This is a marvellous disc. The pairing of theorbo and bass viol is a potent one, sometimes played separately (de Visée, Ste Colombe) sometimes together (Marais). Romina Lischke is a pupil of Paolo Pandolfo and Philippe Pierlot, and she clearly shares with them a very attractive impulsiveness, and a brilliant technique.
Sandwiched between two lively symphonies, each equally deserving of a place in the repertoire of most orchestras looking to explore the music of Beethoven’s contem-poraries, are the overtures to Hoffmann’s Undine and Aurora, considered by many as the first Romantic operas in German.
A colleague once said that the best Haydn symphony was the one that he had heard last. This has worked for me over the years, with very few exceptions, and certainly I found this dictum true again in Nicholas McGegan’s selection of these three symphonies.
This fine recording, made in 2000, was first issued on the Christophorus label in 2003. Escobar was originally from Porto; in the early 16th century he was music director and Magister Puerorum at Seville Cathedral, where he may have taught the young Morales.
This recording of the complete motets by eight singers, cello, double bass and organ continuo is one of the most moving discs I have encountered in a long time.
This recording – despite its relative brevity – left me exhausted; there is nothing tiring about the playing, which is absolutely first rate, but the music is just so intellectually demanding, or at least I allowed it to be so, teasing my brain with all its ingenuity!
Ross Duffin’s Shakespeare’s Songbook is quoted as the main source, though the scorings and adaptations are occasionally a bit odd. The main singer has an English accent that is a bit variable
If your initial reaction (like mine, I confess) was, “oh no, not another recording of these concertos!”, time to dispel fears of being anything other than captivated by a series of interpretations that are as finely nuanced without the slightest hint of micro-management as you are ever likely to hear.
Guglielmi has recorded this selection of works on five different instruments over three years to 2011. He uses a copy of a 17th-century Italian harpsichord by Michele Barchi for Frescobaldi and a Philippe Humeau copy of the Russell Collections 1638 Ruckers for Buxtehude
Though nowadays considered a secondary figure in the history of music, Johann Heinrich Rolle was actually much more so in his own day. His oratorios were very widely disseminated and performed (even enjoying the relative luxury of being printed in vocal score format) and it is not difficult to see why