The Library of a Prussian Princess Ensemble Augelletti Barn CottageRecords BCR024. 60’25
Music by J S Bach, Handel, Corelli, Geminiani, C P E Bach, and Princess Anna Amalia
The Prussian Princess of the title is Anna Amalia (1723-1787), the younger sister of Frederick the Great. Despite the brutal childhood she shared with her brother, she managed to maintain a love of music, often in secret and aided by her brother. After a failed attempt to marry her off in her early 30s, she became the Abbess of the secular Imperial Abbey of Quedlinburg, a position of enormous wealth and power. Shortly after she started serious musical studies with Johann Philipp Kirnberger, a pupil of Bach and had a (still existing) organ built for her Berlin palace. She amassed an enormous library of music which is now part of the Berlin State Library. This imaginative and beautifully performed recording by Ensemble Augelletti is based on music from that library, including four pieces by Anna Amalia herself.
Baroque at the EdgeFestival Recorded at LSO St Luke’s, London Broadcast online between7-10 January 2021, available to 31 March 2021
In pre-coronavirus days, the musically barren early days of January have been enlivened by the imaginative Baroque at the Edge Festival, usually spanning a weekend in venues around their home base of LSO at St Luke’s in London. Previous festivals are reviewed here and here. Run by Artistic Director Lindsay Kemp and Festival Manager Lucy Bending (the team behind the London Festival of Baroque Music and its predecessor, the Lufthansa Festival), the festival has secured a place in the London concert scene with their refreshing approach to Baroque music, as exemplified by such banners as “No rules, no boundaries – just Baroque music set loose” and “Imagine if Vivaldi was a folk-fiddler, Purcell a protest-singer, or Bach a techno-geek”. The more succinct and apt “No rules, no walls” for this year’s Covid-constrained festival reflected the on-line nature of the events.
Directed by Handel Music from Handel’s London Theatre Orchestra
Olwen Foulkes, recorder
Barn Cottage Recordings, bcr019. 64’04
The decline of the recorder as a serious classical music instrument has long been predicted, for reasons that are quite beyond me. As an example, some years ago I was shocked to hear somebody involved with a well-known young artists competition in the north of the UK comment that a recorder player or consort would never win first prize. But evidence shows that recorder music and players are going from strength to strength, not least with through an impressive cohort of young performers making their way onto the professional circuit. One such is Olwen Foulkes a recent prize-winning graduate of London’s Royal Academy of Music where she obtained a Distinction and DipRAM award for her MMus degree. I first heard and reviewed her at the 2016 Royal Academy of Music’s early music prize competition, where she was part of the prizewinning group, of two recorder players plus cello and harpsichord continuo. This is her debut recording. Continue reading →