either retained or transcribed. Thus comparatively little of the instrumental music contains the surviving portions of the repertoire of the Swedish in this collection was actually composed in DiibenRoyal Collection Chapel (today in theUppsala Royal Sweden. Instead most of it comes from royal Stockholm Opera Orchestra) from the reign courts and trading cities, mainly Transalpine of Queen Christina in the 1640S and 1650S - Danzig, Lubeck, Dresden, Stuttgart, Vienna and Paris. to that of Charles XI in the 171OS.The bulk of the collection comprises Some of the composers ecclesiastical vocal music in this recording, though, intended for services at are from nearer home. ~rpttt 5~d~ court, but there are also Kaspar Forster was Hofmore than 300 instrumenkapellmeister in Copen, 1h£adi§;;1'tia tal pieces - mostly dance hagen. He had studied movements, variations under the great Giacomo and sonatas. Much of it is Carissimi in Rome, and his sonatas shows an unmistypically occasional music, takeable Roman influence. used for ballets, banquets and courtly ceremonies, His Copenhagen acquainbut there are also a numtances included the famous virtuoso violinist Samuel ber of ambitious works apPeter von Sidon, who parently designed for more The attentive listening. -The music and manuscripts in the Duben Collection come from a huge variety of quarters. Hofkapellmeister Gustav Duben was in regular touch with later moved ro Hamburg, where Forster subsequently lodged with him. The curious but highly expressive chamber sonata in this recording is von Sidon's sole surviving cOlnposition. of The violinist Nicholaus Adam Strunck Europe and in major cities, for the purpose of canvassing repertoire for the royal court - music that was sent up to Srockholm and was active at the saine time and in the sa01e many erninent musicians at the courts 2 place. He hailed from Liibeck but, like von Sidon, played the violin in the Hamburg DAPHNE 1025 Stadtkapelle. His sonata is akin to Fiirster's music, with its emotive harmony and freely gathered and copied by a young nobleman improvisational and solo sections. Long before von Sidon's day, William Brade also made a career for himself by way of Copenhagen and Hamburg. He was one of many Englishmen who crossed the Channel to take up employment in Germany. In Hamburg not least, English influence was considerable. His divisions on a chorale tune give a good representation of their mastery of improvisation. Gustav Duben himself was greatly interested in Italian, and especially Roman, music, as well as in music written in Roman style by northern Europeans. One important reason for this must have been his contact as a young man with Italian musicians at the court of Queen Christina - not least among them the talented young Roman Vincenzo Albrici. Albrici's sonata a 2 probably dates from his time as Kapellmeister at the Electoral court of Dresden in the 1660s, and it may well have been Albrici himself who supplied Duben with music from the Dresden orchestra. Members of that orchestra included the violinist Johann Wilhelm Furchheim, whose ingenious sonata in E minor is in no wise inferior (0 those of the Italians. One special part of the collection con- DAPHNE 1025 sisrs of Il111Sicfrom Vienna amateur musician, and its environs, Johann van Assig und Siegersdorff. He came to Sweden on his Grand Tour in about the mid-1670s and, for son1C reason or other, parts of his music col- lection got left behind. In addition to several works by Schmeltzer they include a number of anonymous sonatas, among them two "very beautiful sonatas" (due bellissime sonate) probably written by Antonio Bertali. Also anonymously preserved in the Duben Collection are three solo sonatas by the Nuremberger Johann Erasmus Kindermann, copied from a ptinted collection which appeared in ,653. The second half of the 17th century was a time of steadily rising status for instrumental music. It was up to the player-composers to show tbat this music could be as enthralling as vocal wotks, and they did so by trying to include in their pieces as much passion and expression as was humanly possible, coupled with contrapuntal craftsmanship and a sparkling virtuosity and bravura of execution rooted in a long tradition of improvisation and advances in instrument building. It is this combination that makes the violin music of the time so poignant, enjoyable and gloriously unpredictable. Elin Gabrielsson - violin Berit Lindberg - harp studied at the Royal University College of Music, Stockholm, with singing and percussion playing as her sidelines. 