Categories
Recording

French Flute Concertos

Frank Theuns transverse flute & piccolo, Les Buffardins
59:41
Accent ACC 24297
Blavet in A minor, Boismortier Affettuoso from op 17/5, Buffardin in E minor, Corrette Adagio from op 4/4, Leclair op 7/3 & Naudot op 21/3

[dropcap]I[/drp[ca[]t seems like a lifetime ago that I first got to know the concertos by Blavet and Buffardin via Musica Antiqua Köln’s recording with Wilbert Hazelzet in the solo role – in fact, Googling it came up with 1995 as the date, so it is not as long agao as I thought! Corrette and Boismortier also featured then, though with complete concertos rather than extracted movements as here; when the total time is less than an hour I find the “bleeding chunks” approach surprising, to say the least – the outer movements of the Corrette are summarily dismissed as “fairly weak”. Similarly puzzling is Theuns’ decision to perform the Naudot concerto on piccolo (on the recommendation of the self-same Corrette…); published as a set of concertos for hurdy gurdy (or any instrument from a long list of alternatives), two violins and continuo, the sudden displacement of the solo line up an octave was a little harsh to my ears, and the tone (and consistency of intonation) of the instrument was not that attractive either. The same cannot be said of Theuns’ fabulous flute playing – whether it being the precise definition of the semiquaver runs, or the shaping of sustained notes above the strings, he is utterly the master of his instrument, unphased by any difficulty. Les Buffardins (single strings with double bass and harpsichord) are worthy companions – perfectly balanced, they accompany with great sensitivity and relish the possibilities the ritornelli give them to add drama to the whole. Hazelzet now has company on my shelves.

Brian Clark

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Recording

Monteverdi: Madrigals, vol. 1 Cremona

Les Arts Florissants, Paul Agnew
59:43
Éditions Les Arts Florissants AF005
Madrigals from Books 1-3

[dropcap]T[/dropcap]his is the second of three CDs that will survey Monteverdi’s non-dramatic secular music. The lavish presentation (a trademark of Les Arts Florissants) includes a booklet that runs to almost 80 pages; on closer inspection, more than 20 of those are taken up by translations into English and French of nine works from Book 1 (published when the composer was all of 19 years old!), six each from Books 2 and 3, and a further 20 by publicity shots of the group, biographies of the ensemble’s leading lights and a discography. I must confess that the various combinations of singers (only soprano Hannah Morrison and tenors Paul Agnew and Sean Clayton sing in all three books) were up against two wonderful groups, whose Monteverdi madrigals recordings are legendary: the Consort of Musicke (of which Agnew was, of course, a member) and Concerto Italiano.

I was pretty much drawn into that whole world by the former’s performances with their flawless tuning and attention to detail (in both words and music), and yet they were left miles behind by the latter’s dramatic renditions – the result, I fear, of all being native speakers and willing to take more risks with Monteverdi’s lines. The present performances, which sound as if they were recorded in a small space with minimal reverb, are somewhere in the middle – for me, any “interpretation” seems to stem from a need to inject some drama rather than it actually growing out of the music, perhaps even a little caricatured. That, of course, is not to say that others will not love these renditions; I will stick with Alessandrini and co. for now, though.

Brian Clark

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Recording

Eros (Renaissance Love Songs) & Thanatos (Plainchant for the Dead)

chant 1450, Ken Zuckerman Indian sarod
68:23
Christophorus CHR77397

[dropcap]T[/dropcap]his is a bit of a rag-bag: chant from All Souls’ Day from a 1545 manuscript from Toledo (is that particularly different from other places and periods?) – that’s the death element, interrupted by erotic songs by Enzina (Encina in Grove), with a third element from North Indian art music; surprisingly, I was aware of such music in 1960/61 thanks to a student who visited a very small group and talked and played to a few friends in Cambridge.

The chant lacks any explicit emotion, and the Enzina is hardly erotic – it sounds rather dull in comparison with what I know of him. The sarod has the advantage of vigorous movement. But you will need to be a certain type to make much sense from the CD as a whole.

Clifford Bartlett

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Recording

Biber: Sonatae Tam Aris Quam Aulis Servientes

Ars Antiqua Austria, Gunar Letzbor
69:08
Challenge Classics CC72676

[dropcap]J[/dropcap]ust as some people consider Brahms’ first symphony as Beethoven’s tenth, this set of 12 sonatas by Biber is clearly a follow on from Schmelzer’s similarly titled Sacro-profanus concentus musicus. Opening and closing with majestic works for pairs of trumpets and violins, four violas and continuo, the set also includes a rich variety of scorings – though the majority of the sonate a cinque are for two violins, three violas and continuo, they also include two in which the second violin is replaced by a trumpet (one of them in the unusual key of G minor), and another where pairs of trumpets and violins dialogue over a ground bass. There are also three sonate a sei for strings alone. This is yet another recording of the set, though, that does not include the 12 pieces (ten in C, two in G minor) for a pair of trumpets. Some sonatas have harpsichord continuo, while others have organ; I found the latter slightly invasive on occasion, particularly when the lower violas started an imitative section and were obscured by the higher pitched continuo lines. Given that only three of the original part-books have survived, there is not a great deal to be said about these pieces, but Letzbor manages to fill six pages with descriptions of them: “The violins’ leap over an octave provides a sweeping gesture – a display of irrepressible vitality. The wildness progresses further into an absurd demisemiquaver motif. A falling triadic tune in triple time has a settling influence in the third part; the violas keep calm, unhurriedly swaying back and forth in longer notes. An echo effect causes the tempo to slow down.” Try and match that to your listening experience and tell us which sonata it refers to!

