Fantasia! Dialogue for One

8.9935.99

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SKU: COBRA0085 Category:

Description

In 2020, Pauline Oostenrijk surprised with the CD The Notes are Swallows, on which she can be heard not only as an oboist, but also as a pianist. She continues on this path with the CD Fantasia! Dialogue for One, this time with the magnificent Fantasias by Georg Philipp Telemann.

These short, varied solo pieces, written in a free form without a fixed structure, dialogues are constantly taking place. In the Fantasias for piano (orig. harpsichord), these are dialogues between the left and right hands. In the Fantasias for oboe (orig. flute) the dialogues are suggested in a refined way. The alternation between oboe and piano also creates a dialogue between the two instruments on the CD, and between Pauline as an oboist and Pauline as a pianist. A multi-layered dialogue for one person.

Pauline takes this idea further in the CD booklet, with ‘dialogues for one person’ in the form of letters she wrote to deceased souls. She addresses souls without whom, in her words, ‘this CD would never have sounded the way it does’.

The last track of the CD contains a Postludium In Memoriam for oboe, created by Pauline on the basis of themes and motifs from Telemann’s Fantasias for piano. “A tribute,” she writes, “to the departed souls I miss and with whom I regularly have ‘dialogues for one person’.”

In Fantasia! Dialogue for One, Pauline Oostenrijk once again uses her versatility, resulting in an even more personal document than the previous CD.

 

Tracklist

1.
Fantasia in b minor TWV 40:4 (oboe)
04:22
2.
Fantasia in e minor TWV 33:21 (piano)
05:28
3.
Fantasia in a minor TWV 40:3 (oboe)
05:35
4.
Fantasia in C major TWV 33:14 (piano)
09:30
5.
Fantasia in C major TWV 40:6 (oboe)
05:04
6.
Fantasia in d minor TWV 33:2
04:33
7.
Fantasia in d minor TWV 40:7 (oboe)
06:07
8.
Soave from Fantasia in g minor TWV 33:29 (piano)
02:25
9.
Fantasia in b minor TWV 33:33 (piano)
03:17
10.
Fantasia in e minor TWV 409 (oboe)
05:01
11.
Fantasia in A major TWV 33:31 (piano)
05:25
12.
Postludium In Memoriam after TWV 33:19/33:21/33:31 (oboe)
05:15

Additional information

Artists

Composers

Genre

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Label

Format

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Producer/Recording engineer

Tom Peeters

Analog to Digital converters

HAPI, Merging Technologies

Recording format

DSD256

Microphones

B&K 4003 modified by Rens Heijnis and Sonodore MPM-81
Neumann KU-100 (Binaural) modified by Rens Heijnis

Cables

Acoustic Revive

Editing/mastering equipment

Pyramix, Merging Technologies

Digital to Analog converter

Anubis, Merging Technologies

Speakers

KEF 105.3 Reference

Recording dates

23,24,25 august 2021

Recording Location

Westvest90, Schiedam, The Netherlands

Press reviews

Positieve Feedback, March 2022

Each time I listen to a recording by Pauline Osstenrijk, I feel privileged by an invitation to a very personal, very intimate, engagement with her music. Her performances are just that way…Telemann’s Fantasies are demanding works. They are not mindless table music. Indeed, they require consummate musicianship with quite frequent virtuosity. When a perform can provide this, they are sublime. And Oostenjijk delivers in spades…The sound quality on this recording is once again magnificent. Tom Peeters, founder of Cobra Records, is an excellent recording engineer whose new releases I am always eager to hear.

NRC, maart 2022 4 out of 5

Zangerig laat hoboïst Oostenrijk de melodielijnen in de traverso-stukken oneindigheid ademen: de muziek lijkt door te gaan, ook wanneer het menselijk oor al lang niets meer hoort. Tegenover dat zwevende karakter staat de piano als een boom: speels, nadenkend, droef, maar altijd met de wortels in de grond.

Singingly, the oboist Oostenrijk allows the melody lines in the traverso pieces breathe infinity: the music seems to go on, even when the human ear has long ceased to hear anything. Against this floating character the piano stands like a tree: playful, thoughtful, sad, but always with its roots in the ground.

Opusklassiek, maart 2022

Voor Oostenrijk vormen deze fantasieën als het ware dialogen voor één persoon en ze doet dat met de van haar zozeer bekende muzikale bevlogenheid en techniek, een combinatie overigens die het altijd ‘doet’. Bekoorlijk, betoverend, kleurrijk, verbeeldend (Fantasia!), het zijn zomaar wat losse notities die ik bij haar spel plaatste. Wie mocht zeuren over de piano in plaats van het klavecimbel moet eerst maar eens naar dit spel luisteren, denk ik dan maar. Want niet alleen zijn deze ‘Fantasia’s’ als solowerk wonderschoon, maar ze weten, zij het minder uitgesproken dan Bach dat deed in zijn sonates en partita’s voor viool solo, ook meerstemmigheid te suggereren. En door ze afwisselen te spelen op hobo en piano ontstaat inderdaad een uit meerdere lagen bestaande ‘dialoog voor één persoon’.

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