CKR413

Arcangelo Corelli

Opus 2 & 4: Chamber Sonatas THE AVISON ENSEMBLE Pavlo Beznosiuk director / violin

Arcangelo Corelli

Opus 2 & 4: Chamber Sonatas THE AVISON ENSEMBLE Pavlo Beznosiuk director / violin

Recorded at St George’s Church, Chesterton, Cambridge, UK from 11-15 Jan 2010 and 11-17 Jan 2012 Produced and recorded by Philip Hobbs Assistant Engineer: Robert Cammidge Post-production by Julia Thomas Design by toucari.live Angel at La Recoleta Cemetery in Buenos Aires by Neale Cousland

Disc 1 – Opus 2 Sonata da camera in D Major, No. 1

Sonata da camera in F Major, No. 7

q I. Preludio – Adagio 1:12 w II. Allemanda – Allegro 1:26 e III. Corrente – Allegro 1:11 r IV. Gavotta – Allegro 0:25

2# I. Preludio – Adagio 1:51 2$ II. Allemanda – Allegro 1:40 2% III. Corrente – Allegro 1:24 2^ IV. Giga – Allegro 1:41

Sonata da camera in D minor, No. 2

Sonata da camera in B minor, No. 8

t I. Allemanda – Adagio 2:38 y II. Corrente – Allegro 2:01 u III. Giga – Allegro 1:32

2& I. Preludio – Adagio 1:26 2* II. Allemanda – Largo 2:49 2( III. Tempo di Sarabanda – Adagio 2:03 3) IV. Tempo di Gavotta – Allegro 1:09

Sonata da camera in C Major, No. 3 i I. Preludio – Largo 0:57 o II. Allemanda – Allegro 2:02 a III. Adagio 1:34 s IV. Allemanda

Sonata da camera in F-sharp minor, No. 9

– Presto 1:58

3! I. Allemanda – Largo 2:31 3@ II. Tempo di Sarabanda – Largo 3:29 3# III. Giga – Allegro 1:29

Sonata da camera in E minor, No. 4 d I. Preludio – Adagio 3:14 f II. Allemanda – Presto 1:17 g III. Grave – Adagio 1:53 h IV. Giga – Allegro 1:52

Sonata da camera in B-flat Major, No. 5 j I. Preludio – Adagio 1:14 k II. Allemanda – Allegro 2:09 l III. Sarabanda – Adagio 1:33 ; IV. Tempo di Gavotta – Allegro 1:44

Sonata da camera in G minor, No. 6 2) I. Allemanda – Largo 2:33 2! II. Corrente – Allegro 1:05 2@ III. Giga – Allegro 2:12

Sonata da camera in E Major, No. 10 3$ I. Preludio – Adagio 1:05 3% II. Allemanda – Allegro 1:44 3^ III. Sarabanda – Largo 1:20 3& IV. Corrente – Allegro 1:33

Sonata da camera in E-flat Major, No. 11 3* I. Preludio – Adagio 1:15 3( II. Allemanda – Presto 1:21 4) III. Giga – Allegro 1:15

Sonata da camera in G Major, No. 12 4! I. Ciaccona – Largo 3:38 TOTAL TIME: 74:30

Disc 2 – Opus 4 Sonata da camera in C Major, No. 1

Sonata da camera in F Major, No. 7

q I. Preludio – Largo 1:23 w II. Corrente – Allegro 1:33 e III. Adagio 1:24 r IV. Allemanda – Presto 1:37

2$ I. Preludio – Largo 1:34 2% II. Corrente – Vivace 1:17 2^ III. Grave 0:35 2& IV. Sarabanda – Vivace 1:12 2* V. Giga – Allegro 1:35

Sonata da camera in G minor, No. 2

Sonata da camera in D minor, No. 8

t I. Preludio – Grave 2:13 y II. Allemanda – Allegro 1:38 u III. Grave 0:32 i IV. Corrente

2( I. Preludio – Grave 1:55 3) II. Allemanda – Allegro 1:38 3! III. Sarabanda – Allegro 0:40

– Vivace 1:42

Sonata da camera in A Major, No. 3 o I. Preludio – Largo 3:35 a II. Corrente – Allegro 1:41 s III. Sarabanda 1:46 d IV. Tempo di Gavotta – Allegro 1:28

