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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This luxurious edition of the Weichnachts-Oratorio with 2 free CD's is in stores now! It is only available for ... [read more]

This luxurious edition of the Weichnachts-Oratorio with 2 free CD's is in stores now! It is only available for the Dutch and Belgian markets at the moment. An international release will follow october/november 2007. Also a german version will be released end of 2007 wich additional info from Boris Kehrmann.
The Weihnachts-Oratorio of J.S. Bach performed by Combattimento Consort Amsterdam and Cappella Amsterdam conducted by Jan Willem de Vriend. The music of Bach, the inspiration of Jan Willem de Vriend, his musicians and singers, the interesting texts and the magnificent photographs, make this a very special production and an inspiring gift for the holiday season. Authors:
Frits de Haen
Robin A. Leaver

Photography:
Eddy Posthuma de Boer Combattimento Consort Amsterdam, Cappella Amsterdam
Malin Hartelius - soprano
Kristina Hammarström - alto
Jörg Dürmüller - tenor
Detlef Roth - bas baritone
Combattimento Consort Amsterdam and Cappella Amsterdam conducted by Jan Willem de Vriend have made 2 brand new CD-recordings of the famous Weihnachts-Oratorio of J.S. Bach. These are accompanied by a luxuriously produced book containing extensive information about the Oratorio. This has been written by the Dutch musicologist Frits de Haen and the internationally renowned musicologist, theologian and Bach expert Robin A. Leaver. De Haen interviewed conductor Jan Willem de Vriend and writes about the spiritual and worldly aspects of these six cantatas. Leaver goes into the liturgical background of the Oratorio. All this is combined with unique 'Mother & Child' photographs, which have been made by Eddy Posthuma de Boer from all over the world.   The focus is, of course, on the magnificent recordings of the Weihnachts-Oratorio. The soloists are singers of international reputation, such as tenor Jörg Dürmüller, soprano Malin Hartelius, alto Kristina Hammarström and bass-baritone Detlef Roth. The emotions Jan Willem de Vriend experienced during his study of the score and later while playing the cantatas seem to correspond with the conclusions that Robin A. Leaver arrived at during his research. There are many musical and textual connections between Bach's Matthäus- and Johannes-Passions and his Weihnachts-Oratorio in which he expresses his belief that the birth of Christ was meaningful and that Christ's suffering led to the redemption of man.
To give birth and rejoice, still knowing that your child will have to endure the ups and downs of human existence, hope and fear - all these varied emotions are present in that first moment: when a mother holds her newborn baby in her arms and all of this finds expression in Bach's splendid and moving composition, which celebrates the birth of Our Lord, Jesus Christ on Christmas Day. The superb photographs of Mothers and their children by Eddy Posthuma de Boer give further expression to this joyful message by Jan Willem de Vriend, his musicians and singers. To crown it all, we have the sensitive and insightful text by Frits Haen and Robin A. Leaver to help to elevate this whole production to the realms of a very special Christmas gift to give or to receive.

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

Artist: Combattimento Consort Amsterdam, Jan Willem de Vriend 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 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. Nearly all the pieces on this CD have an extramusical programme. In other words, in each piece a story is told or a situation described. Whether humorous or serious, the programme always tells us something about the culture in which the music functioned. The use of programmes in musical compositions was widely loved all over Europe in the seventeenth century. Heinrich Ignaz Franz Biber (1644-1704) was a true master in this respect. The works presented on this CD were performed in intimate settings during evening concerts or were intended to mark the arrival of important guests. Of particular interest is that Biber composed only one violin part, but wrote two or three viola parts. Consequently, the ensemble as a whole has a somewhat dark sound, allowing the violin to soar like a lark.  

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Artist: Jan Willem de Vriend, Erika Toth, Annette Bergman, Albert Adams, Jacobien Rozemond, Pieter Dirksen, Mike Fentros, Susan Williams, ... [read more]

Artist: Jan Willem de Vriend, Erika Toth, Annette Bergman, Albert Adams, Jacobien Rozemond, Pieter Dirksen, Mike Fentros, Susan Williams, Frank Anepool, Wouter Mijnders, Peter Jansen 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. Heinrich Ignaz von Biber by-passed the ban on profane chamber music with his collection of twelve sonatas, Sonatae tam aris quam aulis servientes (1676), which means at the altar as well as at court the collection with such a title, the sonatas became more interesting from a commercial point of view.After all, the sonatas were serviceable for both secular and spiritual occasions, during Mass, but also as table music during dinners at the palace. Apart from being an outstanding violinist, Biber was also a great composer and a remarkable man. He instructed musicians to play with the back of their bow, composed atonal and minimal music, allowed players to change the tuning of the strings (scordatura) or stuffed paper in between them. Also, we owe the Bartzicato to Biber rather than Bart His Sonatae tam aris quam aulis servientes seem to bridge folk music and concert music, between French and Italian bowing techniques, between secular and spiritual music. As if two different worlds shake each other original music. It is therefore not surprising that Wolfgang Amadeus Mozart made his son study the works of Biber. In this context perhaps the words of Paul Hindemith are most striking. He spoke of Biber characterising him as cable composer before Bach

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Het Combattimento Consort heeft onlangs samen met Jörgen van Rijen, solotrombonist van het Koninklijk Concertgebouworkest een cd opgenomen. ... [read more]

Het Combattimento Consort heeft onlangs samen met Jörgen van Rijen, solotrombonist van het Koninklijk Concertgebouworkest een cd opgenomen.

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