Der Habile Violiste Antoinette Lohmann & Furor Musicus

• Johann Fischer (1646 - 1716):
• 1 Balettae a 4 (Kromeriz Collection, undated) 06:25
• 2 Lustgarten neuer Teutscher Gesäng : Mein G’müth ist mir verwirret (1601) 00:43
• 3 Hertzlich thut mich verlangen (Düben Collection, undated): Lamento 06:52
• 4 Suite à violino piculo solo, componiret in memoriam der chur-ländische Freüden (undated, attributed to Johann Fischer) 06:51
• 5 Musikalisch Divertissement : Suite I (1701) 10:58
• 6 Das Eins-Dreij und Dreij Eins oder Der habile Violiste (Düben Collection, undated) 16:21
• 7 Musicalische Fürsten - Lust: I. Unterschied zwischen einen rechten Violinist und gemeinen Bauern-Fiedler (1706) 12:02
• 8 Musicalische Fürsten - Lust: II. Polnische Dänße (1706) 04:02
• 9 Hoff- und baurengeyger schicken sich an, eyn ballet zu spielen und tantzen 01:02
• Total Runtime 01:05:16

Info zu Der Habile Violiste

Each new album by Antoinette Lohmann and her ensemble Furor Musicus charts unknown territories, and this one, with repertoire by the German composer Johann Fischer (1646-1716/17) is no exception. Intrigued by the 17th century distinction between educated violinists and self-taught fiddlers, Antoinette has once again found a composer who provides music in both styles. For the occasion even an alternative ensemble Furor Agraricus was formed, employing such rustic instruments as Bumbass and clogfiddle. The album title Der habile Violiste (the skilled violinist) refers to the subtitle of one of Fischer's most witty compositions, in which he forces the soloist to change between three different instruments (violino piccolo, violin and viola), all in in different tunings (scordatura) so quickly that the player is bound for trouble...

Antoinette Lohmann, violin
Furor Musicus

Antoinette Lohmann
studied the violin, the viola and the baroque violin at the Amsterdam Conservatory. She has been active in a variety of musical areas, including Argentinian tango, salon music, folk music and contemporary music.As a freelance player, Antoinette has performed and recorded with many orchestras and ensembles all over the world. Currently her repertoire extends from the early 17th to the 21st century, always performed from a historically informed perspective. She has a special interest in unusual instruments such as the viola d'amore, the violino piccolo and their repertoire. She also has a particular fascination with folk elements found in classical music.

In recent years Antoinette has focussed primarily on chamber music, with special emphasis on Dutch repertoire. She has recorded the complete sonatas for piano and violin by Joseph Martin Kraus and Margarethe Danzi, bassoon quartets by Franz Danzi and Krommer, chamber music works by Belle van Zuylen and 17th-century repertoire from the Netherlands.

Antoinette teaches principal study baroque violin, viola and historical documentation at the Utrechts Conservatorium and the Conservatorium van Amsterdam. She regularly teaches as a guest lecturer at conservatories throughout the world.

Furor Musicus was founded by Antoinette in 2008. This group has since released several recordings; transcriptions of works by J.S. Bach, among them Antoinette's reconstruction of a Bach viola concerto and an early version of the B minorsuite for strings. Her CD recording Phantasia Musica, featuring previously unknown 17th-century German and Austrian repertoire, received the highest review rating in several magazines and newspapers. The Dutch repertoire is representedby violin sonatas of Jacob Nozeman (1693-1745) and Pieter Hellendaal. These recordings have also enjoyed critical acclaim. The ensemble is primarily devoted to performing and recording little-known 17th- and 18th-century repertoire on period instruments and carrying out the necessary historical research. The performers wish to guard against simply going with the flow of traditions that have developed over the past decades within the historically informed performance movement. They view it as an important challenge to immerse themselves in previously unheard repertoire and to avoid being influenced by other performances. The name Furor Musicus derives from the term Furor Poeticus, a Latin expression often used to refer to poetic inspiration in ancient Greek and Roman literature. The word ‘furor’ refers to a state of intense excitement, in some cases even bordering on madness. The term Furor Poeticus refers to the capacity to be inspired and inspire others. Poetic inspiration is often described as a state in which the poet is the passive and unconscious mouthpiece of a higher power, but in fact, there was an equal emphasis on craft and inspiration throughout antiquity.

Furor Musicus
was founded by Antoinette in 2008. The ensemble is primarily devoted to performing and recording little-known 17th- and 18th-century repertoire on period instruments and carrying out the necessary historical research. The performers wish to guard against simply going with the flow of traditions that have developed over the past decades within the historically informed performance movement. The name Furor Musicus derives from the term Furor Poeticus, a Latin expression often used to refer to poetic inspiration in ancient Greek and Roman literature. The word furo(r) refers to a state of intense excitement, in some cases even bordering on madness. The term Furor Poeticus refers to the capacity to be inspired and inspire others.

Dieses Album enthält kein Booklet