The Lully Effect Indianapolis Baroque Orchestra & Barthold Kuijken

• Jean-Baptiste Lully (1632-1687): Armide, LWV 7:
• 1Armide, LWV 7: Ouverture02:51
• 2Armide, LWV 7: Passacaille05:39
• Georg Philipp Telemann (1681-1767): Overture in E Minor, TWV 55:e3:
• 3Overture in E Minor, TWV 55:e3: I. Ouverture08:33
• 4Overture in E Minor, TWV 55:e3: II. Les Cyclopes02:44
• 5Overture in E Minor, TWV 55:e3: III. Menuet - Trio02:33
• 6Overture in E Minor, TWV 55:e3: IV. Galimatias en rondeau02:28
• 7Overture in E Minor, TWV 55:e3: V. Hornpipe02:17
• Jean-Philippe Rameau (1683-1764): Dardanus Suite, RTC 35A, Prologue:
• 8Dardanus Suite, RTC 35A, Prologue: Overture04:41
• 9Dardanus Suite, RTC 35A, Prologue: Air pour les plaisirs I. Gay et gracieux01:02
• 10Dardanus Suite, RTC 35A, Prologue: Air pour les plaisirs II. Très vif01:09
• 11Dardanus Suite, RTC 35A, Prologue: Air gracieux. Sans lenteur01:26
• 12Dardanus Suite, RTC 35A, Prologue: Tambourins I & II02:09
• 13Dardanus Suite, RTC 35A, Act I: Air vif02:24
• 14Dardanus Suite, RTC 35A, Act I: Rigaudons I & II03:58
• 15Dardanus Suite, RTC 35A, Act III: Air gay en rondeau01:59
• 16Dardanus Suite, RTC 35A, Act III: Menuets I & II02:08
• 17Dardanus Suite, RTC 35A, Act III: Tambourins I & II02:46
• 18Dardanus Suite, RTC 35A, Act IV: Sommeil. Rondeau tendre02:10
• 19Dardanus Suite, RTC 35A, Act IV: Air très vif01:27
• 20Dardanus Suite, RTC 35A, Act IV: Calme des sens. Air tendre02:16
• 21Dardanus Suite, RTC 35A, Act IV: Gavotte vive00:56
• 22Dardanus Suite, RTC 35A, Act V: Chaconne04:47
• Total Runtime01:02:23

Info zu The Lully Effect

This recording realizes Barthold Kuijkens long-held desire to restore to Jean-Baptiste Lully, and to French Baroque orchestral works in general, the power and intensity that once held the musical world in thrall. To the grandeur, finesse and diversity of the genre he has brought original source material to inform specific bowing techniques and the use of ornamentation. The result, as with Telemanns Suite in E minor, which stands firmly in the Lully tradition, and Rameaus magnificent Suite from Dardanus, evokes the spectacle and splendor of Versailles. Barthold Kuijken is an eminent leader in the field of early music. A virtuoso traverse soloist, teacher and conductor, he has shaped the fields of historical flutes and historically informed performance over the last forty years. Kuijken has widely performed and recorded the repertoire for the Baroque flute and has collaborated with other early music specialists including his brothers Sigiswald and Wieland Kuijken, Frans Bruggen, Gustav Leonhardt, and Paul Dombrecht.

