A refreshing new recording of the Beethoven symphonies (volume 1), through the eyes of conductor Jan Willem de Vriend and ... [read more]

A refreshing new recording of the Beethoven symphonies (volume 1), through the eyes of conductor Jan Willem de Vriend and his orchestra. De Vriend's name as a symphonic conductor is emerging fast now in the music world, and this first volume of the Beethoven series is a fine musical signature, with which he and his musicians perpetuate themselves.

In the linernotes with this CD we can read:
If you want to perform his symphonies and surely if you want to record them, you must make a thorough study of Beethoven’s personal situation and that of the world around him. Here we can only set down a few short brushstrokes on an enormous empty metaphoric canvas. A canvas that must be filled completely, preferably painted true to life right down to the smallest details, using a fantastic palette of colours. When it is finished, we will see Beethoven, situated in his time. The painting will tell a story.

With this new Beethoven cycle conductor Jan Willem de Vriend, together with the Netherlands Symphony Orchestra, ventures to tell a new story. His story. With enormous passion and enthusiasm, he has immersed himself in the life and work of Beethoven. To gain the best possible understanding of  Beethoven, he says, you must know something about the people around him: for example, his teachers Albrechtsberger and Neefe, who watched his career. You need to know what it was like in Bonn when he grew up there. You need to know that his grandfather enjoyed trading wine and that Beethoven therefore took pleasure in allowing himself to be paid in wine, for example by his publisher. You need to know where his roots are. You need to know the music of his pupils, such as Ries and Moscheles. Jan Willem de Vriend has conducted the music of Beethoven, of people who composed for him, of his contemporaries. He has been working on this intensively for the past twenty years.

This recording of the Fourth and Sixth symphonies is an interpretation of Jan Willem de Vriend and his orchestra, belonging to a certain moment in time and recounted entirely in sounds. It is a story understood in detail and given shape in masterly fashion. (Valentine Laout - linernotes)

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The Netherlands Symphony OrchestraThe first performance of the Symphonische Dichtung in Zwei Abtheilungen (Symphonic Poem in Two Parts), later his ... [read more]

The Netherlands Symphony Orchestra

The first performance of the Symphonische Dichtung in Zwei Abtheilungen (Symphonic Poem in Two Parts), later his First Symphony, was conducted by Mahler in Budapest on 20 November 1889. It got a cool if not hostile reception, mainly because of the ‘bizarre, vulgar and cacophonic extravaganza’s’ of the last two movements. At least this was how it was felt, with the public and the critics in bewilderment especially after the finale’s unsurpassed ferocity. The final chords were followed by utter silence, until a few members of the audience hesitantly began to applaud, quickly interspersed with demonstrative sounds of disapproval. Mahler left the hall in devastation, roaming through the dark streets, like an ‘outcast’. Such hostility we cannot imagine anymore with this wonderful music today.

The version which is used on this recording is the 1893-restored version. It comprises two parts and five movements. Part one, called ‘Aus den Tagen der Jugend’: (From the Days of Youth): ‘Blumen-, Frucht- und Dornstücke’ (Flower-Fruit-and-Thorn-Pieces), contains the first three movements: 1. Spring goes on and on; 2. Andante – allegretto (‘Blumine’) and 3. Scherzo (‘Full Sail’). Part two, ‘Commedia umana’ (Human comedy), consists of 4. Funeral March in Callot’s manner and 5. Finale: From Inferno to Paradise.

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The Netherlands Symphony Orchestra, Jan Willem de Vriend: conductor, Rudolf Koelman: violinThe programme offered in this CD forms a bridge ... [read more]

The Netherlands Symphony Orchestra, Jan Willem de Vriend: conductor, Rudolf Koelman: violin

The programme offered in this CD forms a bridge between the two most popular violin concertos of Paganini and the operas of Rossini.

The double bill of Paganini-Rossini opens our ears to Paganini’s operatic style of composing and - one might suggest - improvising techniques aswell. The individual movements remind us of virtuosic or lyrical opera arias each with the solo violin replacing the human voice. Melody, melodic invention and virtuosity are the main elements. The orchestra contributes inventive introductions, intermezzos and codas, but when the soloist appears it is restricted to sustaining, underlining and punctuating his or her part. Sometimes it adds some color to the scoring as for example with the famous obbligato bell-ringing in the rondo finale of the second Concerto.

