卡尔·弗里德里希·阿贝尔(Carl Friedrich Abel)，是十八世纪最后一位伟大的腿式维奥尔琴演奏家。他出生于德国的一个音乐世家，从他父亲开始，阿贝尔家族与巴赫家族的关系就一直很好，J.S.巴赫是他的大姐 S.C.阿贝尔的教父，他本人在德累斯顿与 W.F.巴赫共事多年，后来在伦敦又与 J.C.巴赫长期合作，甚至合租一套房子。
阿贝尔不仅仅是无数在英国获得成功的大陆音乐演奏家和作曲家之一，还是一位杰出的音乐活动组织者和欧洲音乐推广者。年幼的莫扎特就曾受惠于他并效仿过他的作品，阿贝尔去世的时候，莫扎特更作曲纪念他（K526的末乐章即是基于阿贝尔的 Op.5 No.5）。
伯尔尼对阿贝尔的评价非常高，认为他“品位高雅”，在他的《音乐通史》中伯尔尼这样写道："....the knowledge Abel had acquired....of every part of musical science rendered him the umpire of all musical controversies, and caused him to be consulted on many difficult points (like an oracle)."
Vol.1.-.Flute concertos - Schneider, La Stagione Frankfurt
Vol.2.-.Six Sonatas op. 2 - Spanyi, Paulik, Mate
Vol.3.-.Piano Concertos op. 11 - Sabine Bauer_La Stagione Frankfurt
Vol.4.-.The Drexel Manuscript - Pandolfo
Vol.5.-."Mr Abel's Fine Airs" WKO 189,190,192,etc. - Susanne Heinrich
Vol.6.-.Six Symphonies Op.7
唱片英文名称：Carl Friedrich Abel：4 Flute Concertos
唱片编号：CPO 999 208-2
Abel published quite a few chamber works with flute, meeting the demand for new music by the many gentleman flutists in England. The flute concertos contained here, despite their opus number, were never published, but are found in a manuscript held in Leipzig which can be dated prior to 1759. Stylistically these works have left the Baroque far behind, with regular phrases, simple basses , broad harmonic movement. The melodies make ample use of lombardic rhythms and syncopations and the florid passaggi sparkles with triplets and scalar passages in sixteenths. Though there are occasional harmonic complications which recall Abel's background, the overall tone here is that of the Enlightenment. Who can Abel have written these works for?
These are premieres, and I have no hesitation in recommending Karl Kaiser and La Stagione. Kaiser elicits a beatiful tone from his instrument from top to bottom, liquid and expressive in the adagios, and the allegros sparkle. The balance between the flute and the strings is fine. Warmly recommended.
The orchestra La Stagione Frankfurt has for many years been counted among the most successful ensembles in the field of authentic music performance. The versatility of the ensemble's director Michael Schneider on the one hand and the artistic flexibility of each of the musicians on the other, enable a convincing and authentic performance of a wide spectrum of works from the areas of baroque opera and oratorios through classical symphonic works to the performance of important pieces of the 20th century. It is the discovery and performance of lesser known musical gems by composers such as F.I. Beck, A. Stradella, A. Scarlatti, I. Holzbauer and the sons of Bach coupled with the stimulating and authentic interpretation of the standard repertoire which characterises the artistic intention of La Stagione. Performing regularly with well-known vocal and instrumental soloists, the invitations to important European festivals and concert venues as well as the numerous highly regarded recordings attest to the high reputation of La Stagione Frankfurt.
1~3 Flute Concerto No. 1 in C major
4~6 Flute Concerto No. 2 in E minor
7~9 Flute Concerto No. 3 in D major
10~12 Flute Concerto No. 5 in G major
唱片英文名称：Abel - Six Sonatas op. 2 - Spanyi, Paulik, Mate
German composer and viola da gamba player, who settled in England and spent the last thirty years of his life there. Born in Cöthen, Abel studied with his father, Christian Ferdinand Abel, a violinist and viola da gamba player, and in Liepzig after his father's death in 1737, when he probably joined J. S. Bach's Collegium musicum. He was a member of the court orchestra in Dresden from 1743 through 1757, but ultimately settled in London wher he gave his first concert in 1759. In February 1764, he gave a first joint concert withJohann Christian, both of them serving as chamber musicians to Queen Charlotte from about this time. Together they established the Bach-Abel concerts, a series of ten to fifteen concerts given each year from 1765 to 1781. From 1781, these concerts were housed in a room built for the purpose on Hanover Square, the works performed being principally those of Bach and Abel themselves. The performers included Abel himself on viola da gamba, of which he was one of the last great proponents, and numerous Continental musicians. Following a visit to the Continent from 1782, including a stay at the Potsdam court of the Crown Prince of Prussia, he returned to London and was prominent in a series of concerts beginning in 1785.