"For quarter of a century Jean-Baptiste Lully reigned as the most powerful musician in France, and from there his influence was to spread throughout Western Europe. That power was to be particularly felt in the theatre where Lully was prolific in his composition of opera and ballet, though much he had imported from his native Italy. The presentation became increasingly elaborate, reaching its zenith with his last tragic opera, Armide, completed in 1686, the year before his death. He was also instrumental in creating a new style of French overture, the one to Armide opening this disc. Added to the changes he brought to opera were his use of a specific instrumentation of his scores, and that was handed down to his successors that included Jean-Philippe Rameau. On this new disc, given the title ‘The Lully Effect’, the eminent Flemish flautist, Barthold Kuijken, has created an Indianapolis Baroque Orchestra that would be similar in size and instruments to the one used by Lully, and playing period instruments. It is most probable that by the time Rameau’s Dardanus was first staged, a much larger group would have been used, though the numerical relationship of instruments would have been much the same. After some initial success the opera was to be one of Rameau’s most spectacular failures and even changing the unlikely plot failed to save it. Here Kuijken has a suite of fifteen extracts many being dances together with four Prologues. Certainly influenced was the German, Georg Philipp Telemann, but here the inclusion of the Ouverture Suite is rather tenuous. Those well versed in Early Music will greatly welcome this expertly played disc, the sound of gut strings adding an impact to the overall quality captured in a recording that avoids adding any gloss. Now listen to all of Armide on Naxos 8.660209-10. Issued ten years ago it is a benchmark release." (David’s Review Corner)

Indianapolis Baroque Orchestra
Barthold Kuijken, conductor

Indianapolis Baroque Orchestra
IndyBaroque Music, Inc. is the parent organization of the Indianapolis Baroque Orchestra and the chamber music group, Ensemble Voltaire.

Our mission is to enrich, educate, and inspire the Central Indiana community and beyond through the performance of 17th and 18th-century music. We believe in the importance of fostering connections between the past and the present, building a sense of community and mutual understanding, and encouraging the process of self-discovery through music.

Named one of the top 25 ensembles in celebration of Early Music America’s 25th anniversary in 2011, the Indianapolis Baroque Orchestra is dedicated to excellent and exuberant performance of 17th and 18th-century music on period instruments. It is led by the artistic director, Barthold Kuijken, who is an internationally renowned baroque flutist and distinguished early music pedagogue. The orchestra is a Naxos Artist ensemble.

Members of the orchestra are some of the finest baroque specialists in North America, and frequently collaborates with other premier ensembles throughout the country. Notable guest appearances by, among others, Julianne Baird, Stanley Ritchie and John Holloway have become highlights in the concert series the orchestra presents in Indianapolis and around the United States. The orchestra was founded in 1997.

Barthold Kuijken
(baroque flute and recorder) was born in 1949; he grew up in a musical environment: two of his elder brothers were studying music and became increasingly interested in early music and early instruments. He studied modern flute at the Bruges Conservatory and the Royal Conservatories of Brussels and The Hague. For playing early music he originally turned to the recorder, but while still studying, he had the good fortune of finding a splendid original baroque flute, which became in fact his best teacher. Research on authentic instruments in museums and private collections, frequent collaboration with various flute and recorder makers, and assiduous study of 17th- and 18th-century sources helped him to specialize in the performance of early music on original instruments. At the same time, on the Boehm-flute, he was a member of the Brussels-based ensemble "Musiques Nouvelles", focusing on avant-garde music. Soon he started to play with his brothers Wieland (viola da gamba and baroque cello) and Sigiswald (baroque violin and viola da gamba), with René Jacobs (countertenor), Paul Dombrecht (baroque oboe), Lucy van Dael (baroque violin), and with the harpsichordists Robert Kohnen and Gustav Leonhardt, more recently also Bob van Asperen and Ewald Demeyere. For many years he was baroque flutist in the orchestra "Collegium Aureum", and he still holds this function in "La petite Bande", the baroque orchestra conducted by his brother Sigiswald. He plays chamber music concerts all over the world, extending his repertory to early 19th-century music (with the fortepianist Luc Devos). He has recorded extensively for various labels (Sony classical, Harmonia Mundi - BMG, Philips - Seon, Accent, Arcana, Atma, Opus 111). Besides his activities as a flute (and recorder) player, he is appearing more and more often as a conductor. His scholarly work includes a new annotated Urtext edition of J.S. Bach's flute compositions (for Breitkopf & Härtel). He teaches baroque flute at the Royal Conservatories of Brussels and The Hague, and is often invited to serve as guest professor or as a jury member in international competitions.

Booklet für The Lully Effect