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Recording

Telemann: Ouverture & Concerti pour Darmstadt

Les Ambassadeurs, Alexis Kossenko flute, Zefira Valova violin
70:23
Alpha 200
TWV 51: D1, D2, a1, 52: e3, 55: F3

[dropcap]A[/dropcap]s the title suggests, this excellent disc has an orchestral suite (strings with pairs of horns and oboes plus bassoon) and four concertos, two for flute, one for violin and one for both. Regular readers will know that I am a fan of Telemann’s music, so it will come as no surprise that, when it’s as well played as it is here, I have no hesitation in recommending Les Ambassadeurs. The dance movements of the suite will have the most reticent of toes tapping, and each of the concerti – think elegant Albinoni or Marcello rather than virtuosic display à la Vivaldi and you’ll have the right idea – is finely crafted by composer and performers alike; I was particularly impressed by the opening of the A minor violin concerto – the throbbing upper string chords leading into Valova’s first entry are captivating, and her colourful interpretation of that sinuous solo line (a masterclass in the use of vibrato as an ornament, and right hand control) meant listening to that track over and over again. That astonishing control is key to Les Ambassadeurs’ approach, and I hope they will go on to explore more German repertoire.

Brian Clark

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Sheet music

Gasparini: Missa a quattro voci…

arranged by Johann Sebastian Bach…”
Edited by Peter Wollny.
Full Score.
Carus (35.503), 2015.
24pp, €18,00.

[dropcap]F[/dropcap]rancesco Gasparini (1668-1727) was born near Lucca and studied probably with Corelli and Pasquini, along with a wide range of formal or informal teachers. He was maestro di coro (the German term is repeated in the English text) at Venice’s Ospedale della Pietà for 12 years; subse­quently he was based around Rome, composing operas, church music, etc. There are several extant copies of the Mass in F, distinguished by its title Missa canonica. This edition is based on Bach’s parts, which comprise SATB (only one of each), 2 oboes or violins, taille or viola, unfigured continuo and figured organ, 1 cornett and 3 trombones. The copies were by Fritsche (see introduction) though Bach copied the woodwind, continuo and organ; Bach also emended the cornett/trombones. Until fairly recently, a score with four systematically polyphonic parts would have been assumed to be a cappella, with a keyboard reduction assumed to be for rehearsal! But Bach wanted more. The three groups of instruments (strings, woodwind and brass) are unlikely to have played together. The strings and woodwind are notated a tone higher including the unfigured continuo, whereas the figured bass for organ is in F. The brass has presumably gone down to the low pitch, unlike the Leipzig addition of brass down a tone for Christ lag in Todesbanden. The work was presumably composed in Italy, which doesn’t exclude strings or brass (but wind is less likely). The music itself is absolutely clear: Bach seems to have played it at least three times in the 1740s.

Clifford Bartlett

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Categories
Sheet music

L’Amorosa Caccia: 24 Five-voice Madrigals by Mantuan Masters (Venezia 1588/1592)

Edited by Stefania Lanzo.
Ut Orpheus (ODH35).
xiv + 127pp, €37.95.

[dropcap]T[/dropcap]he only complete copy (1592) survives in the Royal College of Music, London. There are two fragmentary examples of the 1588 version: one (in Modena) lacks the top and bottom parts. The other, in the Marucelliana library, has only the Quintus. Judging by the presence of only one page to note emendments, editorial problems seem to be minimal. Half a dozen mixed-author volumes were printed in 1588, including two well-known ones: L’amoroso ero (from Brescia) and Musica Transalpina (from London), which is a different type of anthology contain­ing a large number of famous works. L’amorosa caccia has mostly minor composers – the editor has ignored their dates, perhaps because most of them are not known. Four by Tasso, one by Grillo & Cagnani and one by Celiano. It would be helpful if the poems and the scores were numbered. I won’t repeat my usual comment on modernising spelling: Hor che le stelle, not Or che… And an English translation of the texts would be helpful.