1he Vadstena Academy introduced her w harp cominuo playing in the 70S. Berit has taken part in many Drottningholm Court Theatre productions, and we also find her in such ensembles as Westra Aros Pijpare and A Chantar. Harp: Lars Paulin. graduated in modern violin at the Royal Universicy College of Music, Swckholm, going on from there w study Baroque violin in Milan and in The Hague under Enrico Gatti. Elin has played cominuously with several Icalian Baroque ensembles since 2000. Together with Ensemble Zefiro, la Risonanza, Europa Galante, Academia Bizantina and, above all, il Giardino Armonico, she has made several CD television and radio recordings and wured all over the world. Violin: Widhalm 1753. Bow: Croppe. Peter Lonnerberg -harpsichord and chamber organ received much of his training and inspiration for harpsichord and continuo playing from Lars Ulrik Mortensen in Copenhagen. He is a regular member of the Stockholm Baroque Ensemble, Scandinavian Baroque Trio, and Ensemble Cornucopia. He is in demand with various other Swedish ensembles, and has appeared with several groups in Swedish radio. He is interested in teaching and has given a number of masterclasses. Harpsichord: Denis Woolley I980 after Moermans 1584. Chamber organ: Nils-Olof Berg 1994 Cedackt Sfoot + 4foot. Nora Roll - viola da gamba and lirone studied viola da gamba at the Stockholm and Malmo Royal Universicy Colleges of Music and in 1998 became the first gamba player w hold a Swedish music college degree. Since then Nora is freelancing, concentrating mainly on continuo playing and stage productions. She has toured over 20 countries in Europe and South America and taken pan in a succession of CD, television and radio recordings. In Sweden she is leader of the Tre Kronor Baroque ensemble. Gamba: Jane Julier I999 after Jacob Steiner. Lirone: Henner Harders 2003 after Gaspar da 5alo. Bows: Sven- Etik Betg. Anders Ericson - theorbo studied lute at the Stockholm and Malmo Royal University Colleges of Music. Since graduating in 2002 Anders has freelanced all over Sweden and Europe, both as soloist and as continuo player. His musical grande passion is 17th century French lute music, as he regularly shows in his solo Baroque lute and theorbo concerts. He has made radio and television recordings as far afield as in Canada and Australia. Parallel to his lute playing, Anders has also made a career for himself as guitarist with the Danish Heavy Metal band Beyond Twilight, whose fourth album was released in 2006. Michael Karlsson - vi%ne studicd at the Royal University College of Music, Swckholm, and then at the Paris Conservawry. Has been residcnt Principal Double Bass Player with the Royal 5wckholm Opera Orchestra since I983, but has also played in orchestras in Portugal, France and Japan. Ensembles for both contemporary and early music are a longstanding illlcrest and commitment. Via/one: 7heorbo: unsigned Hungarian 18th century. 4 DAPHNE 1025 DAPHNE 1025 Lars j<jl1sson I988 after MagnusTieffenbrlicker. 5 Ulrika - violin Westerberg Ulrika Westerberg started playing at the age of 9 and gave her first solo performance, in Vivaldi's "Four borjade forsta Seasons", when she was 17. Ulrika is a graduate of the Royal University College of Mu- "Arstiderna" sic, Gothenburg (Goteborg) and was among sity College of Music, Malmo. frequently bildad pa Universitet och med vid 17 ars alder. musikhogskolan och tillhorde Since then in European and hade sirt Vivaldis Ulrika ar ut- vid Goteborgs den forsta kullen pa barockinterpretationskursen the first students admirted to the Baroque Interpretarion course at the Royal Univershe has figured - violin spela som nioaring soloframtr:idandet vid Malmo Musikhogskola. Hon har sedan dess medverkat Airigt i europeiskt oeh skandinaviskt barockmusikliv. Les Arts Florissants, Scandinavian