Categories
Recording

Vivaldi: Concerti per fagotto IV

Sergio Azzolini, L’Onda Armonica
68:40
naïve OP 30551
Tesori del Piemonte  vol. 59
RV469, 473, 491, 492, 498 & 500

[dropcap]T[/dropcap]hese six bassoon concertos once again contradict the oft-paraphrased oversimplification that the composer wrote “one concerto 600 times”. Framed by works in C major, there are two more in A minor (including my favourite of Vivaldi’s 39 solo concertos for the instrument, RV498) and one each in F and G major. In live performance, I have previously written in these pages, Sergio Azzolini can be rather distracting in his means of communicating with his audience, but through the medium of digital music I am spared that visuals and can luxuriate in the warmth of his tone, especially in the lyrical central movements.

In the faster outer ones, yes, Vivaldi relies on the building blocks of ritornello form, but he had the great advantage over most of his contemporaries of writing really ear-catching melodies in the first place, and when it comes to writing virtuosically for the soloist, he has few – if any – rivals. L’Onda Armonica (44221 strings with plucker – with an array of different instruments at his disposal – and keyboardist) are more than “accompaniment”; just listen to the opening of RV498 (Track 7 – Azzolini imagines it representing a snow-covered Venetian winter!) as a sample of their layered dynamics and careful phrasing. This is a fabulous CD and I shall enjoy returning to it often.

Brian Clark

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Sheet music

Bach: Organ Works Vol. 4, Third Part of the Clavier-Übung

Edited by Manfred Tessmer, updated edition by Christoph Wolff.
Urtext of the New Bach Edition. Bärenreiter (BA 5264), 2015. xvii + 99pp. £18.50.

This is based on Neue Bach-Ausgabe of 1969, Series 4 (organ works), no. 4. The changes are not particularly significant, but there are various improvements or changes. The comparison is with Breitkopf, vol. 6 (EB 8806), which contains Clavierübung, the Schübler Chorales and the Canonische Veränderungen; the edition was published in 2010, so the differences between the two editions are likely to be few. EB has 156 pages including 16 pages of editorial comments priced below £20.00, which is a good value with the other two items.

Bä takes 99 pages of music, with no subsequent editorial commentaries. EB’s introduction is more readable and interesting than Bä. Bä includes eight chorales on two pages with unreduced notes and text. The musical layout is sometimes confusing. The opening Praeludium per Organo pleno  is mostly on two staves; if there is third one, it is sometimes in alto clef. Both editors, however, tend to expand to three lines. The titles are less pedantic here than in the 1969 edition. There is some advantage in the two-stave range, in that there is more flexibility when the division of the middle part may well make readers assume that the modern notation is genuine. The main source was produced by two musical engravers. Sadly, Bach’s manuscript has vanished and editors have no clear choice of correcting between the sources. Luckily the variants are fairly trivial.

Will Bärenreiter follow Breitkopf’s lead and start including additional material in a CD? EB offers far more information but with lower prices.

Clifford Bartlett

Categories
Sheet music

J. S. Bach: Complete Organ Works vol.8: Organ Chorales of the Leipzig Manuscript

Edited by Jean-Claude Zehnder.
Breitkopf & Härtel (EB8808),2015. 183pp + CD containing musical texts, commentary & synoptical depiction. €26.80.

I bought the Bärenreiter equivalent (vol. 2) back in 1961, three years after it was published. Bach evidently was expecting to produce a larger work than the six Organ Sonatas, assembled around 1730; he then waited a decade before moving on around 1740, using the same paper. He copied 15 pieces, then had a break. BWV666 and 667 were not copied by Bach. The Leipzig Manuscript is now in the Berlin library, Mus. Ms Bach P 271.

The two editions lay out the music in different ways. Bärenreiter prints the final versions first, then the earlier ones together at the end; Breitkopf places the early versions immediately after each piece. It might, however, have been logical to place the early version first with the final version following, so that the player might think more seriously about the differences. I wonder the extent to which the later versions are always better, or is it an automatic assumption? Bärenreiter is set out more spaciously with 214pp preceded by xiv prelims which include nine pages of facsimile and no introduction: for that and critical comments, etc., you need to buy the Kritischer Bericht, which is in German only. Breitkopf has a single numbering of 183pp, which is cut down by actual pages of music because of 22 opening pages of introduction in German and English and nine facsimiles, leaving a total number of musical pages to 152 – 32 pages fewer than Bärenreiter. I don’t, however, have any problems in reading the Breitkopf. There is a German critical commentary at the end of the volume, but much more information (also in English) as well as additional versions are on a CD-ROM. One difference is the Bärenreiter begins each of the later versions with the chorale melody and first verse, whose absence is a pity.

I happen to have read Bach’s Numbers  by Ruth Tatlow (see the November review by Brian Clark). I’m generally suspicious of number symbols, and the older concepts have been rejected. What Bach is concerned with is the total length, not so much as individual pieces but groups of pieces (e.g. the first 24 preludes and fugues) and the idea is most lengthily shown in the B-minor Mass. The “18” is a dubious choice because nos. 16-18 were written after the composer’s death. I wonder whether the first piece in the collection, Fantasia super Komm, Heiliger Geist, was expanded from 48 to 105 bars as the quickest way to complete the round number. The total bars of any individual chorale is only relevant to the total, and the only round sum covers BWV 651-665. It does seem an odd concept and I can’t take it seriously – the 1200 bars do not help guess how to fit such a length into CD discs. But that Bach wrote “The 15” rather than “The 18” could, even without a total bar count, suggest that BWV 666-668 should be left as an appendix.

I think I would only buy the Breitkopf if I was a scholar or an enthusiast or if my copy was falling apart. I haven’t played a church organ for about 50 years, so my copy is used primarily for listening to recordings (though I rarely do that now). The price of the Bärenreiter volume, although older, is roughly the same figure but in sterling, so Breitkopf is somewhat better economy.

