Weichlein: Opus 1, 1695 Ensemble Masques & Olivier Fortin

• Romanus Weichlein (1652-1706): Encaenia musices, Op. 1
• 1 Sonata No. 3 in A Minor 10:19
• Johann Kuhnau (1660-1722): Suonata sesta in B-Flat Major
• 2 Suonata sesta in B-Flat Major: Ciaccona (Transcription for Two Harpsichords) 03:29
• Weichlein: Encaenia musices, Op. 1
• 3 Encaenia musices, Op. 1: Sonata No. 11 in B Minor 05:47
• Georg Böhm (1661-1731): Capriccio in D Major
• 4 Capriccio in D Major 05:15
• Weichein: Encaenia musices, Op. 1:
• 5 Sonata No. 9 in D Minor 05:17
• Johann Pachelbel (1653-1706): Ciaccona in D Minor, T. 204
• 6 Ciaccona in D Minor, T. 204 04:53
• Weichlein: Encaenia musices, Op. 1
• 7 Sonata No. 6 in B Minor 08:03
• Johann Kaspar Kerll (1627-1693): Ciaccona in C Major (Transcription for Two Harpsichords)
• 8 Ciaccona in C Major (Transcription for Two Harpsichords) 02:51
• Weichlein: Encaenia musices, Op. 1
• 9 Sonata No. 2 in G Minor 08:09
• Georg Muffat (1653-1704): Passacaglia in G Minor
• 10 Passacaglia in G Minor 06:56
• Total Runtime 01:00:59

Info zu Weichlein: Opus 1, 1695

In den letzten dreißig Jahren des 17. Jahrhunderts lässt sich in fast allen Bereichen des österreichischen Musiklebens ein enormer Aufschwung beobachten. Einen wichtigen Beitrag zur Aufwärtsentwicklung der Musikkultur leisteten, neben dem Wiener Hof und dem Hochadel, die immer reicher werdenden Ordenshäuser in ihren großen Klöstern. Als Novize ausgebildet im berühmten Benediktinerstift Lambach, wirkte der Komponist und Geiger Romanus Weichlein (1652-1706) später in Salzburg und Kleinfrauenhal, ehe er 1706 während einer Pestepidemie starb. In seiner 1695 in Innsbruck gedruckten und Kaiser Leopold I. gewidmeten Sammlung Encaenia Musices versteht es der mit erstaunlichem melodischem Erfindungsreichtum ausgestattete Weichlein, vor allem die klanglichen Möglichkeiten des fünfstimmigen Streichersatzes voll auszuschöpfen. In den Sonaten Nr. 1, 5 und 12 sorgen zusätzlich zwei Clarintrompeten für festlichen, höfischen Glanz. 2008 legten Gunar Letzbor und sein Ensemble Ars Antiqua Austria eine Einspielung der wichtigen Sammlung vor. PAN CLASSICS macht diese verdienstvolle und unbedingt hörenswerte Aufnahme wieder zugänglich.

'Kaum ein Originalklang-Ensemble unserer Tage, das die Musik seiner Begierde so selbstbewusst und zugleich hochsensibel bis an ihre emotionalen und expressiven Grenzen auslotet. Da werden Figurationen herausgeschleudert wie lodernde Protuberanzen, drängen sich die Harmonien in atemberaubender Enge zusammen, peitschen die Rhythmen, dass einem Hören und Hören vergeht, und im nächsten Augenblick schon flutet schwelgerischer Wohlklang an, in dem keiner innigen Melodie je ein Leid getan werden kann. Eine emotional-interpretatorische Tour de Force, die nicht anders kann als anzurühren.' (BR Klassik)

Ensemble Masques
Olivier Fortin, Cembalo & Leitung

Ensemble Masques
Renowned as much for their expressiveness and vitality as for their integrity and precision, Masques is an ensemble which fully embodies the dynamic spirit of the Baroque. The name of the group is inspired by the masques of Elizabethan England — dramatic entertainments that incorporated music, dance and poetry. The six members of Masques each have impressive individual careers, with a collective résumé that encompasses a prestigious roster of international early music ensembles. When they come together, their combined breadth of experience is felt in an uncommon interpretive depth, bound together by an equally uncommon chemistry which continues to mesmerize audiences and critics alike. “One is struck by the perfect balance between the musicians, by the osmosis in the slightest nuances of the rubato, in the quantity of hair applied to the string…” – Classica

A chamber group without conductor, Masques benefits from the creative involvement of each member. Their shared curiosity has lead them, and their audiences, along an ever-evolving path of discovery. From their deep immersion into the fascinating world of 17th century German music, to the unveiling of Telemann’s universalism, humour and humanism, to their interest in the initiatory journey of “The Grand Tour,” Masques’ artistic choices are underpinned by the same appetite for trade, blending, borrowing and mixing that was the very breath of the Baroque era itself. It is a spirit reflected in the diverse nationalities of Masques’ musicians, who hail from Australia, Belgium, Canada, Finland and France — and through their playing, made new.

Masques’s concert schedule has taken them to Germany, Italy, France, Portugal, Spain, Poland and Austria; to The Netherlands at Amsterdam’s Musiekgebouw and Utrecht’s renowned Early Music Festival; to Belgium at Brussels’ Bozar, Antwerp’s AMUZ and Gent’s Bijloke. They have also appeared in most major centres in Canada and the United States, including New York, Toronto, Montreal, Vancouver and Los Angeles. Upcoming projects include concerts as part of the Folles Journées en région, in Nantes & Tokyo, the Cité de la Voix in Vézelay, the Festival de Saintes, the Heidelberger Frühling, the Festival de Wallonie and a tour of the United Kingdom & Finland.

An exclusive artist for the ALPHA label, their discs dedicated to17th century Austrian composers Johann Heinrich Schmelzer and the almost unknown Romanus Weichlein have enjoyed unanimous critical praise, between them receiving the Diapason d’Or, the “ffff” Telerama, the two “Chocs” de Classica and Gramophone Magazine’s “Editor’s Choice” award. Most recently, they have celebrated the music of Georg Philipp Telemann with an acclaimed recording of his Theatrical Overture-Suites, in honour of the 250th anniversary of the composer’s death in 1767. Other critically acclaimed albums have been recorded on the ATMA, Dorian and Analekta labels. Two forthcoming recording projects for ALPHA are slated for release in 2019.

Olivier Fortin
graduated with distinction from the Québec Conservatory in 1995. He continued his training with Dom André Laberge, obtained a Master Degree from University of Montreal under the direction of Réjean Poirier, and received several scholarships for studies in Paris with Pierre Hantai and in Amsterdam with Bob van Asperen. In 1997 he was awarded top prizes at the Montreal Bach Competition and the Bruges Festival. Olivier Fortin is in demand as a soloist and chamber musician, touring and recording throughout Europe, China and South Korea, the United States and Canada with Masques, Capriccio Stravagante and Tafelmusik. He also performs with Skip Sempé and Pierre Hantaï in programs of music for two and three harpsichords. Olivier Fortin is the founder and director of the Ensemble Masques. From 2004-08 he taught harpsichord and chamber music at the Conservatoire de Musique de Québec, and he currently teaches at the Tafelmusik Summer Institute in Toronto.

Booklet für Weichlein: Opus 1, 1695