Sonata da camera in D Major, No. 4 f I. Preludio – Grave 1:43 g II. Corrente – Allegro 1:29 h III. Adagio 1:30 j IV. Giga – Allegro 1:50

Sonata da camera in A minor, No. 5 k I. Preludio – Adagio 1:55 l II. Allemanda – Allegro 1:41 ; III. Corrente – Vivace 1:16 2) IV. Gavotta – Allegro 0:37

Sonata da camera in E Major, No. 6 2! I. Preludio – Adagio 2:42 2@ II. Allemanda – Allegro 1:30 2# III. Giga – Allegro 1:53

Sonata da camera in B-flat Major, No. 9 3@ I. Preludio – Largo 2:08 3# II. Corrente – Allegro 1:50 3$ III. Grave 1:18 3% IV. Tempo di Gavotta – Presto 2:16

Sonata da camera in G Major, No. 10 3^ I. Preludio – Adagio 1:28 3& II. Grave 1:25 3* III. Tempo di Gavotta – Presto 1:46

Sonata da camera in C minor, No. 11 3( I. Preludio – Largo 2:21 4) II. Corrente – Allegro 2:36 4! III. Allemanda – Allegro 2:05

Sonata da camera in B minor, No. 12 4@ I. Preludio – Largo 2:51 4# II. Allemanda – Presto 1:42 4$ III. Giga – Allegro 1:11

TOTAL TIME: 76:01

Arcangelo Corelli The Italian violinist Arcangelo Corelli was not a prolific composer. In total he published six collections of music, all of which consist of instrumental music alone.

Nevertheless, Corelli is held to be one of the greatest composers of the Baroque era and his music was widely disseminated and reissued many times. Corelli’s significance as a composer is due to his influence. Many other composers found his work to be a perfect model for their own compositions; as such, sonatas and concertos in the Corellian style were produced in vast quantities throughout Europe. His Op. 6 Concerti Grossi, published posthumously in 1714, were well received, as were his Op. 5 Violin Sonatas from 1700. The Op. 5 was one of the most successful works of all-time, as shown by the immense number of reprints that appeared in the century after its first publication. Nevertheless, Corelli first found fame as a composer of trio sonatas, of which he published four sets of twelve between 1681 and 1694.

Corelli was born on 17 February 1653 in Fusignano, a small provincial town, less than a month after the death of his father and in whose memory he was named. He studied the violin locally before he moved to Lugo and then to Bologna no earlier than 1666; by 1675 Corelli had relocated to Rome where he worked for a series of patrons. His first patron was Queen Christina of Sweden, to whom he dedicated his 1681 Op. 1 trio sonatas. After a change in her financial circumstances, Corelli had no option but to leave Queen Christina’s service and by 1684 had entered the employment of Cardinal Benedetto Pamphili. Pamphili, who had inherited his wealth from his parents, was of a more worldly nature than one would expect of a cardinal. Much to the Pope’s disapproval, Pamphili was a regular patron of the theatre 6

and held extravagant parties at his family villa in Cecchignola. Additionally, he was also well known for his investments in the arts. Corelli performed in Pamphili’s orchestra and honoured his illustrious benefactor through the dedication of his 1685 Op. 2 sonatas, in which he described Pamphili as a ‘worthy…protector of the Muses.’

In 1690 Pamphili relocated to Bologna and Corelli entered into the service of Cardinal Pietro Ottoboni, the grand-nephew of Pope Alexander VIII. Ottoboni lived at the magnificent Palazzo della Cancelleria where he was able to indulge his love of the arts, particularly music. His court quickly became a stopping point for European musical virtuosi, and many travellers recalled their experiences at Ottoboni’s musical parties in their letters and diaries. In one such letter, dated 2 November 1695, James Drummond, Earl of Perth, recorded his visit to the Cancelleria. He said that Ottoboni ‘ has the best musique in the world, and is glad when strangers go to his house to take the pleasure of his diversions. Yesterday… he invited us to partake of the pleasure of musique and opera when we pleased; he has one who is known by the severall names of le Bollognese Archangeolo (for his name is Michael or Corelli), a fidler, but who waits on him as a gentleman here; the best player on the fidle that ever was, and the greatest master for composeing; he with one he has bred, who plays litle worse than he, and three eunuchs with the others to compleat the company, sing and play every night at the Cardinall’s, and certainly nothing can be finer.’