Baroque performances. Les Arts Florissants, Le Concert Spirituel, the Drottningholm Court Theatre Orchestra, Le the Svenska Barockorkestern ar nagra av de manga barockensembler hon har medverkar i ofra som konsertmastare eller stamledare. Copenhagen europeen William Baroque Orchestra Consort, the Ensemble Byrd and the Swedish are just a few of the Concert teaterns Ensemble Spirituel, Drottningholms- orkester, Copenhagen europeen William Consort, Byrd och many Baroque ensembles she has performed with often as leader. The focus of Ulrika's Ulrikas musikaliska tyngdpunkt ligger i olika kammarmusikprojckt, heist och oftast lllusicality med violinmusik fran 1600 och 1700 talen. Violin: Sebastian Klotz 1758. is on various chall1ber music projects, preferably and most often featuring 17th and 18rh century violin music. Violin: Sebastian Bow: Sven-Erik Str!ike: Svcn-Erik Berg. Klotz 1758. Berg. Thanks to: Tack till: l,ars Berglund, Peter TilJbcrg, StCIl H()ge, 'Ihe Parish ofVarmd() , 'Ihe Swedish Ans Grams Lars Berglund, Peter Tillberg, Srcn Hogc, Viirmdij F()['s3mling, Konstn;irsn:imnden, Committee, Sven-Erik Sven-Erik Berg, Family and friends. 6 Berg, familj neh viinner. DAPHNE 1025 DAPHNE 1025 7 Elin Gabrielsson - violin Berit Lindberg - harpa ar utbildad vid Musikhogskolan i Stockholm, med bisysslor som sangerska oeh slagverkare. lnrroduktionen till continuospel pa harpa fick hon via Vadstena-akademien pa 7o-taler. Berir har medverkar i manga av Orottningholmsreaterns uppsarrningar, oeh vi hitrar henne ocksa i ensembler som Westra Aros Pijpare oeh A Chantar. Harpa: Lars Paulin. tog sin examen pa modern violin vid Musikhogskolan i Stockholm. Darefter sruderade hon barockviolin i Milano och Haag for Enrico Gatti. Sedan ar 2000 spelar Elin kontinuerligt med Hera italienska barockensembler. Med Ensemble Zefiro, la Risonanza, Europa Galante, Academia Bizantina, oeh framfor allt it Giardino Armonico, har hon gjort Hera CO- TV- oeh radioinspelningar over snart sagt hela varlden. Violin: Widhalm 1753. Strake: Croppe. och rurneer Peter Lonnerberg -cembalo oeh continuoorgel har sruderat for bland andra Lars Uirik Mortensen i Kopenhamn. Peter ar Aitigt engagerad som eembalist/eonrinuospelare oeh solisr, med bLa. Stockholms Barockensemble, Skandinavisk Barocktrio oeh Ensemble Cornupia. Han har medverkat i manga radiooeh skivinspelningar. Peter undervisar garna oeh har medverkar som gastlarare bLa. vid musikhogskolan i Belgrad. Cembalo: Denis Woolley 1980 efrer Moermans 1584. Continuoorge!: Nils-Olaf Berg '994 Cedackt Sfot + 4fot. Nora Roll - viow cia gamba och lirone har sruderar viola da gamba vid Musikhogskolan Stockholm och Malmo Musikhagskola. Hon blev 1995 den farsra gambisten med svensk musikhogskoleexamen. Sedan dess ar Nora verksam som frilansmusiker, rued ryngdpunkt pa continuospel och seeniska produkrioner. Hon har turnerat i over 20 lander i Europa och Sydamerika, oeh medverkar i en rad CD- TV- oeh radioinspelningar. I Sverige ar Nora kapellmastare for Barockensemblen Tre Kronor. i Jane Julier 1999 efter Jacob Steiner. Henner Harders 2003 efrer Gaspar da Salo. Strakar: Sven-Erik Berg. Gamba: Lirone: Anders Ericson - teorb sruderade luta pa musikhogskolorna i Stockholm och Malmo. Sedan examen 2002 frilansar Anders over hela Sverige oeh Europa, bade som solisr oeh conrinuospelare. 1600-ralcrs franska lutmusik ar Anders stora musikaliska passion, vilker han regelbunder visar pa sina solokonserrer med baroeklura oeh reorb. Han har gjorr radio- och TV-inspelningarfOrutom i Sverige - aeksa i Kanada oeh Australien. Vid sidan av lurspelet har Anders en parallel! karriar sam girarrisr i danska Heavy Meralbander Beyond Twilight, som 2006 slappre sin fjarde album. Teorb: Lars Jonsson 1988 efrer Magnus Tieffenbrucker. Michael Karlsson - violone ar urbildad vid Musikhogskolan i Stockholm oeh darefter pa konservatorier i Paris. Michael ar sedan 1983ansralld sam sramledare for konrrabasstamman i Hovkapellet i Stockholm, men har oeksa spelar i orkesrrar i Portugal, Frankrike oeh Japan. Han har sedan tangc inrresscrar sig for oeh ingan i ensembler for bade l1laida musik och ridig musik. Violone: osignerad ungersk 17oo-ral. 8 DAPHNE 1025 DAPHNE 1025 