A wide range of extensively employed embellishments similar to those used by Rossini in his arias, are employed to show off the virtuoso’s virtuosity often forcing notes as high as possible to regions, where there is virtually no space to place the playing fingers between bow and bridge. Paganini also uses ornamentation, as does Rossini, to enhance the expressive quality of music in a direct bodily way, which is difficult explain verbally. The physical
act of tone production is the effect itself. The sequencing reiteration of musical figures ad infinitum correlates with the need to express oneself. So with Paganini as with Rossini there is no empty virtuoso tinkling.

Rossini’s melodramma giocoso “Matilde di Shabran” (1821) was composed in such a hurry that the composer had no time to create a new overture but had to reuse one he had written two years ago for “Eduardo e Cristina”. Yet he inserted new wind parts introducing new thematic material in order to foreshadow the Finale I of “Matilde”, thus creating a tight nexus between the overture and the actual piece. There are many connections to Paganini’s style, for instance the tutti-beats at the beginning of both, overture and concertos, in order to attain the attention of a prattling auditorium, the melodic formation as well as the instrumentation namely in the piatti and cassa grande-parts of the first concerto, which obviously have been added later by Paganini.

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Jan Willem de Vriend: violin I | Eva Stegeman: violin I | Reinier Reijngoud: violin II | Annette Bergman: viola ... [read more]

Jan Willem de Vriend: violin I | Eva Stegeman: violin I | Reinier Reijngoud: violin II | Annette Bergman: viola | Wouter Mijnders: cello | Peter Jansen: double bass | Leon Berendse: flute | Christiaan Boers: horn I | Wouter Brouwer: horn II | Freek Borstlap: baryton

Four of the less known baryton works by Joseph Haydn, performed by the Combattimento Consort Amsterdam, under the direction of Jan Willem de Vriend (also chief conductor of the Dutch Symphony Orchestra).

Hob.X:1, 5 and 12 come from a series of six divertimenti for baryton and a larger ensemble, consisting of strings and two horns.
The source of Hob.X:10 is unclear. In the Entwurf-Katalog, in which Haydn long kept an account of his compositions, the work appears in a version for winds and another version for baryton, viola, cello and double bass. The technically demanding horn parts stand out. Also noteworthy is that aside from the baryton, all of the instruments are to be played with mutes.

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“De geboorte van het Combattimento Consort Amsterdam vond plaats in 1982: twaalf muziekstudenten besloten om samen een ensemble te vormen ... [read more]

“De geboorte van het Combattimento Consort Amsterdam vond plaats in 1982: twaalf muziekstudenten besloten om samen een ensemble te vormen waarmee zij kamermuziek in uitgebreide vorm konden uitvoeren. Wát ze zouden gaan spelen, oude of nieuwe muziek, dat was nog helemaal niet duidelijk, maar hóe ze wilden spelen, daarover hadden ze een helder beeld voor ogen. Volgens hen moesten alle leden van het ensemble een uitgesproken eigen identiteit hebben, en zij moesten passen in de kleine muzikale gemeenschap. Een hechte groep (consort) wilden zij vormen, die de strijd (combattimento) van stem en tegenstem aandurfde.”

Muziekjournaliste Katja Reichenfeld volgde violist Jan Willem de Vriend en zijn muzikale collega’s vanaf de vroege Combattimento jaren. Al snel werden de musici gegrepen door de zeggingskracht van de muziek van de 17de en de 18de eeuw, en daarmee kwam de oude muziek centraal te staan. Het ensemble bouwde in de tussenliggende jaren een grote nationale en internationale reputatie op. In binnen en buitenland wordt het ensemble geroemd om zijn hoge kwaliteit,originele presentatie en interpretatie.

Katja Reichenfeld schetst een kleurrijk beeld van de idealen, de achtergronden, de diverse meningen. Anekdotes, kritische geluiden uit de bastions van de oude muziek en veel fotomateriaal wisselen haar verhaal af. Met haar tekst, het rijke beeldmateriaal én de cd met voor het ensemble karakteristiek repertoire, wordt een monumentje opgericht voor de hechte groep bijzondere musici die onder aanvuring van Jan Willem de Vriend al 25 jaar overtuigen in hun muzikale keuzes.

