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Recording

En Suite

Romina Lischka gamba, Sofie Vanden Eynde theorbo
72:28
Paraty 814129
Music by Marais, Ste. Colombe, de Visée

[dropcap]T[/dropcap]his 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. She plays what I guess might be a copy of a Colichon (the booklet doesn’t tell us about the instruments) – it has a lovely, bright, pleasingly astringent top string, with a very sonorous middle register and a booming bass. The recording is made in a generous acoustic, but there is no issue of clarity. Both instruments are closely miked, and the result is a very atmospheric and intimate sound, which perfectly suits the music they have chosen.

They open with a suite of seven Marais dances, cherry-picked from all five books, in E minor or G major, and conclude with an eloquent rendering of Marais’ Tombeau pour Mr de Ste Colombe. This is followed by a suite in D made up of Preludes and dance movements, alternating Ste Colombe and de Visée for solo viol or solo lute. The final tracks feature three of Marais’ character pieces: Les Vois humaines, La Rêveuse, and Le Badinage – yes, the famous one in F sharp minor from the film.

It is very satisfying listening. I very much enjoyed the beautifully poised lute playing, both solo and accompanying, but my focus is on the music from the so-called Tournus Manuscript, of pieces for solo bass viol by Ste Colombe. I recently reviewed the edition of this manuscript published by Güntersberg, and I’ve found exploring the music fascinating and stimulating. As many players will know, it shares with the well-known duets many unmeasured bars, not just the notes perdues but fully written-out roulades. What makes them more interesting is that there are some quite detailed instructions for bowing, which all work out very well and are very informative. His music is quite unlike that of his pupils, or anyone else for that matter, and his melodies take unexpected turns. His harmonies are unorthodox, and clearly arise out of his improvisations, so wedded are they to the technique of the instrument. As the developer of the silver-wound bass strings he clearly loves the possibilities offered by the new clarity of the bass strings. He must have been a marvellous player, and he does require from a modern player a great deal of understanding and intuitive insight, as well as a brilliant technique. These performances abundantly fulfil all these requirements, and his music comes across as enormously appealing. One can discern the effect he must have had on his most distinguished pupil. De Visée’s music is more conventional, but no less compelling, and of course that of Marais is great. Open a good Bordeaux, light some candles, turn off the lights, and let the music cast its potent spell.

Robert Oliver

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Hoffmann: Symphony, Overtures Witt Sinfonia in A

Sinfonia in A Kölner Akademie, Michael Alexander Willens
61:39
cpo 777 208-2

[dropcap]S[/dropcap]andwiched between two lively symphonies, each equally deserving of a place in the repertoire of most orchestras looking to explore the music of Beethoven’s contemporaries, are the overtures to Hoffmann’s Undine and Aurora, considered by many as the first Romantic operas in German. In the case of the latter, Willens and his ever impressive band opt to resolve the final cadence that originally led into the work’s opening chorus into one of the marches from its closing pages. (On my equipment, that caused an extra track to appear, so the Witt was tracks 8-11). I was more often reminded of Haydn than Beethoven, but I imagine that is what one would expect; all credit to cpo and the Kölner Akademie for continuing to present us with “new” music that can only help to broaden our understanding of those composers in whose shadows the likes of Hoffmann and Witt have laboured for too long, and – in the case of this recording for one – provide an easy evening’s entertainment.

Brian Clark

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Haydn Symphonies Nos. 57, 67, 68

Philharmonia Baroque Orchestra, Nicholas McGegan
78:29
Philharmonia Baroque Productions PBP-08

[dropcap]A[/dropcap] 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. Haydn’s creative imagination never ceases to astound. A simple variation movement (57/2) with of a theme of just three notes with a simple I-V7-I harmony held me spellbound. Haydn uses interesting innovations of col legno (67/2) and even scordatura (67/3), with a solo second violin playing a drone on the G string tuned down to F accompanying the first violin solo playing in dizzying heights (up to a top B flat). Haydn unusually places his Minuetto before his Adagio in No. 68, the latter lasting over 12 minutes – as long as the same movement in Beethoven’s Choral Symphony, for example. Of course, the finales of all three will never cease to delight the listener. The symphonies of the 1770s don’t always get the attention they deserve, and it is good that these works have here got such a special airing on period instruments. The Philharmonia Baroque Orchestra is on top form under McGegan’s direction, and so, for Haydn lovers, this CD is a must. Which is the best of the three? The last one I put on!

