Among the art treasures of Dresden is a collection of music manuscripts that in part goes back to the repertoire of the Dresden Hofkapelle, which was founded more than 450 years ago and became world famous in the 18th century. Looking through the contents of “Schrank No.II”, the former repository of the Dresden court chapel’s repertoire, one discovers about 140 instrumental compositions by Telemann from the time between about 1710 and the 1750s. The selection presented in this album again contains a number of musical discoveries that easily match the artistic standard of the Musique de table.
All the Boccherini works presented in this recording are comparatively late. They were written in the 1780s, when the composer had already lived in Spain for many years after his travels in Europe, and represent Boccherini’s classical, mature style. The album opens with his Sinfonia Concertante in D major (G 516; Op.37 No.2) that after the Second World War was presumed lost. In fact the manuscript had been brought to the USSR with other trophy music scores. After being preserved for many years in the Manuscript Department of the Glinka State Central Museum of Musical Culture, it was finally identified and restored to life.
The album comprises almost all known pieces by Dmitry Bortnyansky created in Italy during his study with B. Galuppi. Seven out of nine pieces are the World Premiere recordings.
This album contains rarely performed pieces by G. Ph. Telemann, composed in minor, including the premiere recording of Orchestral Suite in A minor.
Joseph Wölfl, who has gone down in history as “Beethoven’s rival”, wrote operas, ballets, piano and chamber music – and three symphonies. The third has been preserved only in the form of a piano reduction. The two others, that are not yet familiar to the general public, have been recorded for the first time.
The transformation of an instrumental piece into a dance was not an extraordinary occurrence for the French Baroque theatre. In this domain it was common to sing a Chaconne or to dance an aria, court performances envisaged vocal numbers together with dances. For that reason, the appearance of Jean-Féry Rebel’s “choreographed symphonies” merits special attention: apparently these pieces were the first ballets without singing. The famous French magazine Diapason gave us 5 “diapasons” for this album—the highest score!
After his successes in Italy and later England Johann Christian Bach gained a reputation as one of the most authoritative musicians of the second half of the 18th century. Of course any mention of ‘the famous Bach’ referred to the junior Bach, not his father. The album opens with his Sinfonia Concertante in G major (C 45, T 286/4) that is listed as missing. In 2004 it was discovered and subsequently identified by Moscow music scholar Pavel Lutsker. This recording is a world premiere.
3 tracks are world premiere recordings.
Georg Philipp Telemann wrote more than a hundred orchestral suites. The majority of these diverse and beautifully orchestrated pieces remain unknown to the wider audience. We intend to fill the gap over the next few years by recording all the composer's works in this genre. The Pratum Integrum Orchestra and soloists from leading European music ensembles practising authentic performance will participate in the project.
In the first album: Suites in D Minor (TWV 55:d2), E Minor (TWV 55:e3) and B Minor (TWV 55:h1).
The first monographic album of Anton Ferdinand Tietz – a german violinist virtuoso and composer of XVIII century, who made his career in St. Petersburg. Tietz’ compositions were rediscovered in 1990s after a long period of obscurity.
All pieces are World Premiere recordings.
Telemann is one of the first composers – if not the first – to have made the genre of orchestral overture a vessel for the most diverse styles, a collection of heterogeneous elements of dance and character pieces, of description and imitation. The next generation saw Telemann as the most significant composer of overtures, who in their eyes eclipsed even the French in their own national genre. This is the third album of orchestral suites by G. P. Telemann, which again represents music little known to the public.
This album is dedicated to instrumental pieces by Dmitry Bortnyansky created in 1780s for the Court of Great Prince Pavel. The only remnant movement of the harpsichord concerto is performed in a new orchestral arrangement by Pavel Serbin.
All pieces are premiere recordings on historical instruments.
The second album with compositions of Austrian classical composer Joseph Wölfl (see also CM 0022005). It would be no exaggeration to say that Wölfl’s quartets Op.30 (1805) are among the best of his chamber works. They are recorded for the first time by soloists of Pratum Integrum orchestra, performing on period instruments: Dmitry Sinkovsky (violin), Sergei Filchenko (violin), Sergei Tischenko (viola) and Pavel Serbin (cello).
All tracks are world premiere recordings.
The first monographic album devoted to an outstanding Russian composer of XVIII century Maxim Berezovsky. It contains the secular works, among those – a recently discovered Sinfonia in C major (the earliest Russian symphony). Six out of eight presented works have been recorded for the first time.
Who is Giovanni Benedetto Platti? Today it is only a name, and an unknown name at that. One of many. In the 21st century, our acquaintance with Platti is just beginning—and it promises to be a moving and fascinating one.
9 tracks are world premiere recordings.
The second album with Georg Philipp Telemann’s orchestral suites contains his Six Ouvertures a 4 ou 6, which the composer united into a set and published in Hamburg in 1736. The Pratum Integrum orchestra used the original printed score for its interpretation. It was considered lost, but recently a copy has been found in the archives of the Russian State Library in Moscow. Soloists of the Zefiro ensemble, historic horn players Dileno Baldin and Francesco Meucci took part in this recording. Four out of six suites were recorded for the first time ever.
This 18th-century opus is usually performed in a modernized version, which differs significantly from the author’s intention. With the aim to reconstruct the initial shape of this composition, the Pratum Integrum orchestra has offered its interpretation of literary and musical text of the melodrama. For the first time in 200 years, a horn orchestra participated in performing Orfeo (such orchestras were popular in Russia from mid-18th until mid-19th century, but later fell out of prominence). Among the performers are stage actors Alexey Ivashchenko and Maria Shorstova, and the Horn Orchestra of Russia from St. Petersburg.