Matthias Weckmann: Eleven Sonatas For the Hamburg Collegium Musicum

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Release Date: 6th May 2022
Catalogue No: 555217-2
Label: CPO
Length: 57 minutes

International Classical Music Awards

2023

Nominated - Baroque Instrumental

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Weckmann: Sonata No. 2 a 4

Work length5:17

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Weckmann: Sonata No. 6 for Cornettino, Violin, Trombone & Bombard

Work length5:01

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Weckmann: Sonata No. 8 for 2 Violins & Bassoon

Work length2:49

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Weckmann: Sonata No. 1 for Violin, Cornettino, Trombone & Bassoon

Work length4:46

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Weckmann: Sonata No. 3 for Violin, Cornettino, Trombone & Bassoon

Work length5:02

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Weckmann: Fantasia for Violin, Cornet, Viola da gamba, Trombone & Bombard

Work length4:26

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Weckmann: Sonata No. 11 for Violin, Cornettino, Viola da gamba & Bassoon

Work length6:14

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Weckmann: Sonata No. 4 for Cornettino, Violin, Trombone & Bassoon

Work length5:26

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Weckmann: Sonata No. 5 for Violin, Cornettino, Viola da braccio & Bassoon

Work length5:24

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Weckmann: Sonata No. 10 for 2 Violins & Viola da gamba

Work length3:26

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Weckmann: Sonata No. 7 for Cornettino, Violin, Trombone & Bombard

Work length3:46

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Weckmann: Sonata No. 9 for Cornettino, Violin, Trombone & Bombard

Work length6:12

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From the works Matthias Weckmann wrote for the Collegium Musicum, eleven autograph sonatas are preserved in the Lüneburg Council Library. While two of the sonatas call for a conventional trio of two violins and bass (in the tenth sonata a viola da gamba and in the eighth a dulcian), the remaining, more extravagant pieces are written for a heterogeneous quartet of cornettino (treble zinc), violin, trombone (in two sonatas alternatively viola da braccio and viola da gamba), and dulcian or bass shawm. In the pieces for the Hamburg Collegium Musicum, Weckmann pushed all of the instruments, but especially the trombone and cornettino, to their absolute limits. An important characteristic of the sonatas are the strong contrasts. Typical features are: abrupt changes of tempi, meter, and tessitura (sometimes accompanied by echo effects), close and wide harmonies, and alternating polyphonic and homophonic passages in which three instruments occasionally play parallel chords as in a faux bourdon. Notwithstanding these commonalities, each sonata is an individual piece and not forced into any prefabricated mold.

Matthias Weckmann: Eleven Sonatas For the Hamburg Collegium Musicum

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