All the music is for five parts, with fairly consistent ranges. 16 are in chiavette (e. g., G2 G2 C2 C3 F3), while the other eight are in the lower range (generally thought, perhaps wrongly, as standard) C1 C1 C3 C4 F4. There are, of course, some variants. Singers of the period must have been familiar with changing clefs, though few modern singers manage it! For those in such a situation, it would have been helpful to list in the contents whether chiavette or stet and which parts had two identical pitches. The 24 pieces may be a bit too many, but they are definitely worth singing in smaller batches – in which case, singers could sing chiavette at notated pitch in one session and notated pitch pieces in another. But it’s quite expensive to have six or seven copies, depending how wide singers’ ranges are: a facsimile might be more economic and useful, and pitches can more easily be adapted. Two singers can easily read the same part, which is an economy. There are, however, facsimiles of Musica Transalpina, which has a wider range of styles and major composers.

Clifford Bartlett

Categories
Recording

Salvator Mundi – The Purcell Legacy

St Salvator’s Chapel Choir, Fitzwilliam String Quartet, Tom Wilkinson
61:44
Sanctiandree SAND0001
Blow Salvator mundi, Voluntary in C Boyce O be joyful in the Lord, Voluntary no. 9 Clarke He shall send down from on high Greene Thou visitest the earth Handel Fugue in B flat Humphrey O Lord my God Jackson Hear me O God Purcell I will give thanks, Rejoice in the Lord alway

[dropcap]T[/dropcap]his beautiful CD explores music around Purcell, in the sense that works by Purcell are set in a context of music by his predecessors and followers, including the neglected William Jackson. The St Salvator’s Chapel Choir provide assured performances of this tricky repertoire, and (unidentified) soloists drawn from the ranks are also extremely competent in the ever-shifting chromatic world of the 17th-century verse anthem. The authentic Baroque instruments of the Fitzwilliam also make a superb contribution, proving more effective as stand-in viols in the early repertoire than I had imagined, while a subtle organ contribution to the ensemble from Sean Heath and organ solos by director Tom Wilkinson complete the line-up very pleasingly. The choir adapts readily to the progressing style of the music through the programme, and is well-prepared and sings with a lively accuracy and impeccable diction. William Jackson (1730-1803) was rediscovered by Gerald Finzi, and using his transcriptions which are housed at St Andrews University the choir have clearly warmed to this distinctive and largely unknown voice in English music, a voice which on the evidence of this recording deserves to be more widely performed. These young singers have distinguished themselves in what is clearly the first recording on their in-house label, which deserves to be the first of many.

D. James Ross

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Sheet music

G. G. Wagner: Lob und Ehre und Weisheit und Dank…

BWV Anh, III 162…
Anthem for double choir (SATB/SATB) formerly attributed to Johann Sebastian Bach, edited by Klaus Winkler.
Carus (35,013), €15,50.

[dropcap]T[/dropcap]his really has no relationship with Bach at all. Early in the 19th century it was attributed to Bach, and edited by Johann Gottfried Schicht (1753-1823) for Breitkopf & Härtel in 1819. The first edition of the BWV publications seems to have been accepted it as not being by Bach but by Georg Gottfried Wagner (1698-1756). He was a member of the St Thomas choir from 1712, but left in 1726 to become Kantor in Plauen (Saxony), staying there until his death in 1756. Considering his minimum quantity of composition, this is impressive. The earliest source dates from 1755, copied by Christian Friedrich Penzel – he was a student and stayed till he became Kantor at Merseburg in 1765; he also produced a set of parts. The absence of a continuo part possibly suggests use at a burial – if so, it must honour a very positive character!

