Baroque in Hanover - court music

Baroque in Poland Composers: Georg Friedrich Händel, Charles Babell, Agostino Steffani, Nicolaus Adam Strungk, Georg Philip Telemann, Antonio Sartorio

Interpreters: Iwona Leśniowska-Lubowicz, Franz Vitzthum, Paulina Kilarska, Petr Wagner, Stanisław Gojny

  Recording: 13. – 17.12.2009
Quality: DSD
Total time: 66:43
Label: Ars Produktion
Published: 01.09.2010

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Musical tradition at the Hanover court
During the 17th and 18th Century, the city of Hanover played an important role in the musical life of Germany. Music was performed at the Lutheran Church as well as at the Duke's court. Soon after its establishment in 1636, the court played host to many of the Era's most prominent musicians.
Even before Handel, many aspiring composers were attracted to the Hanover court. Between 1639 and 1641, Henrich Schütz stayed at Hanover. During the reign of the highly educated John Frederick, Duke of Brunswick – Calenberg from 1655 until 1679, a number of musicians were brought in from Italy and France. At the same time the court orchestra was significantly expanded. The long stay of Gottfried Wilhelm Leibnitz, the great mathematician and philosopher at Hanover provides further evidence of the extraordinary intellectual life at the court.
A sonata by Georg Philipp Telemann (1681 – 1767) completes this survey of northern german Baroque music. Telemann was one of the most prolific and most popular composers of his time; his stylistic inventions were often ground – braking. Altohough Telemann never held any position at the court in Hanover, he is known to have visited it regularly. The creative atmosphere at the court and Steffanis achievements in particular are said to have spurred Telemann's own creativity.



Georg Friedrich Händel (1685 – 1759)
1 Duetto IX „Conservate, raddopiate” HWV 185 (for soprano, alto and b.c.)
2-5 Cantata „Solitudini care, amata libertà” HWV 163 (for soprano and b.c.)
2 Recitativo
3 Aria
4 Recitativo
5 Aria
Charles Babell (ca. 1636 – 1716)
6-10 „8me Suite en c-moll” (for harpsichord solo)
6 Allemande
7 Courante
8 Sarabande
9 Maniere de Sarabande
10 Gigue
Agostino Steffani (1654 – 1728)
11 Duetto „Vuol il Ciel ch’io sia legato” (for soprano, alto and b.c.)
Nicolaus Adam Strungk (1640 – 1716)
12-13 Songs from „Leucoleons Galamelite” (for alto and b.c.)
12 Er scheuet sich nicht das Kammermägdgen Myrtalen zu lieben
13 Das Bildnis seiner Verstorbenen kompt Ihm im Traum wieder vor
(Faximile from the library of the University in Frankfurt am Mein)
14 „Capriccio della Chiave A” (for organ solo)
15-16 Songs from „Leucoleons Galamelite” (for alto and b.c.)
15 Er widerräth der Rhodinis das Closter-Leben
16 Nacht-Lied
Agostino Steffani (1654 – 1728)
17 Duetto „O care catene ch’il piede stringete” (for soprano, alto and b.c.)
Georg Philip Telemann (1681 – 1767)
18-22 Sonata e-moll (for viola da gamba and b.c.)
18 Cantabile
19 Allegro
20 Recitativo
21 Arioso
22 Vivace
Antonio Sartorio (1630 – 1680)
23 Cantata „E tiranna la speranza” (for soprano and b.c.)
(Faximile from the library of the Kassel University)
Georg Friedrich Händel (1685 – 1759)
24-26 Duetto X „Tanti strali al sen mi scocchi” HWV 187 (for soprano, alto and b.c.)
24 Tanti strali al sen mi scocchi
25 Ma se l'alma sempre geme
26 Dunque annoda pur, ben mio


alla polacca:
Iwona Lesśniowska-Lubowicz – sopranoo
Paulina Kilarska – harpsichord, organ
Stanisław Gojny – theorbo, baroque guitar

Franz Vitzthum – countertenor
Petr Wagner – viola da gamba




Sponsored by the Stiftung für deutsch-polnische Zusammenarbeit foundation and The Adam Mickiewicz Institute.