#cdliner

[markseow]

Liner Notes: Delphian Records August 2020 ‘Ohrwurm’, liner notes by Mark Seow Tabea Debus, Alex McCartney, Jonathan Rees

[markseow]

CD Liner note: Royal Fireworks November 2019

Bach BWV 147, BWV 248, Handel Music for the Royal Fireworks HWV 351 , Telemann Concerto TWV 51:D7 in D major, Purcell Sonata for Trumpet and Strings in D major Z850, Music for the Funeral of Queen Mary, 1695: Funeral Sentences. Alison Balsom, Balsom Ensemble Warner Classics

[markseow]

CD liner notes for Channel Classics: ‘Grandissima Gravita’ September 2017

CD liner notes by Mark Seow. Translated into German (Christiane Schima) and French (Clemence Comte). Vivaldi Sonata Op. 2 No. 2, Tartini Sonata Op. 2 No. 5, Veracini Op. 2 No. 5, Pisendel Sonata in C minor, Veracini Sonata No. 12 ‘Sonate Accademiche’. Performed by Rachel Podger (violin), Marcin Swiatkiewicz (harpsichord), Daniele Caminiti (theorbo), Alison McGillivray (cello)

THE SCENE: Vivaldi, Tartini, Veracini and Pisendel are slouched on divans. Loud and tipsy, they dominate this corner of heaven reserved for a very specific type of musician: the violinist-composer. Here, once a year, on the seventeenth day of the second month, these violinists gather to reminisce, gossip and argue. Their discussions often venture into the technical; they discuss bow technique, ornamentation, acoustics. This evening they also indulge in the personal. Stories flow with the ease and speed of wine from a jug, and it is at this point that we join them in salutation.

[markseow]

CD liner notes Harmonica Mundi: ‘Bach and Pergolesi’ Released 24 March 2017

Performed by Lucy Crowe (soprano), Tim Mead (alto) and La Nuova Musica, directed by David Bates. Bach BWV 54, Pergolesi Stabat Mater, Bach BWV 170 Notes by Mark Seow

… With all this harmonic, rhythmic and physical distraction, the solo alto weaves a surprisingly calm melody. However the singer too is prey to temptation: elements of the slinking semiquaver movement and suspensions characterise the melody. The central section of the aria also constructs a symbolic interaction between the sinner and the world of deceit. Both phrases of the alto melody are punctuated by an interrupted cadence – or perhaps the American term ‘deceptive cadence’ is more telling in this instance. Here the strings interrupt the singer, as if to remind him to stay alert to deception...