Baltzar emigrated to England in 1655, leaving behind his newly attained position of Ratslutenist of Lübeck. Baltzar's arrival in England was met with acclaim. On March 4, 1656, he performed the violin at the residence of Roger L'Estrange, where John Evelyn was in attendance. Evelyn wrote in his diary that night:

"This night I was invited by Mr. Rog: L'Estrange to heare the incomperable Lubicer on the Violin, his variety upon a few notes and plaine ground with that wonderfull dexterity, as was admirable, and though a very young man, yet so perfect and skillful as there was nothing so crosse and perplext, which being by our Artists, brought to him, which he did not at first sight, with ravishing sweetenesse and improvements, play off, to the astonishment of our best Masters: In Summ, he plaid on that single Instrument a full Consort, so as the rest, flung-downe their Instruments, as acknowledging a victory."

Anthony Wood heard Baltzar play at a performance in Oxford, and described his "very great astonishment" at the German's skill. "[I] saw him run his fingers to the end of the finger-board of the violin, and run them back insensibly," he wrote, "and all with alacrity and in very good tune, which [I] nor any in England saw the like before." Also in attendance was John Wilson, a professor of music at the University of Oxford, who (according to Wood) bowed at Baltzar's feet after the performance.

On December 23, 1661, Baltzar entered Charles II's service as a member of the king's private music ensemble with an annual salary of 110 pounds, a high figure for the time.

According to Wood, Baltzar's drinking habits contributed to his death. He was buried in the cloisters of Westminster Abbey on July 27, 1663.

Heinrich Ignaz Franz Biber von Bibern (1644-1704) is one of the most significant composer-violinists of the late 17th century. He composed music for a virtuoso technique including the extensive use of doublestops and arpeggios, his works also display a wealth of formal compositional devices.

Biber was born in the small Bohemian town of Wartenberg, Biber worked at Graz before he illegally left his Kremsier employer (Prince-Bishop Carl Liechtenstein-Castelcorno) and settled in Salzburg. He remained there for the rest of his life, publishing much of his music but apparently seldom, if ever, giving concert tours.

Johann Paul von Westhoff (1656-1705) was a German Baroque composer and violinist. As one of the most important exponents of the Dresden violin school, he was among the highest ranked violinists of his day. He was a member of Dresden's Hofkapelle (1674-1697) and at the Weimar court (1699-1705), and was also active as a teacher of contemporary languages.

Westhoff's surviving music comprises seven works for violin and basso continuo and seven for solo violin, all published during his lifetime. More works, particularly a 1682 collection of solo violin music, are currently considered lost.

Georg Philipp Telemann (1681-1767) was a German Baroque composer (one of the most prolific in history!) and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann.

Johann Georg Pisendel (1687-1755) was a German Baroque musician, violinist and composer who led the Court Orchestra in Dresden for many years: then the finest instrumental ensemble in Europe.

Pisendel was born in Cadolzburg, a small town near Nuremberg, where his father Simon Pisendel was the cantor and organist. At the age of nine, Johan became a choirboy at the court chapel of Ansbach. The Director of Music there was the virtuoso singer Francesco Antonio Pistocchi and the Concert Master was the celebrated violinist and composer Giuseppe Torelli. It is thought that Pisendel studied the violin with Torelli. After his voice broke, Pisendel went on to play the violin in the Court Orchestra but, in 1709, he left Dresden for Leipzig to further his musical studies.

On the way to Leipzig, he met Johann Sebastian Bach at Weimar and, once in Leipzig, was introduced to Georg Philipp Telemann. Pisendel was an enthusiastic member of the student Collegium musicum founded by Telemann and they became close friends. In 1711, after a performance at Darmstadt, Pisendel was offered a place in the court orchestra there, but declined.

The following year he accepted a place in the Dresden Court Orchestra. He remained with the Dresden orchestra for the rest of his life, though he accompanied his new master, the Crown Prince, on a tour of Europe, visiting Antonio Vivaldi (some of whose solo violin works he had already performed) in Venice.

In 1728, Pisendel was promoted and became Concert Master of the Dresden Court Orchestra.

Pisendel's compositions are few in number but high in quality. All of his surviving works are instrumental. They include 10 violin concertos, 4 concertos for orchestra, 2 sonatas for violin, a Sinfonia and a Trio.

1. A Prelude for the Violin
2. Passacaglia for Solo Violin
3. Allemande Courante Sarabande Gigue from Partita no 1 in A Minor
4. Dolce Allegro Largo Presto from Fantasia no 7 in E Flat Major for Violin Without Bass
5. (no indication) Allegro Giga Variatione from Sonata for Violin Solo in A Minor

Listen to: the entire album.

Release date: 04/20/2016
George Clifford lives in East Grinstead England

Tagged as: Classical, Baroque, Instrumental, Violin

1. Selections from JS Bach ClavierUbung III by Janine Johnson: Harpsichord and fortepiano classics
2. An Evening With Bach by Voices of Music: Lilting Renaissance & Baroque vocal interpretations
3. Bach and Telemann - Sonatas, Preludes and Fantasias by Voices of Music: Lilting Renaissance & Baroque vocal interpretations
4. Concerto Barocco by Voices of Music: Lilting Renaissance & Baroque vocal interpretations
5. Dances and Suites of Rameau and Couperin by American Baroque: Spectacular Baroque and Classical chamber music
6. Conversations Galantes by Ensemble Mirable: rare and extraordinary music of the Baroque
7. Classical by Magnatune Compilation: the best music from Magnatune
8. Vivaldi - The Four Seasons by Lara St John: Bach violin concertos
9. Clementi, Dussek, Kuhlau - Sonatinas For Piano by Marko Nouwens: classical piano sonatinas for students
10. Six Sonatas for Flute and Violin - Opus 51 - Boismortier by Duo de Bois: exquisite chamber music
11. Essential Scarlatti by Colin Booth: solo harpsichord music
12. Weiss Undercover by Daniel Shoskes: A feast of Baroque lute
13. Lautenschmaus by Daniel Shoskes: A feast of Baroque lute
14. Chopin Preludes for Piano by Eric Zivian: virtuoso fortepianist plays Chopin
15. JS Bach Violin Sonatas by Voices of Music: Lilting Renaissance & Baroque vocal interpretations
16. The Art of the Lute Player by Jacob Heringman: renaissance lute
17. Jane Pickeringes Lute Book by Jacob Heringman: renaissance lute
18. Sonatas For Trumpet And Organ by Jonathan Freeman-Attwood and Iain Simcock: brilliant Baroque masterpieces in virtuoso style
19. Dancing in the Isles by Musica Pacifica: Baroque and traditional music from England, Scotland and Ireland
20. In a Garden So Green, Lute Music of Scotland by Voices of Music: Lilting Renaissance & Baroque vocal interpretations

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