9 D haller de hevarade delarna av svenska hovkapellets reperroar, iibensamlingen i Uppsala 1640innefran drottning Kristinas och 50-tal och fram till Karl XI:s 17IO-tal. Den storsta delen av samlingen utgors av kyrklig vokalmusik, avsedd for hovets gudstjanstliv. Men i samlingen ingar aven mer an 300 instrumentalstycken - mestadels danssatser, variationsstycken och sonater. Mycket ;ir utpraglat funktionell musik, som anvants fiir baletter, banketter och hovceremonier men dar finns aven ambitiost komponerad musik, som tycks vara avscdd for mer uppmarksamt lyssnande. Musiken och nothandskrifterna i Dubensamlingen kommer fran alia miijliga hall. Hovkapellmastaren Gustav Diiben upprattholl kontakt med manga framsraende musiker vid Europas hov och stiirre stader, i syfte att skaffa musikreperroar till hovet - n(Her som skickats upp till Stockholm och antingen behallits eller kopierats. Ganska lite av instrumentaln1l1sikcn i Dtibcnsan1lingen komponeradcs alltsa i Sverige. Den kommer fran hov och handelsstader, framst norr am Alperna: Danzig, Liibeck, Dresden, Stuttgart, Wien, Paris. Kaspar Forster var hovkapellmastare i Kopenhamn. Han hade studerat for den store Giacomo Carissimi i Rom och hans sonator rojer tydligt romerskt inflytande. Till Forsters hckanta i Kopenhamn horde den rykrbare violinvirtuosen Samuel Peter von Sidon, som flyttade till Hamburg, dit Forster senare kom for att bo i dennes hus. Den m;irkliga men mycket uttrycksfull a kammarsonatan pa derma skiva ar von Sidons enda bevarade srycke. Vid samma tid och pa samma plats var aven violinisten Nicholaus Adam Strunck verksam: han kom fi-an Liibeck men var liksom yon Sidon ansralld sam violinist i stadskapellet i Hamburg. Hans sonata har slakrskap med Forsters musik, med kinslosam harmonik och fritt improvisativa solosektioner. Ungt [(ire yon Sidon tog ;;ven William Brade karriarv;igen i;ver Kopenhamn-Hamburg. Han var en av de manga engelsm;in sam tog sig over kanalen for anst;;llning i Tyskland. Inte minst i Hamburg var det brittiska inflytandet stort. Brades variationer over en koralmelodi ger en god bild av deras drivna itnprovisationstcknik. Gustav Nagra av komponisterna pa derma inspelning kommer dock fi-an naronuadet. [II Dliben sjiilv var myckct intrcsse- rad av italicnsk, framfor allt romersk mLIsik, liksom av musik i romersk stil kompo- DAPHNE 1025 sonater" ("due belissime sonate"), varav nerad av nordeLIropeer. Ett viktigt skil var den pa skivan mojligen komponerats av sakerligen den kontakt han i sin LIngdom Antonio Bertali. Anonymt bevarade i lick med italienska musiker vid drottning Dubensamlingen ar aven tre solosonater av Kristinas hov - inte minst den begavade Nurnbergsonen Johann Erasmus Kinderunge romaren Vincenzo Albrici. Dennes mann, kopierade fran en tryckt samling fran sonata a 2 h;;rror dock troligen fran hans tid 1653. som kapellm;;stare vid kursfurstliga hovet i 1600-talets senare h;;lft var Dresden pa 1660-talet. en rid nar den instrwnenDet ;;r inte otroligt ~q att det var just Albrici tala mLIsikens status stadigt lJut i])tlf.%", .I~MIt okade. Det var upp till de som forsag Duben med a:t. mLIsik fran Dresdenkomponerande instrLImentalisterna att visa att den kapellet dit harde exempelvis violinisten kunde vara lika engagerande som den vokala musiken. Johann Wilhelm Furchheim, vars infallsrika Det gjorde de genom att sonata ie-moll inte srar farsaka lagga in sa mycket italienarnas efter. affekt och uttryck som det Ett s;;rskilt besrand nagonsin var mojligt i sina av samlingen urgors av srycken, kombinerat dels musik fran Wien med med en hantverksskicklig omnejd, samlade och kontrapunkt, dels med en kopierade av en ung gnistrande virtuositet och framforandebravur, som hade sina rotter i en adelsman och amatormLIsiker, Johann von Assig und Siegersdorff. Denne kom till ling tradirion av improvisation och instrumentteknisk urveckling. Det ;;r den kombiSverige pa sin bildningsresa kring mitten av 1670-talet och pa nagot s;;tt blev delar nationen som gor den tidens violinmLIsik sa av hans notsamling kvar. Dit har farutom gripande, rolig och harligt ofaruts;;gbar. flera verk av Schmeltzer ett antal anonyma sonater, bland annat tva "mycket vackra DAPHNE 1025 II