Ian Graham-Jones

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Recording

Pedro de Escobar: Missa in Granada (c.1520)

Ensemble Cantus Figuratus, Dominque Vellard
55:59
Glossa GCD C80015

[dropcap]T[/dropcap]his 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. His four-voice mass, recorded here, is preserved in a manuscript from Tarazona Cathedral; the performance sets it in the context of a Marian feast as it may have been celebrated in the Capilla Real of Granada Cathedral in the early 16th century, using appropriate Spanish propers and adding three Peñalosa motets. Much musicological care has clearly gone into the project, though the (continuing) controversy over the use of instruments to accompany or replace the polyphony, and indeed the size of choir used, has to my ears not been satisfactorily settled. A mixed ensemble of some ten voices is used throughout for the Escobar Ordinary, with shawms and sackbuts being added in, e. g., the opening Kyrie and the Sanctus: the instruments actually replace the voices in the first Agnus Dei invocation. Conversely, a goodly proportion of the chant (e. g., much of the Gradual) is sung by one or two soloists. Overall, the effect is to make much of the polyphony sound rather homogenous and slightly lacking in subtlety; the intermittent addition of the ‘loud’ reed instruments only exaggerates this. The chant is beautifully sung, with appropriate rhythmic and cadential melodic embellishment; it would be fascinating to hear the polyphony similarly done by soloists!

Alastair Harper

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J. S. Bach| Motets

Capella Cracoviensis, Fabio Bonizzoni
66:26
Alpha 199
BWV225–230, Anh. 159

[dropcap]T[/dropcap]his 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. Fabio Bonizzoni explains that the group spent a long time exploring not only the music but also its background and original setting – as part of a long German tradition of grave-side songs of consolation. Finding four pairs of equal voices that can combine seamlessly or split into two choirs as the music demands is not easy, but the results here are incredible; the texts are clearly enunciated, the phrases are beautifully shaped, and the tempi – and the spaces between movements – are spot on. There is room in the acoustic for the singers to use vibrato as an ornament, and there is, above all, a real sense of involvement in the ritual of a funeral. Definitely one of my favourite discs this month.

Brian Clark

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Bach: Musical Offering

Ricercar Consort
Mirare MIR237   (54′)

[dropcap]T[/dropcap]his 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! Of course, I could just have kicked back and enjoyed the experience as entertainment, but for some reason these perfectly shaped and effortlessly balanced performances “drew me in” and, once in the spider’s web, there was no escape. This is not the first Musical Offering to be reviewed in these pages, nor will it be the last to be written about in a critical way, but I am sure this version will find many admirers in the Bach fraternity, and I will not be surprised to see it among this year’s award winners.

Brian Clark

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The Hunt is Up

Shakespeare’s Songbook: Tunes and Ballads from the Plays of William Shakespeare (1564-1616)
The Playfords
52:05
Raum Klang RK 3404

[dropcap]R[/dropcap]oss 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 – why sing “Willow, willow, willow, villlow”? The other performers are Annegret Fischer (recorders), Erik Warkenthin (lute & guitar), Benjamin Dressler (viol & violone) & Nora Thiele (percussion & colascione). The ensemble is not, however, strong enough for Elgar! Nor is there any evidence I know of for mixing pieces in short snippets. It is entertaining, but the title “The Playfords” suggests a slightly later style than Shakespeare, whose last works were about 40 years before Playford came on the scene, though there is no particular indication that the ensemble’s scorings and backings match either Shakespeare or Playford consistently. Worth hearing, but don’t imitate!

