01. Debussy - La Fille aux Cheveux de Lin (from 24 Preludes)
02. Faure - Pavane Academy of St. Martin in the Fields
03. Debussy - Clair de Lune
04. Francaix - L'Horloge de Flore - 3h - Galant de jour
05. L'Horloge de Flore - 5h - Cupidone bleue
06. L'Horloge de Flore - 10h - Cierge a grandes fleurs
07. L'Horloge de Flore - 12h - Nycanthe du Malabar
08. L'Horloge de Flore - 17h - Belle de nuit
09. L'Horloge de Flore - 19h - Geranium triste
10. L'Horloge de Flore - 21h - Silene noctiflore
11. Odermatt - Trois Images Pour Hautbois et Orchestre, Op.18 - 1. Eté
12. Ravel - Pavane Pour Une Infante Defunte
13. Faure - Sicilienne
14. D’Indy - Fantaisie sur des themes populaires francais, Op.31 - 1. Lent
15. Fantaisie sur des themes populaires francais, Op.31 - 2. Gaiment et pas trop vite 
16. Satie - Gymnope No.1
17. Hahn - A Chloris

Albrecht Mayer – oboe
Academy of St. Martin in the Fields
Mathias Monius - conductor

The French call the oboe the “noble wood”. Some of the most important works for the “haut bois” have originated in France. Perhaps because the vibrant, singing soul of the instrument and its closeness to the human voice have always fascinated French musicians.

Over the years, the German oboist Albrecht Mayer has taken his instrument out of its orchestral niche and into the classical limelight. When he blows into the “noble wood”, music turns to language – be it with complicated solo pieces or in the reworkings of familiar masterpieces. No one elicits such sensuous sounds from the instrument as the solo oboist from the Berliner Philharmoniker, and no one has explored the oboe repertoire more comprehensively than he.

His secret is simple: Albrecht Mayer is a musician out of passion. “I actually came to my instrument rather by chance, at some point in time I stood in front of a case with an oboe and fell instantly in love.” Since his youth, he has cut canes for his mouthpiece from reeds, worked meticulously at his playing and breathing techniques, and quested for inspiring repertoire. The oboe has become an extension of Albrecht Mayer’s expressive world. And because he is an avid visitor to France, because he loves the finesse of its culinary lifestyle and the indolent dreamy moods of the city on the Seine, it was a natural step to cast about for French oboe works.

Albrecht Mayer is standing on a rooftop in Parisian heaven. The Eiffel Tower is visible in the distance, below him is the Latin Quarter, the artists’ quarter. Mayer has been on a musical-historical tour of the city, uncovering the French sounds of the nineteenth century which resonate right into the present day. At their heart stands the onomatopoeic musical imagery of Impressionism. The dreamy sounds of Mayer’s oboe and its sister instruments, the oboe d’amore and the English horn, seem just made for the mood-set of Bohemian Paris.

Searching for clues in Paris, Mayer also gleaned some unexpected findings: in the nineteenth and twentieth centuries, the oboe professors at the Paris Conservatoire encouraged composers to write oboe pieces for its competition. This resulted in many new pieces for oboe, but only a small number of the musical elite in France composed solo works for the “noble wood”. The impressionists Debussy and Ravel, who disputed the very notion of Impressionism, certainly introduced the oboe’s tonal colours into La Mer and Daphnis et Chloé, but wrote no solo works for the instrument.

“The thrill is that in this way, you suddenly hit upon quite different composers”, says Albrecht Mayer. One of these discoveries is Vincent d’Indy (1851-1931), who was as much influenced by his teacher César Franck as by Richard Wagner’s endlessly flowing melodies. Like many in France, he attempted to embed German Romanticism into French consciousness with his Fantaisie sur des thèmes populaires français. This was later the aim of Jean Françaix too, who in 1959 composed his L’Horloge de Flore – a musical flowering clock, which for every hour of the day and night describes a plant in music, from the gladiolus to the cactus. But alongside these discoveries of musical history, it is also a particular and necessary challenge for Albrecht Mayer to affirm his instrument in the face of composers’ neglect. “For me it’s quite straightforward: when I like a piece, it’s a summons for me to test it out for the oboe. I try to imitate the tonal colours, or to create new ones.” And to that end, Mayer has now turned his hand to the French greats. Arrangements of Gabriel Fauré’s Pavane and Erik Satie's celebrated piano pieces Gymnopédies were created for him so that through his oboe, he could capture the compositional spirit of Paris. Mayer also plays an adaptation of the ode À Chloris by the friend of Marcel Proust, Reynaldo Hahn. “I heard the wonderful countertenor Philippe Jarrousky sing this work, and was transported. I knew at once that for a French disc, I had to borrow this piece from him”, enthuses Albrecht Mayer, and lets us hear once more how the enchantment of French music lies in its proximity to the human voice and soul. Time and again on his tour of Paris, Albrecht Mayer encounters the spirit of the Grande Nation.