The edition was translated into English for Novello: the copy used is labelled “Anthem for double chorus by G. G. Wagner (formerly by J. S. Bach) adapted to English words by Alfred Angel. Revised for the use of the ‘Bach Choir’, 1876. London: Novello and Company, Ltd. No. 661 in Novello’s Octavo Choruses.” It is very difficult to trust Novello dates – library catalogues tend to add a relevant year without relating them to the original numbers: the suggestion of 1876 may merely have been adjusted to Angel’s year of death. A Catalogue of the valuable musical library of the late Alfred Angel: And rare autograph letters by Alfred Angel (1876) was likely to have a careful respect for dates. What is of primary interest, however, is the skill by which he underlaid the English text which was printed under the German.

Clifford Bartlett

Categories
Sheet music

Johann Michael Haydn: Missa Sanctorum Cyrilli et Methodii, MH 13…

First edition by Armin Kircher.
Full score. Carus (54.013), 2015.
viii + 116pp, €44.00.
Complete parts: €205,00.
Vocal score: €22.00.
Choral score: €10,20. [From 20, 9.69 €9,69. from 100 €9,18.]
Instrumental parts available separately
Organ €22,00.

[dropcap]T[/dropcap]he score was finished in 1758. It is now thought that his work for the orchestra in Grosswardein ceased in spring, 1758. The earliest performing materials were copied for Salzburg Cathedral between 1763 & 1766. It is an impressive piece, scored for two clarini, two trombe, timps, two vlns, three trombones doubling the alto, tenor and bass voices, with an occasional alto and tenor trombone placed at the top of the score in contrast to when they double the voices, and a bass line or two. It’s a fine piece, lasting some 50 minutes. It would be interesting to have a programme with this Mass, following it after the interval with the Biber Requiem in f reviewed above, lasting just under half an hour. I can’t see very much if anything that relates the Mass to the two holy saints, Cyrillius and Methodius: M. Haydn is offering a Catholic Mass. The two saints were responsible in creating a Slavonic literate language to create a bible and liturgy, though there were many problems – an obvious one that survives is shown by the variety of their Saints’ Days. The work itself, irrespective of Cyrillius and Methodius, is more likely to be heard in concert. Much of it is lively, but by no means all! Thanks to Carus for also sending a couple of sample parts. In fact, they had no problems and everything was clear. I won’t request such samples regularly, but it is good to be able to check – not all publishers are so reliable!

Clifford Bartlett

Categories
Recording

Nel Giardino di Partenope: Neapolitan cello sonatas

Gaetano Nasillo violoncello, Sara Bennici violoncello, Michele Barchi harpsichord
79:03
Arcana A 385
Music by Alborea, Greco, Lanzetti, Pergolesi, Pericoli, Porpora, Ruvo, Supriani + CD of Neapolitan cello concertos with Ensemble 415, Chiara Banchini

[dropcap]I[/dropcap]suspect only Porpora and Pergolesi will be known to the majority of readers, and such names as Rocco Greco, Francesco Alborea detto Francischiello, Giulio di Ruvo, Francesco Supriani, Salvatori Lanzetti and Pasquale Pericoli will be names, hopefully to whet the listener’s appetite.

The disc covers the 70-year period 1699 to 1769, and the items are presented as far as possible in chronological order and are chosen show the development of the sonata in Naples at the time. The earliest are dance based, and one, by Supriani, is labelled ‘Toccate’. Lanzetti’s sonatas are interesting pieces which use passages in harmonics at some points – there are two examples on the disc – with some virtuoso writing, as is the Nicola Porpora sonata. Nearly all the movements are with harpsichord and a cello bass line, whereas some movements or works might have been more suited to one or the other, but otherwise this is an interesting disc for cellists. The booklet usefully gives the sources of the sonatas. A 70-minute bonus disc of five cello concertos by Fiorenza, Porpora, Leo and Sabatino with Nasillo and Ensemble 415 is included, which I found in general more interesting than the sonatas. This makes it a worthwhile purchase for those interested in exploring less well-known repertoire for the instrument.

