Complete Telemann Concerti for Recorder
These suites and concertos may be less overtly virtuosic than works in the same genre which were beginning to appear around the same time over the other side of the Alps, but Telemann yields nothing to his Italian counterparts in terms of melodic freshness and fertility. The suites are styled in the French manner, as a series of courtly dances, though the A minor Suite features a grand and tragic �Air in the Italian style� and concludes with a snappy Polonaise � one of Telemann�s favourite dance rhythms � reeling away like an inspired tavern fiddler.
Erik Bosgraaf�s discography on Brilliant Classics ranges from Vivaldi (BC94637 � now also available on LP) to Boulez (BC94842), not to mention two previous sets of Telemann � the solo fantasias (BC93757) and sonatas with basso continuo (BC95247) � as well as more rarely encountered delights by Jakob van Eyck (BC93391). These discs and others have garnered both popular attention and critical praise. Of Bosgraaf�s own, composer-approved transcription of the Dialogue de l�ombre double by Boulez, Gramophone commented that �balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of any other recorded option.�
Closer to the recorder�s natural home in music several centuries earlier, Julie Anne Sadie wrote in the same magazine about Bosgraaf�s �magical version of the ubiquitous Four Seasons. �A carefully researched and arrestingly translucent chamber interpretation� the rapport between solo and ripieno forces is simply fabulous.�
In preparation of the Telemann-year 2017 (250 years after his death) Erik Bosgraaf presents his first CD of the Recorder Concertos, and a triumph it is: �Exhilarating!� (Elsevier), �This man is a miracle�virtuosity, lightness, beauty and fun, he has it all� (Groene Amsterdammer), �5 stars, recorder-wonder Bosgraaf levitates Telemann� (Volkskrant).
Erik Bosgraaf is one of the most remarkable recorder players of today. Equally at home in early as well as contemporary music he extends the limits of his instrument, achieving an extreme range of expression and unheard-of effects. He travels the world, giving his unorthodox concerts combining the old and the new, in his own inimitable way.
Bosgraaf and his musical partner Francesco Corti already successfully recorded Telemann�s recorder sonatas, Brilliant Classics 95247.
Telemann: The Recorder Sonatas out now!
Erik Bosgraaf is an established Brilliant Classics artist whose recordings span the centuries. His previous release was of Pierre Boulez, a recording of Dialogue de l'ombre double (BC94842) that won warm critical opinions such as this from Gramophone: "Balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of any other recorded option".
In his latest recording, he brings these same qualities (minus the electronics) to the music of Telemann, who as a player of the instrument lavished particularly rich treasures upon it. Telemann's recorder sonatas belong to his most personal works as he taught himself to play the recorder at age 10. The works show the German master's artistry, craftsmanship and wit. Both virtuosos on their instruments, Bosgraaf and Corti present this collection with irresistible flair and freshness. Watch the trailer here.
Bosgraaf records Boulez
A new recording of the carefully refined, endlessly revised oeuvre of Pierre Boulez is always worth celebrating, but this one stems from a source hitherto unknown in the composers own instrumentarium: the recorder. In 2011 Boulez granted special permission to the Dutch recorder virtuoso Erik Bosgraaf to make his own transcription of the spectral adventure in musical space that is Dialogue de l'ombre double, originally composed for clarinet (and pre-recorded/live electronics). A later piece along similar lines, Anthemes II for violin has become better known, but Dialogue weaves its own theatrical magic.
Boulez' eyesight is sadly reduced as he approaches his 90th birthday, and his compositional activity is at a standstill, so this new transcription is a moving celebration of the composers decisive contribution to postwar culture, and one to which he has happily given an imprimatur, as Bosgraaf writes in the booklet: "I noticed that Mr Boulez liked the texture right away. And he told me why. It reminded him of the origin of the piece, which was a rain song in South East Asia, where they applied a similar kind of melody technique with the human voice."
To complement Dialogue de l'ombre double, Bosgraaf and Tamminga have created their own Dialogues between acoustic and electronic media which they call 'Comprovisations', in which little is written down, but much agreed beforehand thanks to the deep understanding and seven-year partnership between the two musicians. Tamminga uses software (and it should be remembered that nearly all sophisticated music software owes its origin to the work of the French institute IRCAM established by Boulez as a centre of acoustic and electronic research) to capture, mutate and feedback Bosgraaf's recorder.