In addition to his role as a performer, Corelli acted as musical director at the palace; he also led the orchestra and authorised payments to the other musicians. Ottoboni’s 7

relationship with Corelli was close; in truth, the cardinal was more a friend than an employer. In a letter, Ottoboni expressed that he had ‘such love for Signor Arcangelo that I do not distinguish the passion of my own interest from that of so worthy a subject.’

The poet and cleric Giovanni Crescimbeni likewise said that Ottoboni treated Corelli with ‘distinct honour in his presence, and loved him tenderly.’ Corelli honoured Ottoboni through the dedication of his Op. 4 sonatas, which appeared in 1694.

Corelli died suddenly on 8 January 1713. In his will, dictated only three days before his death, he bequeathed to Ottoboni a painting of his choice from his substantial collection and requested that the cardinal bury him ‘wherever he most desires.’ Ottoboni expressed his profound grief in a letter written to Corelli’s family and spared no expense in the funeral arrangements. Corelli’s body was embalmed, placed in three coffins of lead, cypress, and chestnut, and interred in the Roman Pantheon in a tomb of marble.

The origin of the trio sonata is somewhat ambiguous yet, by the time of Corelli’s birth in 1653, it was a well-established and popular genre. The form itself, which is written for two or three melody instruments with continuo, originated in the early 17th-century; the first published examples were by Salamone Rossi and Giovanni Paolo Cima issued respectively in 1607 and 1610. Numerous other Italian musicians wrote similar works, amongst whom we can include the Venetians Dario Castello and Biagio Marini, and the Bolognese composers Maurizio Cazzati and Giovanni Battista Vitali. Both Cazzati and Vitali exerted a particularly strong influence on the young Corelli. Cazzati’s five publications of dance movements are among the significant precursors to Corelli’s Opp. 2 and 4 sonatas, while Corelli’s Op. 2 No. 12 Ciaccona appears to have been influenced by Vitali, who published a similar chaconne as part of his Op. 7 in 1682.

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Like his predecessors, Corelli wrote two different types of sonatas. The first type, which has become known as sonata da chiesa (church sonata) form, is based on a fourmovement slow-fast-slow-fast pattern; such works consist of ‘abstract’ movements, including fugues. The second type, sonata da camera (chamber sonata) form, is also based on a four-movement model, this time an introductory Preludio followed by a series of dances. Nonetheless, there was some convergence between the two types, a trend that became more pronounced as subsequent sets appeared. Corelli’s opening Preludio movements are modelled on the opening slow movement of the church sonata, while Sonatas No. 4 and No. 5 in the Op. 2 set contain other movements borrowed from church sonata form. More ‘abstract’ movements are included in the Op. 4 collection; the tenth sonata in this set has only one dance movement described as such.

The tradition of combining dances into groups dates from the early 14th-century and had become commonplace by the 16th-century. Originally such groupings would be formed entirely of a single variety of dance. However, different types of dances eventually became paired together; for example, the Allemande and the Courante began to appear in succession. Over the course of the 17th-century, these pairs were frequently expanded into suites of three or four dances. In France, this developed into the allemande-courante-sarabande-gigue pattern, which was to become Corelli’s model. The succession of dances usually observes the basic rules of variety. Slow movements are followed by fast and triple time movements by duple. Most of the dances are in binary form, although few are symmetrical and contain irregularities that prevent them from being used for actual dancing.

Although the very name ‘trio’ sonata indicates three parts, most trios are performed by four instruments, a pair of violins, a cello or bass viol, and a chordal instrument 9

such as the harpsichord, organ, or lute. Corelli’s Opp. 1 and 3 church sonatas were intended for performance by four players, but the same is not true for the Opp. 2 and 4 which were originally conceived for three instruments. The title page to the first editions, which classifies them as Sonate à trè, also records that they are scored for two violins, and violone or cimbalo. Nevertheless, it became commonplace to perform these sonatas with four instruments and numerous publishers after 1700 – particularly those in Holland and England – issued them in four parts in order to avoid the need for the cellist and keyboardist to share a score.