And it quickly becomes obvious that Paris was at the heart of Europe: here, international influences fused into new styles. Mayer is filled with enthusiasm for French music, and engages with its unique tonal colours. He joins forces once more with the British orchestra the Academy of St Martin in the Fields, and waxes lyrical about the sensitivity of its playing. “On the one hand I think that the spirit of French music can only be understood if one is acquainted with Paris, but on the other that it becomes clear only if one is conscious of the many differing influences on this metropolis”, says Mayer.

To round off his musical journey, he has borrowed three of the piano’s greatest hits for his instrument, the oboe: La Fille aux cheveux de lin and Clair de lune by Claude Debussy, and Maurice Ravel’s Pavane pour une infante défunte. In Mayer’s oboe interpretations, these piano works come closer still to the human voice. In this way he succeeds in allowing classics of the repertoire to emerge anew into a different sound world. “I think that for me also it has always to do with finding the unknown in the known”, he says. And so it is only logical that Mayer’s excursions through France should include a contemporary composition, tailor-made for the oboist by the Swiss Gotthard Odermatt. He imagined how it would be were Ravel to have written an oboe concerto today. The result is an astounding wash of sound that is technically so difficult that it could in all probability only be mastered by an Albrecht Mayer.

Bonjour Paris is a journey in time through the dreamy French metropolis in the company of one of the greatest of oboists – a tour of the city which opens our ears to the French soul. --- deccaclassics.com

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George Frideric Handel (1685 - 1759)
Trio Sonata For 2 Violins And Continuo In G Minor, HWV 393 "Dresden" No. 2
1.Largo (Arr. Andreas Tarkmann)		2:55

Maurice Ravel (1875 - 1937)
2.Pavane Pour Une Infante Defunte, M.19		5:50

Robert Schumann (1810 - 1856)
3 Romances, Op.94
3.2. Einfach, innig		4:38

Gabriel Fauré (1845 - 1924)
4.Pavane	5:52

Wolfgang Amadeus Mozart (1756 - 1791)
Ma che vi fece... Sperai vicino, K.368
5.Andantino - Allegro	7:23

George Frideric Handel (1685 - 1759)
Rinaldo, HWV 7a, Act 2
6."Lascia ch'io pianga"		4:02

Johann Sebastian Bach (1685 - 1750)
Magnificat in D Major, BWV 243
7.Aria: "Esurientes implevit bonis" (Arr. Andreas Tarkmann)	2:49

George Frideric Handel (1685 - 1759)
Suite No.11 In D Minor, HWV 437
8.Sarabande (Arr. by Andreas Tarkmann For Oboe, Oboe d'amore And English Horn)	2:40

Claude Debussy (1862 - 1918)
9.Clair de Lune, L.75	5:09

George Frideric Handel (1685 - 1759)
Concerto For Oboe, Strings And Basso Continuo "Voli per l'aria"
10.Largo ("Will The Sun Forget To Streak" From Oratorio 'Solomon', HWV 67)	4:32

Engelbert Humperdinck (1854 - 1921)
Hänsel und Gretel
11.Abends will ich schlafen gehn (Hänsel und Gretel)	4:03

Antonio Vivaldi (1678 - 1741)
Violin Concerto in F Minor, Op. 8, No. 4, RV 297 "L'inverno"
12.2. Largo (Arr. Albrecht Mayer)	2:05

Benedetto Marcello (1686 - 1739)
13.Se Morto Me Brami ("Canzone Quarta")		3:56

George Frideric Handel (1685 - 1759)
Alcina, HWV 34, Act 2
14.Verdi prati		4:14

Reynaldo Hahn (1874 - 1947)
15.A Chloris	4:06

Alessandro Marcello (1673 - 1747)
Oboe Concerto in D Minor S.Z799
16. 2. Adagio	4:07

Julius Weissman (1879 – 1950)
17.Variations For Oboe & Piano, Op.39 	1:56

Albrecht Mayer (oboe)	(5)
Jakub Haufa (violin)	(1, 10, 14)
Monika Razynska (harpsichord)	(1, 6, 10, 14)
Markus Becker (piano)	(3, 17)

Academy of St Martin in the Fields (Mathias Mönius) (2, 4, 9, 15)
Sinfonia Varsovia (1, 6, 7, 10, 14)
Mahler Chamber Orchestra (Claudio Abbado)	(5)
The King’s Singers 		(11)
New Seasons Ensemble	(13, 16)

“Breathing is key – it carries the soul and with it, the oboe starts to sing.” – Albrecht Mayer about his quest for the perfect cantabile line

Vocalise is a compilation of favourite pieces from Albrecht Mayer’s recent releases in which the oboe more than lives up to its reputation as a wind instrument remarkable for its singing tone.

