Discover Top Posts Tagged with #dan laurin

“romanced bannock” by dan laurin

indige•zine ‘issue #4: decolonize love’

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Today’s getting-stuff-done soundtrack.

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The "single movement" sonatas of Italy between the renaissance and the baroque combined the old styles of the renaissance with the emerging new harmonies of the early baroque. The sonatas of Giovanni Battista Fontana (ca.1580/89 - ca.1630) are among the earliest in that style.

Dan Laurin, recorder and Masaaki Suzuki, organ, play Fontana's second sonata for a solo instrument and b.c. which combines beautiful aria-like lines with rhythmic canzona sections and virtuosic diminutions. Laurin produces a rich sound and has great facility, while Masaaki Suzuki tastefully accompanies with similar virtuosity on organ.

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Handel's recorder sonatas are perhaps the most bread and butter recorder literature out there. They are musically engaging, but to the recorder player, creating a fresh interpretation can be difficult.

Dan Laurin plays with brothers Masaaki and Hidemi Suzuki on harpsichord, and 'cello respectively. Both continuo players are renowned musicians in their own right, and in these sonatas, whose bass is often complex, the musicianship of all three players shimmers.

Laurin plays an "exact" copy made by Fred Morgan of the original Bressan recorder that Frans Bruggen used in his early recording of the Handel sonatas. The copy sounds at an unusual 404Hz lower than the original, perhaps due to the bent shape of the original. Laurin does not only imitate his predecessors: his interpretation is deliberate and his ornaments thought provoking.

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Dan Laurin plays the third movement, "allegro" from Telemann's F major recorder concerto TWV 51:F1. Telemann was almost completely self taught in music, and was a multi-instrumentalist and composer from a young age in spite of his parents disapproval. As is obvious to any recorder player, Telemann had an natural feel for the instrument, and pushed its limits, often maintaining a very high tessitura, allowing the recorder to project over the strings. This concerto is perhaps the only baroque work to use the highest note playable on an alto recorder, a c8 whereas other works only use up to the g7.

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