Clifford Bartlett

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The video belong is mostly in German.

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Bach: Violin Concertos BWV 1041–1043 & 1050R

Guido Kraemer, Frederik From, Bjarte Eike, Peter Spissky violins, Antoine Torunczyk oboe, Concerto Copenhagen, Lars Ulrik Mortensen
55:10
cpo 777 904-2

[dropcap]I[/dropcap]f 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. In the slow movement of the A minor concerto, for example, Frederik From (the only one of the quartet of solo violinists of whom I had never heard!) makes the semibreves the most interesting notes of the piece, by nourishing them as the bar passes with an ornament called vibrato – never was it better applied! His approach to the outer movements of the same work is typical of the COCO’s Bach; every detail is in its rightful place and no fuss is ever made of any particular note or phrase – I have never heard the pause halfway through the final Allegro assai and the pick-up from the basses and violas handled so neatly; I suppose that’s how Bach must have intended it to sound. His rendition of the E major concerto is every bit as impressive, and again it is in the slow movement that he excels – his first entry is guaranteed to raise a few eyebrows. The soloists in the double violin concerto are Peter Spissky and Bjarte Eike, while the final work on the disc features Manfredo Kraemer and Antoine Torunczyk. The same virtues of From’s solo concertos pervade both – effortless virtuosity and evenness of tone across the range of the instrument, beautifully paced with room for free ornamentation and no sense that everything is being centrally controlled. I understand this may not be everyone’s idea of heaven, but it’s pretty close for me. My only regret is that the disc is so short – elsewhere in these pages I have sometimes argued that too much of a good thing is perhaps not a good thing, but with these musicians on this kind of form, I’d take my chances!

Brian Clark

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Buxtehude & Frescobaldi: Works for Organ & Harpsichord

Luca Guglielmi
60:07
cpo 777 930-2

[dropcap]G[/dropcap]uglielmi 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. There are also three original North Italian organs, built between 1695 and 1752 which provide a variety of registrations for Frescobaldi. The playing is excellent, displaying fluency and a refined sense of each composer’s style. Buxtehude’s harpsichord music is much less known than Frescobaldi’s and the comparison is not quite equal in terms of variety or depth, but Guglielmi includes a couple of pieces by the former which are often played on the organ (the Praeludium in G BuxWv 163 and the Toccata in G BuxWv 165). He also plays an attractive Canzona, BuxWV 166, on organ flutes. The extended Cento partite by Frescobaldi, with its constantly changing tempo relationships, is handled with aplomb. That composer’s Ave Maris Stella versets are somewhat surprisingly paired with the solo verse settings from Monteverdi’s Vespers, sung by Jenny Camponella; the result is not as incongruous as it might sound. Overall this is a very satisfying recording.

Noel O’Regan

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Rolle: Jauchzet dem Herrn alle Welt – 31 motets

Kammerchor Michaelstein, Sebastian Göring
119:58 (2 CDs)
cpo 777 778-2

[dropcap]T[/dropcap]hough nowadays considered a secondary figure in the history of music, Johann Heinrich Rolle was actually widely respected 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 – in an age that saw musical language simplified to a certain degree (complex baroque counterpoint giving way to a more tuneful style), Rolle’s works manage to combine elements of both. The 31 motets on these two CDs are perfect examples of this – and more, since they show that Rolle also understood how to vary the textures and styles within relatively short works to give them all a satisfying overall shape. The discs are taken from different recording sessions (2004 and 2006 respectively) but there is no discernible difference in the quality of the performances. If I am brutally honest, I do find the alternation between the solo ensemble and the tutti on the first disc a little unbalanced – the choir is simply too big (22 singers with single strings doubling, while the second disc has two singers per part and only lute or guitar accompaniment). Otherwise, this is a fine achievement and convincingly demonstrates that choirs need not simply jump from motets by Bach to those by Mendelssohn!

Brian Clark

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