Soon after the Roman publication, Corelli’s Op. 2 was reissued in both Venice and Bologna; however, less than two months after its first publication a dispute erupted in Bologna that has become known as the ‘affair of the fifths’. The cause of consternation was Corelli’s alleged transgression of a rule that forbids the use of consecutive fifths in music. Some composers adhered to this rule more rigidly than others, but Corelli was particularly conspicuous in his actions. In the Allemanda from the third sonata, the first violin and bass part descend in parallel fifths, emphasized by the series of figure 5s in the bass part:

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According to Giovanni Paolo Colonna, the matter was soon being ‘ hotly disputed in piazzas and shops with rising interest…prompting many in Italy apart from virtuosi to write giving their opinions, and many letters have appeared all of which condemn the passage by Corelli.’ The dispute began when Colonna instigated an acquaintance of Corelli, Matteo Zani, to write a polite letter to Corelli requesting an explanation of the passage. Corelli, however, took the request poorly since, in his view, the fifths were separated by rests and therefore justifiable. He was initially dismissive of his critics, and thought that the understanding of the Bolognese ‘virtuosi…hardly goes past the first principles of composition and harmonic modulation.’ Corelli was not without his supporters, but many condemned the passage. Over a century after the original 1685 argument, Charles Burney recalled the quarrel and, despite his praise for Corelli, wrote ‘that the base [sic] is indefensible in the passage which has been condemned by Colonna, and was not likely to have passed uncensored, even in an age much more licentious than that of Corelli.’

The ‘affair of the fifths’ did little to damage Corelli’s reputation. John Hawkins wrote in 1776 that the ‘second opera carries with it the evidence of a genius matured by exercise.’ In Italy, the Op. 2 had gone through thirteen printings by 1710, and the Op. 4 ten; the first French imprints appeared around 1710. However, it was in England that Corelli’s music had the most profound impact and he ultimately became venerated as a cult figurehead.

The popularity of Corelli with the British is evident from the writings of the former London lawyer and amateur musician, Roger North. He wrote in c.1710 that ‘ it [is] wonderfull to observe what a skratching of Correlli there is every where – nothing will relish but Corelli.’ North held Corelli in particularly high esteem, and went on to 11

refer specifically to the Opp. 2 and 4 when he said that the ‘ incomparable Corelli hath shewed the most that can be made of that species of musick.’ The British editions of Corelli’s trios began to appear in c.1701-2 with John Walsh and John Hare’s publication of the Op. 4; this was followed by the Op. 2 in 1703. These two sets were frequently reissued over the subsequent decades and appeared in numerous adaptations, including transcriptions for piano. In 1789, Corelli’s music was still held in high esteem; in that year Burney wrote that though Corelli’s works ‘are thrown aside as antiquated lumber by some…[they are] regarded as models of perfection by others.’

Corelli’s two sets of chamber sonatas have many points of interest, one of which has become known as the ‘Corelli clash’. A Corelli clash occurs when the late resolution of the leading note at a cadence coincides with the anticipation of the tonic note in the companion upper part; this produces a major and/or minor second clash. Such a device was not new at the time Corelli composed his sonatas, and he rarely used it outside the Op. 2; nevertheless, he came to be associated with the device through the violin music of his pupils and their successors, a school of violin playing that was also named after him. Corelli clashes in the Op. 2 can be found, for example, in all three movements of the second sonata, including the affecting Sarabanda and rousing Gavotta of the eighth:

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Some of the movements, such as the vigorous Giga of Op. 4 No. 7, are written in moto perpetuo; this particular movement is also unusual in that the first violin part is written in compound 6/8 time while the lower parts are in common time. Gigues are traditionally written in compound time, yet the Giga of Op. 2 No. 9 has four beats in a bar. The most common dance form in Corelli’s trios is the Allamanda, which are also the most diverse stylistically. All opening allemandes are slow, while those in the second or last position are fast. Some of the movements in individual sonatas are linked thematically, such as in Op. 2 No. 8 in which all four movements feature a conjunct three-note motif.