Brian Clark

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Sheet music

Johann Heinrich Schmelzer: Sonata Cu Cu

Für Violine (Sopranblockflöte) und Basso Continuo.
Ed. Dagmar Wilgo.
Kölner Reihe Alter Musik, iv + 11pp.
Edition Walhall EW971. ISMN: M-50070-971-8

[dropcap]T[/dropcap]his edition seems to have been produced with the recorder in mind. The treble line is notated with the octave symbol above the clef and where Schmelzer writes notes below that instrument’s range, Dagmar Wilgo provides sensible alternatives.

The bound score includes a fairly minimal introduction (it is a well-known piece, after all) and Daniel Ivo de Oliveira’s continuo realization; there are two further copies of the score (one had a loose sheet with p. 1, presumably to avoid the page turn, on one side and p. 6 on the other – I’m not entirely sure why, since that section fits a two-page spread and the treble instrument’s first bar is silent, so there is time to turn from 5, whereas from page 3 to 4 is a nightmare, since both hands are needed for the last note of 3 and there is only a quaver rest at the beginning of 4…; the second copy did not have this sheet at all!)

As a violinist who also plays recorder, I have no problem with anyone wanting to play music specifically written for one instrument on the other – as long as it works! Personally, I hear the cuckoo as a mellow instrument, more tenor recorder (which is, in fact, exactly what I used when I played that part in Hansel und Gretel many years ago!) than soprano; the very thought of those high Ds and Es chirping away in a confined space made me wince – more songthrush than cuckoo. Personally, I would have opted for alto recorder and reworked the really low music. I also have to say that I don’t find the lack of bar lines a great help, either – in this typesetting, normal bar lines have been used and hidden, so the spacing is slightly odd; that technique also produces anomalies like repeated accidentals in the editorial continuo part. Besides, having inferred from the brief notes that the original source consists of a couple of parts, it would be useful to know if the irregular barring was entirely consistent between them, or have they – like time signatures – been rationalised for the edition? [Incidentally, I doubt the two consecutive bars marked 6/4 on page 9 of the bound score are original.] There are a few notational quirks that are visually upsetting: I’m not sure why the third, fourth and fifth groups of quavers of the bass part are in opposition to two even groups of four notes in the continuo’s right hand; I am puzzled, too, by the need for the right-hand part to be written as (at least) two voices throughout; in the Bertali-like third section, the lower voice of the violin/recorder part uses semibreve rests when they should be pairs of minim rests. So some minor reservations, but a welcome addition to the catalogue, especially for violinists!

Brian Clark

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Recording

Johann, J. Christoph & J. Michael Bach: Motets

Vox Luminis, Lionel Meunier
141:43 (2 CDs)
Ricercar RIC347

[dropcap]1[/dropcap]7th-century music is best kept to itself, as far as I’m concerned. The three composers here are less forceful than their famous relative, but have a mild sound that can carry the words with ease. Dates are Johann (1604-73), Johann Christoph (1642-1703) and Johann Michael (1648-1694). The organ is mostly included, whether noted or not – that seems sensible. In the past, I used to follow recordings with scores whenever possible, but I don’t want the visual interruption now, apart from looking on the few pieces that seemed inappropriate. There are 15 motets on disc 1, 18 on disc 2.

There is only one singer per part, which helps the expression: it is sensibly done, but not overdone. Dynamics, apart from echos, come mostly from within the phrase. Meunier is the leader, but also sings bass – none of the conductorial arm-waving that we get from other small ensembles. The booklet is substantial at 111 pages, allowing for English, French and German. If you haven’t got a comprehensive collection of these three composers, buy this set – and, even if you do, you may want to add it to your collection anyway!

Clifford Bartlett

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Recording

François Ier: Musiques d’un Règne

Doulce Mémoire, Denis Raisin Dadre
143:03 (2 CDs)
ZigZag Territoires ZZT357

[dropcap]T[/dropcap]his volume looks more like a book than a pair of CDs, with 132pp including monochrome pictures of the performers, the others being full colour facsimiles of pictures and music. The two discs are slipped into the front and back covers. The first is concerned with the Mass for the Field of the Cloth of Gold. This was a combined event, shared between French and English singers on 23rd June 1520 and led by Cardinal Wolsey and the Papal Legate. It would be interesting to prepare an edition for a celebration of the 500th anniversary which choirs and ad hoc bodies could enjoy, especially if the two nationalities were alternated as in the original. The pronunciation, however, was entirely French. There were eight singers and seven players – the 24 English trumpeters presumably were banned from the Mass.