His works include two dozen symphonies as well as concertos, overtures, and other orchestral works, string quartets, string trios, sonatas, and other chamber music for various combination, as well as sonatas and other pieces for viola da gamba.
Sonata for harpsichord with flute (or violin) & cello No. 1 in C major, Op. 2/1
Sonata for harpsichord with flute (or violin) & cello No. 2 in F major, Op. 2/2
Sonata for harpsichord with flute (or violin) & cello No. 3 in D major, Op. 2/3
Sonata for harpsichord with flute (or violin) & cello No. 4 in B flat major, Op. 2/4
Sonata for harpsichord with flute (or violin) & cello No. 5 in G major, Op. 2/5
Sonata for harpsichord with flute (or violin) & cello No. 6 in E flat major, Op. 2/6
唱片英文名称：Abel - Piano Concertos op. 11 ,Sabine Bauer&La Stagione Frankfurt
唱片编号：CPO 999 892-2
There is probably a fine novel to be found in the life story of Carl Friedrich Abel [1723-1787] , one-time presumed student of J. S. Bach, and friend, roommate, and business partner of Johann Christian Bach in post-Handel London. Both men were extremely talented and died young even for their day. And if this disk is any example, we hope there will soon be not only books but more music as well.
One could easily mistake this music for C. P. E. Bach, but it’s a little less stuffy, more playful, more inventive, a bit more theatrical, but not quite as theatrical as that of J. C. Bach. One can see how people were eager to believe that Abel had studied with Bach — but as he was a family friend, he most surely studied Bach, if not with Bach. Abel had met the young Mozart with his family, and later was interviewed by the indefatigable Charles Burney. After the dissolution of his London partnership Abel returned to Potsdam and enjoyed brief popular success as a gambist before his death at the age of 54.
I have been critical of a previous recording by these artists, observing that they pushed sprightly "authentic" performance technique to the point of absurdity in the music of G. M. Monn — but this recording is absolutely beyond reproach. These are lively but lyrical performances, beautifully played in the best possible taste and the surest service to the composer as well as the listener. The choice of instruments for the particular concerti demonstrates that either would be practical for the whole set, and captures the feeling of the time when the two instruments were frequently heard side by side. Triple strings are used and the cello is doubled by a violone, so these are played as true orchestral concerti and not as trio sonatas. There is no separate cembalo continuo, but, in the harpsichord concerti only, during tutti string passages when there is no solo part, the soloist plays continuo, emerging from that function to resume her solo line. There is no information on the harpsichord, but for the preceding to be true it must be a minimum two rank, two manual instrument. Recording balance has been adjusted so that each instrument is clearly audible and equally well placed within the orchestra.
This sounds to my ear like equal temperament, and if I could have a reservation, it would be that I would have preferred unequal temperament on both solo instruments. I have been advised by violinists that it is easier to play in tune when the keyboard instrument is unequally tempered. (Paul Shoemaker, www.musicweb-international.com, 2003)
01-02 Concerto VI in C major
03-04 Concerto III in E flat major
05-06 Concerto II in B flat major
07-08 Concerto I in F major
09-10 Concerto V in G major
11-12 Concerto IV in D major
唱片英文名称：Abel - The Drexel Manuscript
The fame that he enjoyed in his lifetime clearly hasn't served Carl Friedrich Abel (1723-1787) well in the two centuries since his death, at least until Hyperion’s Gramophone Award in 2008. He was fêted all over Europe both for his supreme skills as a performer of the viola da gamba as well as for the quality of his compositions, and was responsible (along with JC Bach) for setting up arguably the first series of subscription concerts in the history of Western music, the "Bach-Abel- Concerts". Even the prodigy that was Mozart benefited from Abel's teachings (and was claimed as the composer of one Abel's own symphonies). All this was known by keen minds of the time such as Charles Burney, JF Reichardt and Goethe and fortunately also, in the 21st century, by Paolo Pandolfo, who delivers here a scintillating rendition of Abel's ever-inventive music which ranges across Preludes, Adagios and sundry other dance forms.Where to place this ‘late’ music for the viola da gamba? Not Baroque and definitely heading in the direction of the classicism of Mozart, Haydn and even Beethoven. Or as Paolo Pandolfo - who adds dabs of his own highly-advanced improvisatory skills here and there - says, "Simply put, it is Music!"