Ian Graham-Jones

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Recording

Louis Spohr: Symphonies 7 & 9

NDR Radiophilharmonie, Howard Griffiths
70:48
cpo 777 746-2
+ “Erinnerung an Marienbad” (waltzes for small orchestra, op. 89)

[dropcap]L[/dropcap]ouis Spohr is perhaps best known as the composer of music for his own instrument, the violin. These symphonies (the 7th premiered in 1842 and the 9th from 1850) reveal that he had a far broader imagination than his tuneful and dramatic concertos suggest; the former is scored for two “orchestras” (representing–  in the simplest terms – good and evil) and the latter (which may be autobiographical) is subtitled “Die Jahreszeiten” which starts with Autumn! I requested a review of this disc since, as part of a complete series (and an extended discography from the record company), it represents the current state of performance practice in this repertoire. The recording of the 7th symphony is telling – the smaller of the two orchestras (“the divine in human life”) is beautifully captured (as is the smaller ensemble in the disc’s filler, a series of waltzes), with the solo strings and delicate woodwinds nicely balanced; “the earthly in human life” on the other hand is overpowered to a large degree by a brass section who simply swamp the detail (not an uncommon experience in performances by large orchestras). This was perhaps not so much of a problem in the other symphony because there was no juxtaposition of two ensembles and the ear became used to the more uniform sound. I wonder if period instruments – and a different approach to producing blankets of sound in the brass? – might help to reveal the subtleties of Spohr’s textures. That said, are there any period bands working in this area at all nowadays?

Brian Clark

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Book

Le sonate di Domenico Scarlatti. Testo, contesto, interpretazione

by Enrico Baiano & Marco Moiraghi
Repertori Musicali 5.
LIM 2014. 321pp
ISBN 978 88 7096 7722 €30

[dropcap]T[/dropcap]here is a lot to be gleaned from the research, experience, analysis, synthesis and dedication that went into this joint effort. The chapters by each author (both musicians as well as musicologists, Baiano a harpsichordist and fortepianist, Moiraghi a pianist and composer) are complementary, their agenda is one: to bring the sonatas of Scarlatti and their interpretation into focus in the light of older Italian and Iberian traditions, influences, the composer’s personal upbringing and circumstances, and centuries of dispute over styles of execution. I say ‘agenda’ because the ‘theme’ of the book is to stress the necessity of what some will consider a wildly distorting subjective attitude toward tempo changes, ornamentation, and even form.

The first half of the book is succinctly philological, developing fascinating implications for categorizing the sonatas in new ways. I remember once reading a record jacket in which Landowska described a piece as showing lovers sitting under a moonlit sky, with specific details I don’t remember! So it wouldn’t have surprised her to read a ‘plausible’ plot synopsis of an imaginary opera, offered as an example of how a Scarlatti sonata may seem to bring characters onto the stage, to produce a succession of situations, and to come to a theatrical conclusion. I was more puzzled by the relevance of the early Toccata genre (which despite its rhetorical gestures was a contrapuntally conceived composition ingeniously ornamented with passage-work) said to permeate Scarlatti’s language in some sonatas. Extremely illuminating is the reflection of Andalusian folk music in Scarlatti’s music. The history, harmonies, forms, and purpose of specific songs and dances are discussed, with short musical examples (in the sonatas, not from the folk music itself).

This major influence is really only outlined, and serious readers can use the notes and bibliographical leads to explore it further. For Baiano and Moiraghi’s ‘agenda’ all these relationships are crucial and underappreciated. Opera and free keyboard genres, full of lyricism and dramatic contrasts, dependent on conventional understanding of tempos, time signatures, cadences and tonalities, are part of every player’s experience. Less familiar to most of us is the passionate precursor of the flamenco, the canto hondo (transcribed ‘jondo’), with its distinctively oriental melodic twists, semitones, augmented seconds, and particular forms of accompaniment. Originally these songs were monodic and not subject to regular rhythmic controls. They became strophic, with variations comprising danced episodes (the dancer wearing noisy percussive shoes to make accelerations and full stops heard), instrumental solos (guitar, castanets) exploiting dramatically colorful new strumming techniques, the singing punctuated by shouts, pauses, laments (quejíos) and above all following a formal sequence: salida (introduction), tercio de entrada (singer’s entrance), tercio grande (most intensely emotional section), tercio de alivio (literally ‘relief’), cambio (varied recapitulation), and sometimes a brilliant final tercio de valiente (literally ‘virtuoso’). According to the authors, Scarlatti wrote some sonatas as jondos for the harpsichord.

