Alessandro Scarlatti: Baroque Influencer Dorothee Oberlinger, Ensemble 1700, Bruno de Sá, Helena Rasker

• Alessandro Scarlatti (1660 - 1725): Serenata "Venere e Amore":
• 1 Scarlatti: Serenata "Venere e Amore": Sinfonia 04:15
• Recorder Concerto No. 9 in A Minor:
• 2 Scarlatti: Recorder Concerto No. 9 in A Minor: I. Allegro 01:54
• 3 Scarlatti: Recorder Concerto No. 9 in A Minor: II. Largo 01:32
• 4 Scarlatti: Recorder Concerto No. 9 in A Minor: III. Fuga 02:26
• 5 Scarlatti: Recorder Concerto No. 9 in A Minor: IV. Largo e piano 01:59
• 6 Scarlatti: Recorder Concerto No. 9 in A Minor: V. Allegro 01:59
• Il Giardino d'Amore:
• 7 Scarlatti: Il Giardino d'Amore: Sinfonia 04:18
• 8 Scarlatti: Il Giardino d'Amore: Più non m'alletta e piace (Aria) 06:55
• 9 Scarlatti: Il Giardino d'Amore: Venere, assai ti deggio (Recitativo) 00:16
• 10 Scarlatti: Il Giardino d'Amore: Con battaglia di fiero tormento (Aria) 05:29
• Sinfonia No. 7 in G Minor, RosS 533.7:
• 11 Scarlatti: Sinfonia No. 7 in G Minor, RosS 533.7: I. Moderato 01:03
• 12 Scarlatti: Sinfonia No. 7 in G Minor, RosS 533.7: II. Moderato 02:04
• 13 Scarlatti: Sinfonia No. 7 in G Minor, RosS 533.7: III. Grave 02:29
• 14 Scarlatti: Sinfonia No. 7 in G Minor, RosS 533.7: IV. Allegro 01:16
• Sinfonia avanti la Serenata "Clori, Dorini e Amore":
• 15 Scarlatti: Sinfonia avanti la Serenata "Clori, Dorini e Amore" 04:04
• Filen, mio caro bene, HanS 263:
• 16 Scarlatti: Filen, mio caro bene, HanS 263: I. Sinfonia 02:40
• 17 Scarlatti: Filen, mio caro bene, HanS 263: II. Filen, mio caro bene, se verra fe t'osservo (Recitativo) 01:14
• 18 Scarlatti: Filen, mio caro bene, HanS 263: III. Chiedi pur ai monti (Aria) 06:19
• 19 Scarlatti: Filen, mio caro bene, HanS 263: IV. Ma se trova bastante (Recitativo) 00:54
• 20 Scarlatti: Filen, mio caro bene, HanS 263: V. Che ti sembra son fedele (Aria) 03:05
• 29 Partite sopra l'aria della Folia (Arr. for Recorder, Cello, Harpsichord & Guitar by D. Oberlinger):
• 21 Scarlatti: 29 Partite sopra l'aria della Folia (Arr. for Recorder, Cello, Harpsichord & Guitar by D. Oberlinger) 07:50
• Sinfonia No. 9 in G Minor, RosS 533.9:
• 22 Scarlatti: Sinfonia No. 9 in G Minor, RosS 533.9: I. Vivace 00:41
• 23 Scarlatti: Sinfonia No. 9 in G Minor, RosS 533.9: II. Adagio 01:19
• 24 Scarlatti: Sinfonia No. 9 in G Minor, RosS 533.9: III. Moderato 02:00
• 25 Scarlatti: Sinfonia No. 9 in G Minor, RosS 533.9: IV. Adagio 01:44
• 26 Scarlatti: Sinfonia No. 9 in G Minor, RosS 533.9: V. Menuet 00:56
• 27 Scarlatti: Sinfonia No. 9 in G Minor, RosS 533.9: VI. Allegretto (Tarantella) 01:17
• Total Runtime 01:11:58

Info for Alessandro Scarlatti: Baroque Influencer

From the late 17th century until well into the 18th century, Alessandro Scarlatti was one of the most important figures in European musical life, influencing musical developments in both opera and instrumental music.