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Combattimento Consort | Cappella AmsterdamDaniel Reuss: choirmaster | Malin Hartelius: soprano | Kristina Hammarström: alto | Jörg Dürmüller: tenor | ... [read more]

Combattimento Consort | Cappella AmsterdamDaniel Reuss: choirmaster | Malin Hartelius: soprano | Kristina Hammarström: alto | Jörg Dürmüller: tenor | ... [read more]

Combattimento Consort | Cappella Amsterdam
Daniel Reuss: choirmaster | Malin Hartelius: soprano | Kristina Hammarström: alto | Jörg Dürmüller: tenor | Detlef Roth: bass | Jan Willem de Vriend: conductor
Frits de Haan: interview with De Vriend and essay on the music | Robin A. Leaver: essay on Bach’s Christmas Oratorio | Eddy Posthuma de Boer: photography | Boris Kehrmann:

Bach’s celebrated Christmas Oratorio forges a link between birth and deliverance: the birth of Christ is not only the birth of light, of innocence; this joyful event is equally characterized by suffering. In this respect the Christmas Oratorio is akin to the St. Matthew Passion and the St. John Passion. Guilt and innocence, suffering and deliverance are present from the moment a mother holds her child in her arms.
This book on Bach’s Christmas Oratorio lends credence to Jan Willem de Vriend’s musical interpretation of the work. It comprises an interview with De Vriend himself, carried out by the musicologist Frits de Haen, a short history of how the work came into being and an article on the liturgical significance of the six cantatas by the internationally renowned musicologist Robin A. Leaver.
The book is also replete with eight full-page photos, which explore the Mother & Child theme across the globe, taken by the photographer Eddy Posthuma de Boer.

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Jan Willem de Vriend Musical director Eva Buchmann Stage director ... [read more]

Jan Willem de Vriend Musical director
Eva Buchmann Stage director
Eva Buchmann, Annètje de Jong Scenery
Peter George d’Angelino Tap Costume design and make-up
Kees van de Lagemaat Light design Soloists
Agrippina Annemarie Kremer, soprano
Poppea Renate Arends, soprano
Nerone Michael Hart-Davis, tenor
Ottone Quirijn de Lang, baritone
Claudius Piotr Micinski, bass
Narcissus Clint van der Linde, alto
Pallante Robbert Muuse, baritone
Lesbo Jan Alofs, bass Orchestra Combattimento Consort Amsterdam
“A viablework of art, as witnessed by those who experienced this almost perfect production”
Ivo Sindelár (The Czech Handel Society)
“Every detail in expression, dynamics and sound colour in full splendour”
Pavel Unger (Pravda Bratislava)
“Surprisingly varied (...) vivid singing well-acted performance”
Kasper Jansen (NRC Handelsblad) www.combattimentoconsort.com Extra’s
containing interviews
photomaterial backstage
extra information
total playing time: 173 minutes
Subtitles: Deutsch, English, Nederlands
Picture Format: PAL | Aspect: 16:9 (widescreen)
Sound Formats: PCM Stereo, Dolby Digital Surround,
96/24 DTS Surround 

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Nancy Argenta, Angelo, soprano María Cristina Kiehr, Maddalena, soprano Marijana Mijanovic, Cleofe, mezzo-soprano Marcel Reijans, Giovanni, tenor Klaus ... [read more]

Nancy Argenta, Angelo, soprano
María Cristina Kiehr, Maddalena, soprano
Marijana Mijanovic, Cleofe, mezzo-soprano
Marcel Reijans, Giovanni, tenor
Klaus Mertens, Lucifero, baritone
Händel's La Resurrezione is an oratorio for Easter. It was first performed on Easter Sunday 1708 in Rome. The libretto was written by Carlo Sigismondo Capece. Subtitles in English, German, Netherlands
Picture Format: NTSC
Aspect: 16:9 (widescreen)
Sound Formats: PCM Stereo, 5.1 Dolby Digital Surround

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Bach's Brandenburg Concertos are not just part of the canon of classical music, but also uniquely embody Bach's understanding of ... [read more]

Bach's Brandenburg Concertos are not just part of the canon of classical music, but also uniquely embody Bach's understanding of composing clear and joyful music and never to lose sight of the comforting element even when dealing with more serious topics.
These orchestra pieces were written during Bach's early period in Kšthen and never sound forced in the recording by the Combattimento Consort Amsterdam. The interpretation by Jan Willem de Vriend is characterized by a fine balance and substantial musical staying power.  

