Teun & Teun - Unico (2023) [Hi-Res]

Tracklist

01. Sonata No. 3 in G Major: I. Largo
02. Sonata No. 3 in G Major: II. Allegro
03. Sonata No. 3 in G Major: III. Adagio
04. Sonata No. 3 in G Major: IV. Gavotta. Allegro
05. Sonata No. 1 a Fluto Solo e Basso Continuo in F Major: I. Vivace
06. Sonata No. 1 a Fluto Solo e Basso Continuo in F Major: II. Adagio
07. Sonata No. 1 a Fluto Solo e Basso Continuo in F Major: III. Allegro
08. Sonata No. 3 in G Major: I. Largo II
09. Sonata No. 3 in G Major: II. Allamanda
10. Sonata No. 3 in G Major: III. Larghetto
11. Sonata No. 3 in G Major: IV. Gavotta
12. Sonata No. 4 a Cimbalo Solo in A Minor
13. Sonata Prima in F Major: I. Grave
14. Sonata Prima in F Major: II. Allegro
15. Sonata Prima in F Major: III. Adagio
16. Sonata Prima in F Major: IV. Giga. Presto
17. Sonata Seconda in G Minor: I. Grave
18. Sonata Seconda in G Minor: II. Allegro
19. Sonata Seconda in G Minor: III. Adagio
20. Sonata Seconda in G Minor: IV. Giga. Presto
21. Sonata Terza in G Minor: I. Grave
22. Sonata Terza in G Minor: II. Allegro
23. Sonata Terza in G Minor: III. Sarabanda. Grave
24. Sonata Terza in G Minor: IV. Giga. Presto



The history of Dutch Baroque music is a history of cultural connections, of European history. There was no shortage of music, including repertoire for recorder, in Holland: Amsterdam was not only a center of composition and instrument making, but also one of the most important centers for music publishing. Many of the most respected Italian composers had their works published in Amsterdam, so that they were available there earlier than in their own country. The Dutch composers and musicians of the time were thus, ironically, closer to the "source" than many of their Italian counterparts. The music written by Dutch composers was heavily influenced by the Italian style. Jean Baptiste Loeillet de Gant and his music exemplify the strong international character of composition, instrument making, music printing and publishing, and of course musical performance, in which the Netherlands, and Amsterdam in particular, played a central role. Sybrant van Noordt is a perfect example of Italomania. Willem de Fesch's sonata is a happy combination of structural simplicity and rich detail that can only be achieved by great craftsmanship. Count Unico Wilhelm van Wassenaer is a central figure in this program, which features all three of his sonatas for recorder and harpsichord. These sonatas are "almost as good as Corelli's" - as a French official put it during one of Wassenaer's trips to Paris.

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