The twelfth sonata in the Op. 2 stands apart from the rest as it is formed from one large movement, a Ciaccona. The Ciaccona or ‘chaconne’, which is similar to a passacaglia, stems from a late 16th-century dance imported into Spain and Italy from Latin America. It features a bass ostinato over which the uppers parts perform a series of variations. Corelli’s stunning Ciaccona begins with an introductory Largo followed by an energetic Allegro, although Corelli varies the bass ostinato along with the violin parts. Other famous chaconnes were written by Henry Purcell, J. S. Bach and Handel.

Corelli’s trio sonatas are a pinnacle of Italian Baroque instrumental music. Even though there was nothing particularly new in these works, what distinguished them from those by Corelli’s contemporaries was the superior level of craftsmanship; they are of the highest quality, exquisitely refined and a good example of perfection in music. Unlike others, Corelli did not write an ostentatious violin line to demonstrate the dexterity of the performer. Instead, his violin parts are simple, but beautifully constructed and designed to accentuate Corelli’s archangel-like demeanour.

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The polished nature of Corelli’s music imbued in it a timeless quality which has ensured that it has never endured a period of neglect. Even in the early 18th-century, there were men, such as North, who did not doubt the longevity of Corelli’s music.

He wrote that ‘ if musick can be immortall, Corelli’s consorts will be so.’* © Simon D. I. Fleming, 2013

* The word ‘consort’, in 16th and 17th-century England, could either refer to an instrumental ensemble of between two and eight players, or to a piece of music written for such a group.

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The Avison Ensemble The Avison Ensemble is one of England’s foremost exponents of 18th century music on period instruments. It is named after Charles Avison (1709-1770), the Newcastle-born composer, conductor and organist, ‘the most important English concerto composer of the 18th Century’ (New Grove).

In addition to playing other works from the Baroque and early Classical periods, The Avison Ensemble is also a training ground for young up and coming musicians to gain experience at period performance practice and styles, affording them the opportunity to work with outstanding directors and soloists. The Ensemble has an active outreach programme involving thousands of children each year in music education projects throughout the North East.

The Avison Ensemble’s recording of the complete works of Charles Avison on both the Naxos and Divine Art labels has been exceptionally well received. Their recording of Six Cello Concertos by John Garth has been a sensational success, having been reprinted several times during the first year of its release and is regularly played on Classic FM. In 2009, The Avison Ensemble released their acclaimed first recording on Linn: Handel’s Concerti Grossi Opus 6. This work is widely regarded as the composer’s greatest contribution to the Baroque period and the recording received critical acclaim:

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Orchestral Choice: ‘I shall certainly return frequently to this splendid set.’

BBC Music Magazine

‘The Avison’s accounts under Pavlo Beznosiuk have a natural, easy virtuosity that will endear them to purists…’

The Sunday Times

‘Where The Avison Ensemble really triumphs… is in conveying a sense of occasion and musical opulence…Magnificent!’

International Record Review In 2011 The Avison Ensemble released its second recording with Linn, Vivaldi: Concerti Opus 8, which includes the wonderful ‘Four Seasons’. This album received similarly high praise:

Disc of the Week: ‘Plenty of bold colours... recorded with immediacy and real presence.’

BBC Radio 3 CD Review

‘One of the most vibrant, authentic and involving recordings of Vivaldi’s violin concertos I’ve heard.’

Classic FM Magazine 16

In 2012, The Avison Ensemble began its greatly anticipated series to mark the 300th anniversary of the death of Arcangelo Corelli and to celebrate his chamber music with the release of Corelli: Opus 6 Concerti Grossi and Corelli: Opus 5 Violin Concertos.

‘The Avison Ensemble offer suave, personable performances, allowing this exquisitely engaging music to do its own work.’

The Sunday Times

‘What emerges in Pavlo Beznosiuk’s supple performance with the Avison Ensemble is music of immense suavity and elegance – from the enchanting largo of the 6th, to the tender pastoral of the Christmas Concerto.’

The Independent

‘This is an immensely enjoyable release.’