The artist personally selected this collection ranging widely from Baroque arias of great virtuosity to the charm of the French chanson.

Even as a boy soprano with the Bamberg Cathedral Choir, Albrecht Mayer was already fascinated by the human voice, and although he later decided against pursuing a career as a singer and chose instead to become an oboist, he is unquestionably a magician who as soon as he breathes life into his instrument casts his spell on his listeners’ hearts and minds with the beauty of his playing, transforming the oboe into an irresistible vox humana.

“Albrecht achieves these incredible textures and beauty of tone which no other oboist seems to come close to …” – Nigel Kennedy ---prestomusic.com

This 2016 release by oboist Albrecht Mayer is an anthology, containing selections from his previous recordings dating back as far as 2003. Unlike most such albums, where you do better to go back to the originals and find a more cohesive concept, this one, with selections picked by Mayer himself, works on its own terms. The title indicates the organizing principle: in many of the pieces, the oboe is a stand-in for a singing voice, and the strength of the idea is suggested by the fact that Rachmaninov's Vocalise is actually not included. Mayer structures the program well, setting the mood with a pair of well-known pavanes and a couple of other lyrical pieces, including a genuine Schumann oboe work that you may not have heard, before the first aria appears. That one is by Mozart, and there are a few Romantic melodies, but most of Mayer's "arias" are Baroque selections, and he introduces gentle contrasts by including oboe-readied Baroque instrumental movements among the arias without breaking the consistent, fetchingly lyrical tone. Mayer's oboe does truly seem to be on the edge of breaking out into words at times: sample the "Esurientes implevit bonis" from the Magnificat in D major, BWV 243 for an impression of his liquid, expressive tone. Mayer effectively switches off between symphonic, Baroque ensemble, and piano accompaniment without losing the thread, but the sudden appearance of the King's Singers in Humperdinck's "Abends will ich schlafen gehn" (from Hänsel und Gretel) may have you reaching for the remote to see if the program has changed. Deutsche Grammophon's remastering job is reasonable, though, and this will serve the needs of anyone looking to sample Mayer's substantial talent. ---James Manheim, AllMusic Review

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Clavier Übung II, BWV 971: Italienisches Konzert, BWV 971: Allegro
Orgelbüchlein (Choralvorspiele): "Ich ruf' zu dir, Herr Jesu Christ", BWV 639
Orchestersuite Nr. 2 h-moll, BWV 1067: Bourrée I und II
Flötensonate E-Dur, BWV 1035: Siciliano
Matthäus-Passion, BWV 244. Aria: "Erbarme dich"
Konzert für Cembalo und Orchestrer f-moll, BWV 1056: Largo
Magnificat, BWV 243: Aria: "Esurientes implevit bonis"
Choralvorspiele III, BWV 659: "Nun komm' der Heiden Heiland"
Oster-Oratorium "Kommt, eilet und laufet", BWV 249: Aria "Saget, saget mir geschwinde"
Kantate Nr. 12 "Weinen, Klagen, Sorgen, Zagen", BWV 12: Sinfonia
Matthäus-Passion, BWV 244: Aria: "Mache dich, mein Herze, rein"
Toccata, Adagio und Fuge C-Dur, BWV 564: Intermezzo: Adagio
Konzert für Cembalo und Orchester A-Dur, BWV 1055: Allegro ma non tanto
Kantate Nr. 208, "Was mir behagt, ist nur die muntre Jagd" ("Jagdkantate"), BWV 208: Aria: "Schafe können sicher weiden"
Oster-Oratorium "kommt, eilet und laufet", BWV 249: Sinfonia (Adagio)
Messe in h-moll, BWV 232: Aria: "Agnus Dei"