This recording shows the variety of musical works created by the influential Baroque composer: from symphonies, arias and concerti to concerti grossi and sonatas for flauto dolce, strings and basso continuo. Scarlatti was a master in the art of instrumental composition. In the Sinfonia for the Serenata "Venere e Amore", for example, he makes prominent use of the flauto dolce, with rapid changes of affect and recitative-like passages in the interplay with the strings.

The Concerto No. 9 in A minor for recorder, strings and basso continuo, the Sinfonia No. 7 in G minor for recorder, strings and basso continuo or the Sinfonia No. 9 in G minor for recorder, strings and basso continuo are also fantastic baroque pieces and show his high level of skill. A new ensemble arrangement of Scarlatti's Folia for harpsichord by Dorothee Oberlinger also shows his elegant, vocal and affecting tonal language and his rich harmonic vocabulary. For the album, Dorothee Oberlinger and her Ensemble 1700 also collaborate with the fantastic contralto Helena Rasker and (courtesy of Warner Classics / Erato) Bruno de Sá. Bruno de Sá's crystal clear male soprano voice and Helena Rasker's dark female alto voice contrast beautifully in the vocal works.

Bruno de Sá, soprano
Helena Rasker, alto
Ensemble 1700
Dorothee Oberlinger, flute, direction

Dorothee Oberlinger
is one of the most amazing discoveries of recent years, an expressive virtuoso who has received numerous awards. Today she is seen as one of the best recorder-players in the world. Her concerts have been received with enthusiasm by critics and audiences alike, earning her unanimous acclaim. Her CDs are regularly fêted as the best new issues on the market.

Dorothee Oberlinger has given solo recitals at festivals all over Europe, in America and Japan at some of the most prestigious venues such as the Ludwigsburger Schlossfestspiele, the Musikfestspiele Potsdam, the Settimane Musicale Stresa, the Nederlandse Oude-Musik-Network, the Festival de Musica Antigua Sajazarra, the Warsaw Beethoven Festival, the Europäische Musikfestwoche Passau, the Rheingau-Musikfestival, the Tage der Alten Musik Regensburg and the MDR-Musiksommer. Other venues in which she has played include the Wigmore Hall in London, the National Philharmonie in Warsaw, the Marianischer Saal in Lucerne, the Rosée Theater in Fuji and the Philharmonie in Cologne.

She has been the guest soloist with leading international Baroque ensembles such as London Baroque and Musica Antiqua Köln directed by Reinhard Goebel, and she also plays regularly with modern symphony orchestras such as the WDR-Rundfunk-Sinfonieorchester and the Detmolder Kammerorchester.

Dorothee Oberlinger collaborates with the top Italian ensemble "Sonatori de la Gioiosa Marca", with whom she has given many concerts throughout Europe. Their joint CD of concertos by Antonio Vivaldi has received numerous awards from the international musical press.

She directs her own "Ensemble 1700", which she formed in 2003. Together they have realized a wide variety of projects relating to the music of the 17th and 18th centuries. In 2004 Dorothee Oberlinger was appointed professor at the renowned Mozarteum academy in Salzburg.

Ensemble 1700
was established by Dorothee Oberlinger in Cologne in 2002 and focuses on European chamber music from the 17th and 18th centuries. Its basis in musicology and awareness of performance practice, coupled with the highest technical expertise, has resulted in a wide range of lively concert performances that have been enthusiastically received by press and public alike. Guest appearances in leading venues, including the Konzerthaus in Vienna and the Philharmonie in Cologne, and at important European music festivals, such as the Tage Alter Musik in Herne and the Resonanzen festival in Vienna have been highly successful and have consolidated the young ensemble’s reputation. To complement the regular line-up, Dorothee Oberlinger has increasingly invited famous specialists to guest on concert and recording projects. For this CD, Dorothee Oberlinger asked Baroque specialist Reinhard Goebel to direct the ensemble.

This album contains no booklet.