“Muscular arpeggiata preludes cede to pizzicato dances of ineffable suavity, and a fugue of dazzling complexity. The sound is intoxicating, Pandolfo’s expressivity and technique beyond praise.” BBC Music Magazine
“Both Pandolfo's expressivity and technique are beyond praise.” BBC Music Magazine, June 2009 *****
“In Pandolfo's hands, Abel's music is highly communicative - packed with ideas, oft-repeated and always varied. His strong sense of overall form… allows him to indulge in dynamic moments of silence, heightening the impression of monologue, and even dialogue. Technically wondrous, few could perform these delightful pieces with the skill, eloquence and sheer panache Pandolfo brings to them.” Gramophone Magazine, July 2009
1~10.Suite in D major
11~16.Suite in D minor
17~26Suite in D major
27~28.Two pieces in A major
唱片英文名称：Abel - Mr Abel's Fine Airs，Susanne Heinrich，Music for solo viola da gamba
Carl Friedrich Abel (1723–1787) was a contemporary of J C Bach, and a fashionable performer and promoter in London in the eighteenth century. By that time the viola da gamba was a rarity, but Abel’s performances sparked a revival of interest among performers and audiences. The works recorded on this disc (six of which have never been previously recorded) can be seen as musical expositions of sensibility, inhabiting the same tragic world as the gamba solos in J S Bach’s Passions. Abel’s contemporary Charles Burney commented on the musician’s ability to ‘breathe’ the notes as he played them, and this extraordinary sensitivity is present too in the beautiful playing of Susanne Heinrich.
'Until the release of this new recording the fascinating world of Abel's gamba music has been pretty much a closed book … Abel inclined towards simplicity and elegance, and Heinrich is always at pains to bring out the singing quality of the melodic lines … From the outset Heinrich confidently masters the multiple stopping and the wide range of the music … Throughout, Heinrich succeeds triumphantly in crafting each piece individually - creating a special atmosphere for each work' (International Record Review)
'This delightful release … Abel was one of the last masters of the viola da gamba, and in these unaccompanied pieces he reveals an intimate art … Heinrich brings to them exactly the right blend of emotional involvement and earnest good taste, and finds pleasing resonance and smoothness in her instrument, such that even nearly 80 minutes of solo gamba never tires the ear. An unexpected and atmospheric gem - I can almost hear the firewood crackling' (Gramophone)
'Abel’s pieces are reminiscent of J S Bach’s solo cello suites, so if you like them then you’ll like these. They are far more than just dance suites though, both in terms of the frequently florid, technically demanding style (listen to the extraordinary multiple stops in the fugue), and in terms of their emotional range. Sensibility, or the practise of articulating direct and strong emotions, was all the rage in the arts world at the time, and Susanne Heinrich beautifully draws this out of Abel’s writing. Charles Burney wrote at the time that Abel’s viola da gamba seemed to breathe the notes, and I think he’d be similarly complementary of Heinrich’s playing, were he alive and critiquing today' (BBC Online)
'Le naturel et la plénitude du chant demandent une paradoxale précision. Susanne Heinrich y excelle dans ce disque envoûtant et apaisé' (Diapason)
'What a cornucopia of expression and nuance she achieves! From the passionate Adagio (WK0209) - where she seems to inhabit Abel's sensibilities to perfection … through the tender rendering of the much loved arpeggiated prelude (WK0205), to the vivacious concluding jig, this is outstanding artistry. Could even Abel have played these works better?' (Early Music)
'Susanne Heinrich proves herself a worthy heir to Abel's virtuosity and considerable gamba skill, and gives fluid accounts of this music' (Audiophile Audition, USA)