The second disc is concerned with the chanson (five singers and seven instrumentalists). The section on “women, music, and prohibitions” (p. 28) draws on the usual complaints of women singing in public: “With music the rude peasant lass, who is up before day to spin or weave, wards off her drowsiness and makes her toil a pleasure”! The music, however, is elegant, and presumably not related to peasant lasses. I’d be happier if the discussion of the chansons had been placed together with the sources, texts and translations. As it is, the contents of CD2 are more awkward to read than CD1. These reservations aside, this is an impressive publication.

Clifford Bartlett

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Recording

Bach: [Keyboard music]

Rémi Geniet piano
79:00
English Suite no. 1 BWV 806, Partita no. 4 BWV 828, Toccata in d BWV 911, Caprice sur le départ de son frère bien-aimé BWV 992

[dropcap]R[/dropcap]émi Geniet is a young French pianist who came second in the 2013 Queen Elizabeth Competition and as a result made this, his first recording, at the age of twenty-one. He possesses a formidable technique with extreme rhythmic precision. He favours a detached style of playing, somewhat in the manner of Glenn Gould, though without the mannerisms. This style can get a bit wearing on a modern Steinway and, while mimicking the plucking of a harpsichord, it can become mechanical, particularly when combined with such a strict rhythmic sense. It is exciting playing, though, with great drive in faster movements, the gigues in particular, and Geniet also displays a good sense of what the different dance movements are about. He is best in the pieces composed by the young Bach, the Caprice sur le départ and the D minor Toccata, where he conveys the composer’s exploration of the keyboard medium very convincingly. An impressive debut from a young player who still has some distance to travel but from whom we will certainly be hearing more.

Noel O’Regan

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Recording

Telemann: Fantasias for Solo Violin

Elfa Rún Kristinsdóttir
Available directly

[dropcap]I[/dropcap]n stark contrast to a recording of these pieces I reviewed last month, this magnificent CD is worth every penny! Anyone who choses to perform Telemann’s unaccompanied violin music faces the challenge of justifying why they have done so rather than tackling Bach’s output in the same medium, in this case because there are none of the huge technical demands of the latter and – on the page – Telemann’s writing lacks sophistication. However, while both composers rely on the instrument’s ability to suggest part-writing and harmony, in fact it is Telemann’s music that requires the individual violinist’s input to make it make sense. Where lesser players struggle to discover a coherent way through every movement, Elfa Rún Kristinsdóttir must have spent hours deciding exactly how she was going to play every single note; if she didn’t, then I take my hat off to her, as these are truly magical performances. We often talk about shaping notes with the bow, or picking out notes here and there to make melodic lines more interesting, but I don’t think I have ever heard a violinist with such a wide range of bow strokes; even in sequences of leaps across two strings, she is able to colour the notes without ever losing momentum, and where traditional wisdom might suggest building to a crescendo, she is not afraid to let the music taper off into the most delicate of pianissimos. But there are two virtuosi at work here, for the sound engineer has worked miracles in perfectly capturing each and ever nuance without also picking up any background noise. Bravo to both of them! There are no booklet notes; some people will find this a drawback, but personally I don’t think I want to read another essay special pleading for Telemann’s solos – just listen to the glorious playing and allow yourself to be persuaded. The CD has already been awarded “Album of the Year” at the Icelandic Music Prize ceremony, but I seriously believe this will garner accolades across the HIP world and beyond. And for those of you who don’t take Telemann seriously (shame on you!), she makes rather a good job of playing Bach, too. If you like that sort of thing… 🙂

Brian Clark

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Recording

Johann Friedrich Fasch: Overture Symphonies

Les Amies de Philippe, Ludger Rémy
75:27
cpo 777 952-2
FWV K: D1, D2, F4, G5 & G21

[dropcap]L[/dropcap]udger Rémy was recently awarded the Fasch-Preis der Stadt Zerbst/Anhalt in recognition of his work over decades in promoting and recording the music of Johann Friedrich, who spent the last 36 years of his life in the service of the court there. This latest recording was made in Zerbst around the time of the 2013 Fasch-Festtage, with some of the repertoire also featured in a concert that was broadcast live.

To me the term “Overture Symphony” is slightly superfluous, and stems from a German “need” to categorize everything. Essentially, the five works on the CD are expanded versions of a French overture, slow movement and triple time dance like many Baroque opera overtures. The fact that Fasch uses elements of ritornello form and throws in concertato passages for the wind instruments (which feature prominently in most of his music) makes for a grander overall scale – overture G21, which just has oboes and bassoon, runs to almost 20 minutes! Three pieces (F4, G5 and D1) are recorded for the first time; the second of those has four horns – two in G and two in D – and three oboes, and Fasch makes full use of the available sonorities.

It would be a real shame if, as Manfred Fechner excellent booklet notes suggest, these works were never performed in Dresden (where they survive today,* and where Fasch’s friend and colleague, Pisendel, was in charge of music at court until his death in 1755) as there is some very fine music here, and Les Amis de Philippe really do it justice on this bright recording. Perhaps they will now move on to the sinfonias proper?

Brian Clark

*The booklet includes web references to all digitized versions of all five, so you can play along if you like.

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