Luogo e data di registrazione		-
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42522 AP - (1 LP - durata 53' 16") - (p) 1980 - Analogico
	Originale LP		-
	Prima Edizione CD		-
	Note		-

Thomas Morley became known on the continent chiefly on account of his instructional work, written in dialogue form, "A Plaine and Easie Introduction to Practicall Musicke" (597). In it he defined the fantasia as a piece of music in which "a musician taketh a point (- motif) at his pleasure and wresteth and turneth it as he list ... and may adde, deminish, and alter his pleasure." The turn to a stronger major-minor foundation, the arrangement of the phrases by way of small internal cadenzas, and the hints at dance rhythms provide a more popular idiom, whose transparency and freshness signified an important advance. The variation works of van Eyck recorded here are based upon widely known song melodies of the 17th century, and give a graphic impression of the repertoire at the public musical evenings at the Sint Janskerkhof, Utrecht, where van Eyck also performed as a flautist. "Gallant style" elements and character pieces flow into the suite of Hotteterre, the once definite rhythms and the dance movements are softened in favour of rich ornamentation, and dotted notes are prolonged beyond their stated duration and thus have a sharped effect. Within this "unequalness" of the performance, which has to take its cue from the "good taste" and character of the piece, there is a large number of "agréments" (ornaments). These are aimed at a synthesis of brilliance, gracefulness and rhetorical pathos, which typified the classical style of high baroque in France. As opposed to this, the two sonatas by Telemann embody less an independent mational style than an attitude which drew its inspiration from everywhere, and was defined by Quantz as the "mixed" or "German" taste. From these sonatas we clearly recognise Telemann's ability to combine the contrapuntal linear art of a canon sonata with a supple, harmoniously perceived and rhythmically pulsating melody design - techniques which made him the most significant composer of the transitional period between the baroque and the classical areas. (Translation: Frederick A. Bishop) ·········· Kees Boeke - Born 1950 in Amsterdam. Kees Boeke studied the recorder with Frans Brüggen at the Royal Conservatory, The Hague, where he graduated with honours in 1969. Together with Frans Brüggen and Walter van Hauwe he forms the group Sour Cream, in which he is also active as a composer. He has toured extensively in Europe and the United States and is a professor at the Sweelinck Conservatory, Amsterdam. Walter van Hauwe - Born 1948 in Delft. Walter van Hauwe studied the recorder with Frans Brüggen at the Royal Conservatory, The Hague, where he graduated woth honours in 1969. Together with Frans Brüggen and Kees Boeke he forms the group Sour Cream and he is also member of the Syntagma Musicum. He has undertaken tours of Europe, Japan and the United States, and is presently a professor at the Sweelinck Conservatory, Amsterdam.