'Heinrich plays them rather as Abel himself might have, with a sort of quiet affection as if she were playing for a small group in a room…I wish it would go on forever. There are a number of recordings of Abel’s more public pieces, symphonies and chamber music, but I think these thoughtful viol solos do indeed capture him at his best' (American Record Guide)
'Estas piezas para viola da gamba solo son un estupendo testimonio de musicalidad post Bach, en buena versión de Susanne Heinrich' (La Vanguardia, Spain)
The first time I put this disc in my player, I wasn’t in the mood. I tried again a few days later and was absolutely entranced. Carl Friedrich Abel was a pupil of Bach’s and the influence shows, but the younger composer’s own breadth of invention is breathtaking. As are the dark, velvety colours that viola da gamba player Susanne Heinrich finds in his long lines. A really special album, this. - Gramophone Magazine
Carl Friedrich Abel is usually thought of as a genial symphonist much in the mould of his London concert-promoting business partner JC Bach, but this delightful release shows that anyone considering on that basis not to delve further into Abel’s output is missing not only an important side of the man, but indeed his very core. Abel was one of the last masters of the viola da gamba, and in these unaccompanied pieces he reveals an intimate art which instantly makes sense of the affection and reverence in which he was held by his friends, they being the ones who got to hear him improvising at home in front of the fire and left touching accounts of his power to stir their emotions. “He was the Sterne of music” is how one described him, which is saying something.
Susanne Heinrich has chosen 24 solo gamba pieces from the 30 contained in a manuscript in the New York Public Library which surely represent the kind of music Abel played in those domestic musical occasions. Unencumbered by showy virtuosity, they are never less than supremely elegant, yet at their best exhibit profound sentiment in the word’s exquisite 18th-century sense. Four of the pieces are grouped together to make a sonata, but the others are free-standing and range from deeply felt adagios to lightly arpeggiated preludes, and from suave minuets to the occasional faintly rustic dance. Heinrich brings to them exactly the right blend of emotional involvement and earnest good taste, and finds pleasing resonance and smoothness in her instrument, such that even nearly 80 minutes of solo gamba never tires the ear. An unsuspected and atmospheric gem – I can almost hear the firewood crackling.-- Lindsay Kemp, Gramophone [1/2008]
注：viola da gamba即维奥尔琴
1. Adagio WKO189
2. Vivace WKO190
3. [Allegro] WKO192
4. Tempo minuetto WKO154 [
5. Adagio WKO209
6. [Arpeggio] WKO205
7. [Tempo di menuet con variazioni] WKO203 & WKO204
8. [Moderato] WKO208
9. [Adagio] WKO187
10. Fuga WKO196
Sonata in G major Viola da Gamba Solo senzza Basso
11. Adagio WKO155 No 1
12. Allegro WKO155 No 2
13. Tempo di menuet WKO153
14. Adagio [not in WKO]
15. Allegro WKO198
16. Tempo di menuet WKO202
17. Andante WKO191
18. [Arpeggio] WKO194
19. Allegro WKO207
20. Tempo di menuet WKO188
21. [Andante] WKO199
22. [Allegro] WKO195
23. Allegretto WKO211
24. Allegro WKO212
唱片英文名称：Abel - Six.Symphonies Op.7，Adrian Shepherd
阿贝尔的《6首交响曲》，Op.7，作于1767年，其版本，可选择谢泼德(Shephead)指挥坎蒂莱纳(Cantilene)协奏团版，Chandos公司，CD编号CHAN8648。这张唱片，《企鹅》给予三星保留一星评介。《6首交响曲》Op.10作于1773年，可选施纳德(Schneider)指挥斯塔吉奥尼(Stagione)合奏团版，CPO，CD编号999 207-2。《6首交响曲》Op.17,作于1783年，可选哈斯泰德(Halstead)指挥汉诺威管乐团版，CPO，CD编号999 214-2。
Symphony No. 1 in G major, Op. 7- 00:09:27
Symphony No. 2 in B flat major, Op. 7- 00:08:06
Symphony No. 3 in D major, Op. 7- 00:10:47
Symphony No. 4 in F major, Op. 7- 00:08:34
Symphony No. 5 in C major, Op. 7- 00:07:26
Symphony No. 6 in B flat major, Op. 7- 00:13:15