Birds in Baroque Music

Record and Artist Details

Composer or Director: Anonymous, George Frideric Handel, Jean-Philippe Rameau, Antonio Vivaldi, Thomas (Augustine) Arne, Traditional, Pietro Torri, Michel Pignolet de Montéclair, Reinhard Keiser, Mr Quignard, François Couperin, Alessandro Poglietti, Louis-Claude Daquin, John Bartlet, Giuseppe Fedeli

Genre:

Vocal

Label: Deutsche Harmonia Mundi

Media Format: CD or Download

Mastering:

DDD

Catalogue Number: 88875 14120-2

88875141202. Birds in Baroque Music

Tracks:

Composition Artist Credit
This Merry Pleasant Spring Anonymous Composer
Stefan Temmingh
The Gentleman's Band
La Folia Baroque Orchestra
Dorothee Mields
(L')Allegro, il penseroso ed il moderato Dorothee Mields
La Folia Baroque Orchestra
George Frideric Handel Composer
Stefan Temmingh
The Gentleman's Band
Nouvelle Suite de Pièces de Clavecin Stefan Temmingh
Jean-Philippe Rameau Composer
Dorothee Mields
The Gentleman's Band
La Folia Baroque Orchestra
(6) Concerti for Flute and Strings Stefan Temmingh
The Gentleman's Band
Antonio Vivaldi Composer
Dorothee Mields
La Folia Baroque Orchestra
As You Like It Dorothee Mields
Stefan Temmingh
Thomas (Augustine) Arne Composer
The Gentleman's Band
La Folia Baroque Orchestra
(The) Three ravens Traditional Composer
Stefan Temmingh
La Folia Baroque Orchestra
Dorothee Mields
The Gentleman's Band
Ismene La Folia Baroque Orchestra
Stefan Temmingh
Dorothee Mields
The Gentleman's Band
Pietro Torri Composer
(6) Concerts for Flute/Recorder and Continuo La Folia Baroque Orchestra
Stefan Temmingh
The Gentleman's Band
Michel Pignolet de Montéclair Composer
Dorothee Mields
Ulysees Stefan Temmingh
La Folia Baroque Orchestra
Reinhard Keiser Composer
The Gentleman's Band
Dorothee Mields
9e Recueil d'airs sérieux et à boire Mr Quignard Composer
Stefan Temmingh
La Folia Baroque Orchestra
The Gentleman's Band
Dorothee Mields
Livres de clavecin, Book 2 The Gentleman's Band
Stefan Temmingh
La Folia Baroque Orchestra
Dorothee Mields
François Couperin Composer
Rossignolo The Gentleman's Band
La Folia Baroque Orchestra
Dorothee Mields
Stefan Temmingh
Alessandro Poglietti Composer
Premier livre de pièces de clavecin La Folia Baroque Orchestra
Stefan Temmingh
Dorothee Mields
Louis-Claude Daquin Composer
The Gentleman's Band
Rinaldo George Frideric Handel Composer
La Folia Baroque Orchestra
The Gentleman's Band
Stefan Temmingh
Dorothee Mields
Book of Ayres La Folia Baroque Orchestra
John Bartlet Composer
Stefan Temmingh
The Gentleman's Band
Dorothee Mields
The Temple of Love Stefan Temmingh
La Folia Baroque Orchestra
Dorothee Mields
The Gentleman's Band
Giuseppe Fedeli Composer
Recorders and sopranos – it might not be Cav/Pag or Gheorghiu and Alagna, but it’s still one of music’s great double acts, as Dorothee Mields and Stefan Temmingh prove persuasively in their new album ‘Birds in Baroque Music’. A mood-board of all things avian, this recital brings nightingales, cuckoos, turtle doves and even the occasional chicken together in arias, folksongs and concertos from across Europe.

Of course there are the classics – Vivaldi’s Il gardellino (‘The Goldfinch’) makes an inevitable appearance, with Temmingh’s recorder making light work of the demanding solo violin part, as does ‘Sweet Bird’ from Handel’s L’Allegro, il Penseroso ed il Moderato and Louis-Claude Daquin’s insistent Le coucou – but there is also a whole aviary of more exotic creatures from composers including Pietro Torri, Giuseppe Fedeli, Reinhard Keiser and the elusive ‘Mr Quignard’, ranging from the disposably charming to the fascinating.

Easily the most striking piece here is Alessandro Poglietti’s ‘Imitatione del medesimo uccello’ from his Rossignolo suite for harpsichord. Rules of key and melody fall away in this astonishing bit of onomatopoeic musical experimentalism. Poglietti’s bird sings in uneven phrases and occasionally cacophonous discords, an improvisatory piece of virtuosity dispatched with elegance by Wiebke Weidanz. Quignard’s nightingale is another standout – a poised piece of 18th-century melancholy, pairing Temmingh at his woodiest and most rich with Mields, tone gilded and darkened at this lower end of her register.

Like any thematic recital, ‘Birds’ makes for a coherent listen but, unlike with other themes, the often imitative sound world of birds remains fairly constant, risking aural fatigue. But Mields reinvents herself vocally with tremendous skill, moving from folksongs to arias without affectation, and it would be hard to imagine a more daring partner than Temmingh, whose playing constantly reminds us of the recorder’s risqué history. An instrument now synonymous with child-beginners was once off-limits for women, so suggestive was its appearance. It’s a cheeky thought that puts a welcome glint into the eye of this fine recording.

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