Recorder player Erik Bosgraaf records Vivaldi's Four Seasons
Vivaldi's Four Seasons is one of the world's most popular and widely recorded collections of music, a set that instantly became an international hit after it was first published at part of the composer's Op.8 in 1725. No doubt it was its imitative directness -- extra musical occurrences/phenomena evoked in an extremely suggestive manner and even written into the score, such as 'the barking dog' or 'the drunkards' sleep' etc. -- that caused such as sensation in its time, effortlessly bridging the gap between the salons of the highborn and the alehouses of the lowly. Today nothing has changed: the concertos are performed both by great violin virtuosos and famous hard rockers; they are works that are constantly being presented in new guises through the re-imagining and re-working of the musical score.
Such is the standpoint adopted on this recording by Erik Bosgraaf, who has chosen here to adapt the violin part for recorder, explaining how 'the violin part can be played on the recorder with surprising ease, without many changes. In some ways it works even better than concertos Vivaldi wrote specifically for the recorder!' Years ago Bosgraaf performed The Four Seasons with a symphony orchestra; for the present album, however, he wanted to approach his ideal as closely as possible using Cordevento, a small baroque ensemble he founded himself, knowing all the musicians through and through. Bosgraaf's aim is to make the four legendary concertos sound as if they had been written for the recorder in the first place -- and the results are laudable, with the contrasts between the wind instrument and the accompanying strings revealing previously unheard stratifications and details. As the soloist himself puts it, 'Listen to Vivaldi with fresh ears and enjoy!'
World premiere Origami Songs by Anna Meredith
Commissioned by BBT, Origami Songs is the title of a new work by Anna Meredith composed for Dutch recorder phenomenon Erik Bosgraaf, scored for strings, harpsichord, clarinet, trombone and percussion. Bosgraaf will play a different recorder from his extensive collection for each of the five 3-minute 'songs', themed on the basic sets of folds that are the foundation for the classic origami sculptures such as bird, kite and frog. Principals of the Aurora Orchestra support Bosgraaf for the world premiere, featuring BBT artist Mahan Esfahani on harpsichord.
09/02/2013 Erik releases mesmerizing cross over album with Yuri Honing (saxophone), Raphael Vanoli & Stef van Es (electric guitar), Mark Haanstra (bass) and Joost Lijbaart (drums)
150 words about Hotel Terminus
by Henkjan Honing, professor of music cognition and author of
"Everyone is musical. What we know about listening to music "
"Even lazy on the couch, listening to music is an active occupation. Music plays with your expectations, emotions and memory. Music violates or confirms those expectations (to where leads this melody?) but can also simply be intangible, like a piece of wet soap. It is the interaction between the music and the listener that makes a listening experience so special.
Little music makes so cunningly use of the cognition of the listener as Hotel Terminus. The crisp and rich audio recordings reveal themselves gradually as the soundtrack to a movie that have not yet been made. A resourceful, by electro-acoustic instruments assembled darkness that still permeable and is understandable. From piercing painful to gracefully lyrical, and fed by a slow and compelling harmony filled with distilled remnants from the Baroque.
This is an album for listeners looking for adventure, for listeners to which one listen is not enough. Let your expectations be violated and rejoice in the traces of these cathartic darkness will leave in your memory. "
7/9/2012 New CD in store now
La Monarcha: 17th Century Music From The Spanish Territories.
19/12/10 Dutch Music Prize awarded to Erik Bosgraaf
Erik will receive the prize on the 21st of February in the Muziekgebouw in Amsterdam during a concert with the Dutch Chamber Orchestra. This was announced by the Performing Arts Fund last Thursday. The Dutch Music Prize is the highest Dutch state award for classical music, awarded by the Dutch ministry of culture. The prize was previously awarded to (among others) violinist Janine Jansen, pianist Ronald Brautigam and cellist Pieter Wispelwey. Erik is the first recorder player ever to be awarded the prize.
27/10/11 Bach Concerti CD out!
Eriks latest CD was just released. It is available worldwide in shops and with online retailers. Listen to samples
Hailed as one of the most gifted and versatile recorder
players of the new generation, Erik Bosgraaf has a colourful past in a