In the 1500s and 1600s, slaves and commerce from Africa and nearby islands introduced dances such as fandangos, zarabandas and chaconas, along with their rhythms and melodies, into the Iberian peninsula, as well as into the Americas, and from there back to Spain and Portugal. The descending tetrachord and Phrygian flavour of the passacaglia are typical. Such elements may be heard in Scarlatti’s writing (and indeed in a great deal of Baroque music).

For these ideas, alluded to repeatedly in later sections in discussing specific sonatas and comparing interpreters, I am extremely grateful to these authors, and to Emilia Fadini, who has instilled the implications of this tradition throughout her long teaching career, and has long suffered the unimaginative approach of many proficient and worthy performers! Hers is the best Scarlatti edition to date, with eight of a total of ten volumes available.[note]For those still eagerly waiting for the two final volumes of Fadini’s ‘new’ complete edition of Scarlatti’s sonatas (begun in 1978), they will soon be available, thanks to her collaboration with Marco Moiraghi. Casa Ricordi no longer exists, but the edition is handled by Universal and their partner Hal Leonard. Click here for further information, or email sales@mgbhalleonard.com.[/note]

I have two complaints, however, about this book. If ever a book needed an index of works, this one does. Some chapter headings list the sonatas to be analyzed in detail, but not the many other Kirkpatrick numbers mentioned in passing, singly and together, often usefully. I would strongly urge players to make a personal index while reading the book. Better still: could LIM or the authors make an index available online or on www.lim.it?

The second is more serious. I was not always convinced by the insistence on contrasts, accelerations, stunning pauses, or tempos varying from half to double their established speed. I think there has to be an extremely cogent reason for not seeking a tempo in which the piece itself, perhaps excluding introductory passages and codas, more or less as written, produces very striking effects. Yes, Scarlatti may be so potentially ‘programmatic’ that he tempts us to indulge, but should tables comparing the metronomic fluctuations not only between but within sections of a sonata, as recorded by a dozen players, be taken as the yardstick measuring the aesthetic value of their performances?

An enlarged edition of Roberto Pagano’s highly praised Alessandro e Domenico Scarlatti. Due vite in una (LIM) will be out soon.

Barbara Sachs

Categories
Recording

C. P. E. Bach: 6 Hamburg Symphonies

Ensemble Resonanz, Riccardo Minasi
65:45
Es Dur ES 2053

[dropcap]B[/dropcap]ach’s six three-movement string symphonies represent the ultimate in the move from the Baroque, with its single mood (or affekt) within each movement, to the Pre-classical concept of depicting many short, contrasting motivic ideas in order to rapidly change the emotional experience of the listener within a short space of time. Here Minasi takes this concept to its ultimate limits, with wide-ranging dynamic contrasts and dramatic pauses. Ensemble Resonanz bridge that gap between period and ‘modern’ instruments while remaining as true as possible to the composer’s intentions. Such a repertoire taxes the most accomplished of players, and only very occasionally was I aware of some very slight imperfections in intonation from this ensemble, which did not detract from a pleasurable listening experience. ‘Pleasurable’, however, may not be the best choice of word, as these works demand intense and careful attention from the listener to fully appreciate the composer’s intentions. For they could never have been conceived, as so much music of the period was, as music to entertain the composer’s patron Baron van Swieten.

I knew the 3rd of these works particularly well, but never realised, until I read the excellent booklet notes, that the opening dramatic motif of it’s adagio spelt out ‘BACH’, followed by an E (for Emanuel)!

Ian Graham-Jones

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