concerto in D major, QV5:74/70: Larghetto
6. Flute Concerto in D major, QV5:74/70: Allegro Assai E Scherzando
7. Flute Concerto in C major, QV5:15/188: I. Allegretto
8. Flute Concerto in C major, QV5:15/188: II. Arioso, Ma Sostenuto
9. Flute Concerto in C major, QV5:15/188: III. Alla Siciliana Ma Scherzando E Allegro
10. Concerto for flute & orchestra, No 161 in G major: I .Allegro Assai
11. Concerto for flute & orchestra, No 161 in G major: II. Arioso E Mesto
12. Concerto for flute & orchestra, No 161 in G major: III. Presto

Benedek Csalog - Baroque Flute
Aura Musicale (Chamber Ensemble)

 

The name Johann Joachim Quantz often turns up in programme notes and in books on music history. That's for two reasons. Firstly, he was a member of the chapel of Frederick the Great, King of Prussia, which was one of the most important chapels in Europe in the mid-18th century. Secondly, he was the author of a treatise on flute playing, an important source of information about performance practice in his time. Unfortunately, he shares the fate of other theorists in that for a long time his own oeuvre was almost completely ignored. Some of his flute concertos and flute sonatas have been played over the years, but it is only fairly recently that his oeuvre has been seriously explored and has become part of the active 18th-century repertoire.

The flute was not part of his early musical education. Quantz learned to play string instruments as well as oboe and trumpet. He later studied with Jan Dismas Zelenka, and became acquainted with the concertos by Vivaldi. These had a great influence on his development as a composer. His first job was that of an oboist in the Polish chapel of Augustus II, Elector of Saxony and King of Poland. However, he saw few opportunities for further development in this department, and turned to the transverse flute. He studied with Buffardin, the French-born star flautist in the Dresden court chapel. Quantz himself named its concert master, Johann Georg Pisendel, as a major source of influence on his writing.

Although the Quantz oeuvre includes music for various instruments and a small number of vocal works, it is dominated by music for flute. The main incentive to write so much for his own instrument was his employer for many years and flute pupil, Frederick the Great. The Prussian king was an avid player of the instrument, often performing flute sonatas and concertos with his own chapel in his private rooms. Quantz composed at least 235 sonatas and more than 300 concertos, of which around 250 have been preserved. --- Johan van Veen, musicweb-international.com

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administration@theblues-thatjazz.com (bluesever) Quantz Johann Joachim Thu, 21 Aug 2014 11:52:45 +0000
Quantz - Concerti from Dresden & Berlin (2003) http://www.theblues-thatjazz.com/en/classical/4345-quantz-johann-joachim/16406-quantz-concerti-from-dresden-a-berlin-2003.html http://www.theblues-thatjazz.com/en/classical/4345-quantz-johann-joachim/16406-quantz-concerti-from-dresden-a-berlin-2003.html Quantz - Concerti from Dresden & Berlin (2003)

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1. Concerto à 10 in G Major: I. Allegro	3:50
2. Concerto à 10 in G Major: II. Siciliana	3:27	
3. Concerto à 10 in G Major: III. Allegro	3:47
4. Concerto in D Major: I. Allegro di molto-adagio-allegro	8:19
5. Concerto in D Major: II. Un poco andante e cantabile	4:43
6. Concerto in D Major: III. Allegro	4:43
7. Concerto in E Minor: I. Allegro	4:54
8. Concerto in E Minor: II. Andante moderato	3:55
9. Concerto in E Minor: III. Allegro assai		3:28	
10. Concerto in G Major: I. Spiritoso è larghetto		3:57	
11. Concerto in G Major: II. Allegro	4:12	
12. Concerto in G Major: III. Grave	3:38	
13. Concerto in G Major: IV. Allegro assai	3:23

Jed Wentz - Traverso
Marcelo Bussi - Harpsichord
Rob Diggins - Violin
Paul van der Linden - Oboe
Balázs Máté - Cello
Marion Moonen - Traverso
Wanda Visser - Viola
Lex Vos - Oboe

Musica ad Rhenum (Ensemble)
Florian Deuter - Concert Master, Violin

 

Quantz is hard to qualify as either Baroque or Classical; the instrumentation and ornamentation is clearly Baroque, but the musical ideas and their expression strongly point towards the Classical. I tend to discount music by those born after 1685, but in breaking through the time-hono(u)red boundaries of Baroque forms, Quantz composed music full of energy and inventiveness. This recording--as are all of Wentz'--is fantastic. ---IM, amazon.com

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administration@theblues-thatjazz.com (bluesever) Quantz Johann Joachim Mon, 18 Aug 2014 12:32:46 +0000