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Founded in 1982 by violinist Jan Willem de Vriend, the Combattimento ... [read more]

Founded in 1982 by violinist Jan Willem de Vriend, the Combattimento Consort
Amsterdam has developed into a close-knit ensemble specialising in music from 1600-1800.The musicians’ wish not to focus solely on the standard repertoire has resulted in many interesting programmes featuring remarkable and little-known works, some of which are only available in manuscript. The performance of these compositions in conjunction with more familiar works has proved to be refreshing and inspiring to listeners and performers alike.

Meanwhile the “Combattimento Consort Amsterdam” exists for nearly 25 years. From the very beginning the repertoire has been built around the compositions of the 17th and 18th century. They have been invited to many concerts worldwide, including appearances in North- and Southamerica and Japan.

'This is an excellent disc that it would be hard not to enjoy. The Concerti are some of Handel's most varied, if not always "deepest" works. Instrumental combinations change for every concerto, though with oboe nearly always prominent, along with violin and organ, and Handel varies the number and style of movements in each concerto too.

The playing is lively, elegant and polished. If I miss just the last ounce of joyousness, that's me being picky, as the playing is never less than highly capable (to the point of virtuosity), stylish and well sprung. The largos and adagios are as limpid and lovely as you could expect, though overall tempi are quite brisk.

The recording is pure DSD and sounds it, - indeed, it's nearly a nearly ideal compromise for those who like either close or distant, as it's not too much of either. If anything, it is closer than i usually like but it's never too close or insistent or tiring. Individual instruments are always well presented but in a coherent and natural sound stage. The sound is as bright as the performances but never too bright. The rear speakers carry mainly ambient information, nothing too tricksy, but help create a nice and impressive listenting space whilst still being immediate. In sum, maybe not quite a Rosette, but easily five stars for both performance and sound.' brenda

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Artist: Nancy Argenta, Maria Christina Kiehr, Marijana Mijanovic, Marcel Reijans, Klaus Mertens Handel's Oratorio per la Resurrezione di Nostro ... [read more]

Artist: Nancy Argenta, Maria Christina Kiehr, Marijana Mijanovic, Marcel Reijans, Klaus Mertens

Handel's Oratorio per la Resurrezione di Nostro Signor Gesu Cristo (HWV 47) is a lengthy oratorio with a seemingly a limited scenario, cast for five solo singers, who double for the short choruses to end each act, This little known masterpiece was composed in Rome for performance at Easter 1708,commissioned by Marchese Ruspoli to impress the Pope with no expense spared.
Opera had been banned but spectacular oratorios became opera in all but name. The commission specified elaborate staging and decoration was lavish and the large orchestra was based upon 40 strings, led by Corelli, with wind. Before a huge painted backdrop Lucifer disputed Christ's redemptive powers with an Angel and the two Marys with St John lamented Christ's death and anticipated his promised resurrection, exulting when that came to pass. That is about all. Trumpets herald the Angel's demand that Christ be admitted through the gates of Hell, Lucifer protests, Handel responding with vivid and original orchestration and a stream of melody which characterise the protagonists in the conflict, and those on earth who pass from mourning to hope and exultation. The young composer, about 23,flexes his composing muscles and glories in his virtuosity and imagination, giving each of his singers great opportunities to make their marks. This is the only version available whereby the work is played on modern instruments.
Jan Willem de Vriend leads the Combattimento Consort Amsterdam and a cast of distinguished early-music specialist. Founded in 1982, the Combattimento Consort Amsterdam has developed into a close-knit ensemble specialising in music from 1600-1800.The musicians' wish not to focus solely on the standard repertoire has resulted in many interesting programmes featuring remarkable and little-known works, some of which are only available in manuscript. The performance of these compositions in conjunction with more familiar works has proved to be refreshing and inspiring to listeners and performers alike. Over the years the ensemble has given many memorable concerts and operatic performances including Handel's Rodelinda - a coproduction with Studio's Onafhankelijk Toneel - Alcina, also by Handel, and Monteverdi's L'Orfeo, in collaboration with De Nationale Reisopera. In 2003 the ensemble will perform in the United States, Japan and South America. In addition to solo performances by members of the ensemble, the Combattimento Consort has also worked with great performers such as Barbara Bonney, Andreas Scholl and Anthony Rolfe Johnson, Thomas Zehetmair and Sabine Meyer as well as joining forces with Collegium Vocale Gent and other groups.

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