Albrecht Mayer - oboe
 Sinfonia Varsovia

Albrecht Mayer is constantly fascinated by the idea of lending his voice (that of the oboe) to “foreign” works - pieces written for other instruments or for singers. Having sung as a child, he is especially attracted to the human voice, as the most “natural” of all instruments. He’s already provided convincing proof of that claim in the recording “Lieder ohne Worte - Bach transcriptions for oboe and orchestra”, in which the Baroque style and bel canto are delightfully combined. The CD immediately entered the German classical charts at number 2. ---wiastrosfan.blogspot.com

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1. Cantata BWV75 - ''Die Elenden Sollen Essen, Daß Sie Satt Werden''- Arr. Andreas N. Tarkmann - Chorale:
 ''Was Gott Tut, Das Ist Wohlgetan''1:41
2. Concerto For Oboe D'amore (From BWV 209) - 1. Allegro	6:07
3. Concerto For Oboe D'amore (From BWV 209) - 2. Andante	7:33
4. Concerto For Oboe D'amore (From BWV 209) - 3. Allegro	5:19
5. Herz Und Mund Und Tat Und Leben, Cantata BWV 147 - Arr. Andreas N. Tarkmann - Chorale:
 Jesu Bleibet Meine Freunde	2:55                                                                play
6. Cantata BWV 167 - ''Ihr Menschen, Rühmet Gottes Liebe''- Arr. Andreas N Tarkmann - Chorale:
 Sei Lob Und Preis Mit Ehren	2:32
7. Cantata, BWV136 ''Erforsche Mich, Gott, Und Erfahre Mein Herz''- Arr. Andreas N. Tarkmann - Chorale:
 Dein Blut, Der Edle Saft	1:22
8. Concerto For Cor Anglais (From BWV 54) - 1. Larghetto	6:40
9. Concerto For Cor Anglais (From BWV 54) - 2. Adagio	0:35
10. Concerto For Cor Anglais (From BWV 54) - 3. Allegro	2:26                           play
11. Cantata, BWV166 - ''Wo Gehest Du Hin?'' - Arr. Andreas N Tarkmann - Chorale:
 ''Ich Bitte Dich, Herr Jesu Christ''	2:43
12. Wachet Auf, Ruft Uns Die Stimme Cantata, BWV 140 - Arr. Andreas N Tarkmann - Chorale:
 ''Wachet Auf, Ruft Uns Die Stimme''	4:16
13. Cantate No.31 ''Der Himmel Lacht, Die Erde Jubilieret'', BWV 31 - Arr. Andreas N. Tarkmann - Chorale:
 ''So Fahr Ich Hin Zu Jesu Christ''	1:12
14. Concerto For Oboe (From BWV 105, 170 & 49) - 1. Allegro	4:37
15. Concerto For Oboe (From BWV 105, 170 & 49) - 2. Andante	6:11
16. Concerto For Oboe (From BWV 105, 170 & 49) - 3. Adagio	0:52
17. Concerto For Oboe (From BWV 105, 170 & 49) - 4. Allegro	6:46
18. Cantata, BWV 12, ''Weinen, Klagen, Sorgen, Zagen'' - Arr. Andreas N. Tarkmann - Chorale:
 ''Was Gott Tut, Das Ist Wohlgetan''	1:26

Albrecht Mayer
The English Concert
Trinity Baroque

Albrecht Mayer, czołowy oboista Filharmoników Berlińskich, od kilku lat eksperymentuje z Bachem: wspólnie z Andreasem Tarkmannem aranżuje wokalne kompozycje lipskiego kantora na obój, obój miłosny i rożek angielski. Eksperymentuje bardzo udanie, choć może zbyt odważnie: na płycie „Voices of Bach” pojawiają się nawet utwory Bacha, których… Bach nie napisał. Z fragmentów świeckich kantat twórcy „utkali” nowe koncerty instrumentalne – ten postmodernistyczny chwyt jest jednak tak zgrabnie zrobiony, że Mistrz mógłby się zaśmiać z uznaniem.

Principal oboist of the Berlin Philharmonic and a hugely successful recording artist in his native Germany, Albrecht Mayer is a world-renowned musician and winner of Germany's prestigious ECHO-Klassik as Instrumentalist of the Year. His latest Decca solo album is a celebration of the music of J.S. Bach. The album includes works written specifically for wind instruments (both oboe and cor anglais) as well as great melodies from the choral works in new, authentic arrangements made for this recording by Andreas Tarkmann. Albrecht Mayer is joined by one of Europe's best-known baroque orchestras--The English Concert--who are among the world's finest chamber orchestras with a reputation for inspiring performances of Baroque music. The album also features the award winning specialist baroque choir: Trinity Baroque.

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