THE BAROQUE BASSOON
1. JOHANN FRIEDRICH FASCH (1688-1758)
Sonata in C Major for Bassoon and Continuo
Largo - Allegro - Andante – Allegro
2. HEINRICH SCHUTZ (1585-1672)
Symphonie Sacrae Nos. 16 and 17 (1629) for Soprano, Alto, Three Bassoons and Continuo
3. JOHANN ERNST GALLIARD (1687-1749)
Sonata No. 3 in F Major for Bassoon and Continuo
Largo - Allegro - Adagio – Spiritoso
4. GEORG PHILIPP TELEMANN (1681-1767)
Sonata in E Minor for Bassoon (Viola da gamba) and continuo
Cantabile - Allegro - Recitative; aria –
Vivace
Robert THOMPSON, Bassoon; Thomas TROBAUGH, Harpsichord
Elsa CHARLSTON, Soprano; Loretta ZIEN, Alto
5. JOSEPH BODIN de BOISMORTIER (1691-1755)
Sonata No. 5 in G Minor for Bassoon and Continuo
Allemande - Aria - Adagio – Gigue
The use of the bassoon became widespread throughout most of Europe in the late 16th and early 17th centuries. It was used by composers as a most dependable and popular bass voice in many ensemble combinations. The varieties of bassoons available were documented by the German, Michael Praetorius in 1619 and the Frenchman, Marin Mersenne in 1636. Their texts pictured and described bassoons of various sizes and pitch ranges, with limited potential of achieving chromatic tones -- but from the compositions existing from the period we know that composers pushed this limitation continuously. This album is something of a sampler with compositions from France, England and Germany, ranging in chronology from 1629 through about 1740. The number of compositions specifying the bassoon as a solo instrument is limited, but the ones that have survived are very charming. Because of the common practice of interchanging bassoon for cello or Viola de gamba, included here in one composition by Telemann for the latter, which seems in some way to suit the bassoon sonority better than some of the compositions that specify the option of the bassoon.
HENRICH SCHULTZ (1585-1672)
Sacred Symphonies, Part 1 Nos. 16 And 17
For Soprano Alto, Three Bassoons And
Continuo
In the dedicatory preface to these works Schultz wrote “ While staying in Venice with old friends, I have found the style of composition somewhat changed They have partially abandoned the old church modes while seeking to charm modern ears with new titillations. I have devoted my mind and my power to presenting to you for your information something in accordance with this artistic development...”
This was Schultz's second trip to Italy and the composition of the “spiritual concerts,” portions of 16 and 17 performed here, reflect the influence of Claudio Monteverdi, who at the time of Schultz's visit in 1628 was 61 years old. The explicitness of orchestration in this series of compositions is of interest, using the bassoons to give the spooky nocturnal effect in 16 and the lively dance like patterns in 17, while the voices weave in independent virtuosic lines above.
In lectulo per noctes
quem diligit anima mea quasivi nec respondit mihi.
Surgam et circuibo civitatem per vicos et plateas quaeram quem diligit anima mea.
In my bed through the nights I sought the one my soul loves, but he did not answer me.
I will rise and go around the city through the quarters and streets, I will seek the one my soul loves.
XVII
lnvenerunt me custodes civitates. Paululum cum pertransirem eos, inveni quem diligit anima mea. Tenui nec dimittam illum.
Egredimini, filiae Hierusalem et congratulamini mihi. Cantate dilecto meo cum laetitia, cantate dilecto meo cum jubilio, cantate dilecto meo cum cythara.
XVII
The guards of the city found me. When I was going past them, I found the one whom my soul loves. I held him and will not send him away.
Enter, daughters of Jerusalem and congratulate me.
Sing to my love with joy, sing to my love with rejoicing, sing to my love with the lyre.
from the Song of Solomon, Chapter 111, Verses 1-4
JOHANN ERNST GALLIARD (1687-1749)
Sonata No. 3 in F Major for· Bassoon and Continuo
Johann Ernst Galliard received his first instruction in composition from Farinelli and Abbate Steffani in Hamburg. His instruments included the oboe and the recorder. He migrated to England at the Court of George, Prince of Denmark upon this monarch's marriage to Queen Anne. He became chapel master of Somerset House. His compositions included operas, many chamber works and a group of six excellent sonatas for bassoon, one of which is included in this album. On his death in 1749 he left his collection of musical instruments and many manuscripts which were to be valuable to the later authors Burney and Hawkins.
The Sonata on this album opens with a very stately Largo, reflecting the influence of Handel, Gilliard’s popular contemporary. The second movement is an allegro of pure humor and as only a woodwind performer could compose with such an excellent feeling for the bassoon's ability to play octave skips. There is a short recitative which is followed by rollicking 6/8 movement.
GEORGE PHILIPP TELEMANN (l681-1767)
Sonata in E Minor for Viola da Gamba and Continuo
This beautiful sonata is from a group of compositions entitled "Essercizi Musici" written around 1720. As with the other sonatas on this album the movements are quite short and follow a slow-fast, slow-fast pattern. The melodic inventiveness of the first movement is enhanced by beautiful use of deceptive cadences. The second movement is a rather lyrical gigue. The third opens with a recitativo, followed by an aria. The finale is a lighthearted vivace in 3/8 time.
JOSEPH BODIN DE BOISMORTIER (l691-1755)
Sonata No. 5 in G Minor for Bassoon and Continuo
Boismortier was one of the most prolific French Baroque composers. Born in Perpignan he settled in Paris by 1724. He was very active as a composer of chamber music for winds and strings. His vocal works included motets, cantatas and four opera-ballets. The short four-movement sonata included on this album makes excellent use of the two registers of the
bassoon, the bass and the tenor. The first movement is deep and rather somber, exploiting the lower tones for which instrument is so well-known. The second is quite different, being a beautiful, extended tenor aria. After a short chordal third movement the finale is a brilliant gigue.
ROBERT THOMPSON
Robert Thompson has had a distinguished career as a bassoon soloist, chamber musician, and orchestral performer. Since making a highly-praised recital debut in Carnegie Recital Hall, he has appeared extensively on university campuses and chamber music series as a bassoon soloist. He is Artist-Faculty in Residence at the University of Wisconsin -- Milwaukee's School of Fine Arts and a member of that institution's excellent Woodwind Arts Quintet. Robert Thompson is a graduate of the Yale University School of Music. As an orchestral performer, he was solo bassoonist of the Indianapolis Symphony Orchestra. In this recording, Mr. Thompson plays a modern instrument made by the famous maker, Wm. Heckel.
THOMAS TROBAUGH, harpsichord
ELSA CHARLSTON, soprano
Elsa Charlston has received critical acclaim in both the United States and in Europe. A resident of Chicago, she has performed frequently with the Contemporary Chamber Players at the University of Chicago, the Fine Arts String Quartet and the Chicago Symphony Orchestra.
LORETTA ZIEN, alto
Loretta Zien is a recent winner of the Ida Schroeder Award for Musical Excellence. She is an honors graduate of the University of Wisconsin -- Milwaukee and a student of Patricia Mahon.
Recording Engineer: John Stoll Library of Congress Catalog· Card No. 74-750051
Thomas Trobaugh is a member of the faculty of the School of Fine Arts at the University of Wisconsin -- Milwaukee. He is a graduate of the Eastman School of Music and the University of Indiana, and studied harpsichord with Eta Harich-Schneider in Vienna. His appearances as a harpsichord performer have been extensive, including a highly successful solo recital in the Internationales Kulturzentrum in Vienna.