Gramophone As well as performing regularly in the English regions, The Avison Ensemble has appeared to critical acclaim at St John’s, Smith Square in London and at the Hallé Handel Festival in Germany, and has recently performed at St. James’ Palace with the Choir of Her Majesty the Queen’s Chapel Royal. The Ensemble was the largest orchestra in the opening concert series at Kings Place, London, performing Beethoven’s Triple Concerto as part of an all-Beethoven programme on period instruments, and they returned to Kings Place in December 2012 to present a Corelli festival series. www.avisonensemble.com 17

Pavlo Beznosiuk violin Pavlo Beznosiuk has secured his reputation as one of Europe’s most respected Baroque violinists over the last 25 years with a busy international career as soloist, chamber musician, concertmaster and increasingly as a director.

In the mid 80s he was involved in pioneering work in the use of Renaissance violins with The Parley of Instruments and was a key member of the groundbreaking Medieval ensemble The New London Consort playing Vielles, Rebec and Lira da Braccio. He is a frequent soloist/director with the Academy of Ancient Music and recent recital work has included performances of Biber’s Rosary sonatas and concerts combining solo violin music of Bach with that of Berio and Bartók.

As musical director of The Avison Ensemble he has completed an exhaustive recorded survey of the music of Charles Avison. In 2010 The Avison Ensemble released a recording of Handel’s Concerti Grossi Opus 6 and in 2011 released Vivaldi: Concerti Opus 8 both of which have been received enthusiastically in the music press.

Other recordings include J. S. Bach’s Sonatas & Partitas for Solo Violin, Biber’s Rosary Sonatas, Vivaldi’s Opus 12 Violin Concerti with The Academy of Ancient Music and Christopher Hogwood, and two recordings of Mozart’s Sinfonia Concertante with Monica Huggett and Rachel Podger and works by Walther and Westhoff. He has also performed in Europe, Australia, China, Korea and Singapore.

Violin by Matthys Hofmans, Antwerp, 1676.

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Photography by Joanne Green

Photography by Joanne Green

Richard Tunnicliffe cello Richard Tunnicliffe has enjoyed a long and varied career at the forefront of Britain’s thriving period-instrument movement, combining this with a lively involvement in ‘modern’ performance.

He is principal cello with The Avison Ensemble and is regularly invited to be principal/continuo cello or viola da gamba soloist with major orchestras. These have included The Orchestra of the Age of Enlightenment, the Boston Symphony Orchestra, Frankfurt Radio S.O., City of Birmingham S.O., English National Opera, Scottish Chamber Orchestra and the London Mozart Players, and under conductors such as Haitink, Rattle, Iván Fischer, Mackerras and Elder.

He is a member of the renowned viol consort Fretwork, known worldwide for their innovative programmes. Their recording of Purcell’s Fantasias (Harmonia Mundi USA) received a Gramophone award in 2009. They regularly tour in the USA and Europe, and their most recent recording, a new arrangement of Bach’s Goldberg Variations (also for H.M.U.) was released to critical acclaim.

Richard is regularly heard as soloist and chamber musician, and his performances of Bach’s Six Cello Suites (Linn) have been admired in many countries, in venues such as London’s Wigmore Hall and Purcell Room, Berlin’s Schauspielhaus, and the Warsaw Philharmonie. He currently teaches Baroque and Classical cello at the Royal College of Music, London, and at CEMPR, Birmingham University.

Cello (Bass Violin) by Clive Morris, Neath, after the ‘Servais’ Stradivari, 1700.

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Caroline Balding violin Caroline Balding has been described as a violinist of ‘poetic intensity’ (Music and Musicians), ‘rapt beauty’ and ‘virtuosic distinction’ (Gramophone) as well as ‘a formidable soloist combining beauty of sound with infallible articulation’ (La Nacion, Buenos Aires). She has appeared as guest leader with The English Concert, Florilegium and the Hanover Band, in addition to being first violin of The Band of Instruments based in her home town of Oxford. She was recently part of an acclaimed innovative project to rediscover the art of seventeenth century improvisation with The Division Lobby.

Caroline has had the privilege of giving many premiere performances, working alongside the foremost composers of our day, Peter Maxwell Davies, Harrison Birtwistle, Judith Weir, Brian Ferneyhough, Nicola Lefanu and Michael Finissy to name but a few. Her extensive discography ranges from 17th century English chamber music to new works by British composers, via such things as an alternative ‘Four Seasons’ by Antonio Guido (Divine Art), solo violin music by Roberto Gerhard (Metier), Kuhlau quintets (ASV), and the first recordings of early 20th century piano trios for the British Music Society. With associations at King’s College, London and the universities of Birmingham, Southampton and Surrey, she devotes much time to workshops and classes. Other projects with students have taken place all over Great Britain and abroad in Italy, Taiwan, Argentina, Macedonia and recently at MIT in Boston, USA. Violin by Stainer School, c.1690.

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Photography by Joanne Green

Photography by Hanya Chlala

Paula Chateauneuf archlute Soloist, accompanist, teacher and linchpin of numerous ensembles, lutenist Paula Chateauneuf has earned her reputation as one of the most respected and admired musicians in the early music world; her playing has been described as ‘one of the most exciting things on the pre-classical concert circuit.’ Arriving in London as an American Fulbright Scholar she quickly established herself as a versatile member of the London scene, during which time she was involved in pioneering work with the groups Circa 1500 and Sinfonye, where her improvisational skills came to the fore. It was also then that long-lasting musical relationships were established with the New London Consort, and the Gabrieli Consort, whose principal lutenist she remains to this day.

Paula’s in-depth knowledge and skill in the art of basso continuo has made her one of the most sought-after accompanists in early music, resulting in fruitful collaborations with many leading soloists. Her wealth of experience in early opera has led to involvement as both repetiteur and continuo player with the Bayerische Staatsoper, Maggio Musicale Fiorentino, New Israeli Opera, Royal Opera House, Glyndebourne, and Liceu Barcelona.

Paula has recorded extensively for Decca, EMI, Deutsche Grammophon, Linn, and Hyperion. She is a regular coach on courses for the Britten-Pears Young Artist Programme, Royal Academy of Music, and De Nieuwe Opera Academie (Amsterdam); she is the lute tutor for the University of Birmingham’s early music department and was an AHRC Creative Arts Fellow. 2009 saw the establishment of her 17th-century style improvisation ensemble, The Division Lobby.

Archlute by Michael Schreiner in 2011 after David Tecchler, Rome.

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Roger Hamilton harpsichord / organ Roger Hamilton read Music at Clare College Cambridge, and his first professional musical experience was as a horn player and singer. He subsequently studied conducting and harpsichord at the Royal Academy of Music and the National Opera Studio.

As a harpsichordist he has performed and recorded with many ensembles including The English Concert, English Baroque Soloists, London Classical Players, Les Arts Florissants, Gabrieli Consort, Concerto Köln, Walking to Lübeck and Concordia, as well as The Band of Instruments of which he is Music Director.

He was named as an Arts Council of Great Britain Young Conductor of the Year in 1992 and since then he has conducted many orchestras including the Südwestrundfunkorchester Stuttgart, The English Concert, Scottish Chamber Orchestra, The Orchestra of the Age of Enlightenment, European Sinfonietta, Orchestra of the National Arts Centre Ottawa, Israel Camerata, and Fränkishces Kammerorchester, as well as acting as assistant conductor for, among others, the Berlin Philharmonic, Budapest Festival Orchestra and Salzburg Camerata. In the theatre he has conducted opera productions for Théâtre de la Monnaie Brussels, New Kent Opera, English Touring Opera, Opera Northern Ireland, RNCM Opera, and Cambridge University Opera. He is currently Teaching Fellow in Historical Performance at the Royal Northern College of Music.

Harpsichord partially built by Marc Ducornet and finished by Mark Ransom and Claire Hammett. Box Organ after Loosemore, 1655, by William Drake of Buckfastleigh, 2001.

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Photography by Joanne Green

The Avison Ensemble

The Avison Ensemble

Corelli: Opus 5 Violin Sonatas

Corelli: Opus 6 Concerti Grossi

The Avison Ensemble

The Avison Ensemble

A. Vivaldi: Concerti Opus 8

G. F. Handel: Opus 6 Concerti Grossi

For even more great music visit linnrecords.com

CKR 413

ALSO AVAILABLE ON LINN

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Corelli: Opus 1 & 3 Church Sonatas

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Vivaldi: L’Amore per Elvira

J. S. Bach: Cello Suites