Clifford Bartlett

Categories
Recording

Praetorius: Christmas Vespers

Apollo’s Fire | The Cleveland Baroque Orchestra, Jeannette Sorrell
74:40
Avie Records AV2306

[dropcap]T[/dropcap]his is a bit of a mixture. This “Christmas Vespers” is nothing like the McCreesh “Christmas Mass”, which has been used by performers in various parts of the world. It had the benefit of Robin Leaver as distinguished expert – he and I sat at the back row and heard the recording for the BBC before the CD was issued, but we talked rather too much!* This Apollo’s Fire CD is not one of their best. I won’t go into details, but the singing doesn’t have the clarity one expects from the period (c.1600-1620) and the rallentandos are particularly out of time: I haven’t got my Praetorius writings at hand, since much of my music has gone to a Cambridge library, but my recollection is that there is no change of speed except that the penultimate bar can be slower. I feel that the speed of pieces with high cornetti is just a fraction too quick. The title is misleading: McCreesh produced a full CD of Vespers, but this squashes a Lutheran Advent service and a Vespers for Christmas Day, neither being satisfactory.

Individual pieces don’t always work. One of my favourites is Puer natus: Ein Kind geborn. There are more dynamics needed: think of quiet, medium and loud sections. The Sinfonia should surely stay at the soft level (mp), without stressing each bar in the triple time. The vocal trio and Bc needs a normal sound, but the ritornelli are short and strong. The final section (from “Mein Herzens kindlein”) has full forces but ends quietly – follow the text – and in general, the text needs more variety of the stress of the accents. This sounds as if I’m a modernist, but the tempo is rigid (except as noted above) and it will sound much more Praetorian than anything else on this disc. I’m not convinced that Jeannette Sorrell is adequately aware of early baroque, though she is far better in late baroque. Two specific errors are having a cello (which appeared in the 1640s) and a double bass (which became standard in 1702 in France). The lowest pitch would have been the G or F below the bass sackbut’s B flat.

*The Michael Praetorius Christmas Mass was recorded by The Gabrieli Consort and Players (Archiv 439-250-2). I prepared the musical edition, which is available from The Early Music Company Ltd. The solo organ pieces were contributed by Tim Roberts and are not in the score.

Clifford Bartlett

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Sheet music

Cherubini: Requiem – Missa pro defunctis… in C minor…

Edited by Hans Schellevis.
Score. Bärenreiter (BA 8961), xii + 188pp, £43.50.
[Also available Vsc BA 8961-90, £8.00; wind set £27.50, strings each £5.00.]

Though primarily an operatic composer, Cherubini was fortunate enough to be commissioned for a particularly important event: On 20 January 1817, the remains of the royal Bourbons were moved from previous tombs. On the following day, crowds assembled at the Basilica of St. Denis. The solemn three hours in the morning included Cherubini’s Requiem  (11.am till 2.pm) then after an hour, a Mass ran on from 3.00 to 6.00. Composers like Schumann and Brahms continued the enthusiasm of the work, whileBerlioz stated “that the Requiem is on the whole, to my mind, the greatest work of its author; no other production of this grand master can bear any comparison with it for the abundance of ideas, fullness of form and sustained sublimity of style”.

The singers of the Royal Chapel from 1816 generally had 3.3.3.3 soloists, while the choir comprised 7 first, 6 second sopranos, 12 tenors and 10 basses. The violins were tacent for the first two movements; Fauré also included sections without violins. There were no altos, whether ladies or falsettists. The orchestra is 0222 2230, timps, tamtam and strings.

Cherubini was a specialist in ending with slow diminuendi. The introit has only pp, apart from a few hairpins, which end back to pp – and that lasts 141 largo-sostenuto bars, with low instruments. Following from the quote above, Berlioz wrote “No one before or after Cherubini has possessed this kind of skill in chiaroscuro, the shades and the progressive deteriorisation of sound”. In fact, the only dynamics used are pp, p, f and ff, the last rare. I found a recording online which made no serious attempt to follow the dynamics! The opening, for instance, was definitely NOT pp. The soft indications should be clear, but f covers a much wider range of dynamics. I assume that the durations at the end of each movement are editorial.

This isn’t a work that will receive many performances, but it is well worth hearing. It needs a big church but not necessarily a large choir! I wonder if it has been played at St Denis since 1821?

For the long history of St Denis, it’s worth checking https://en.wikipedia.org/wiki/Basilica_of_St_Denis.

Categories
Recording

musica artificiosa

NeoBarock
73:35
Ambitus amb 96 980
Johann Baal: Sonata in A minor (Möller)
Biber: Partias IV & VI ex Harmonia artificiosa-ariose
Mayr: Trio sonata in D minor, Solo sonata in D (Ries)
Erlebach: Sonata Terza in A
Kerll: Sonata in F
Schmelzer: Sonata in F

[dropcap]W[/dropcap]hen one has seen performers live in concert it impacts on how one listens to and hears a recording. While the concert I heard was of music by Fasch and Stölzel, yet the contagious enthusiasm and excitement they brought to it is clearly audible in this foray into the kaleidoscopic world of the stylus fantasticus. Where recent recordings have focussed on one violin, or a violin in dialogue with gamba, here the repertoire is for two “treble instruments” (I have to tread carefully in case pedants object to me calling a viola treble!) and continuo. Both players (Volker Möller, whose excellent booklet notes include an obituary of the almost unknown Johann Baal, a cleric who unfortunately came to an unsavoury end when he used a door that led to a cliffside…) are equally at home on the scordatura version of their instruments; Möller notes how Schmelzer uses such different scordaturas for the two violins that the work sounds like a sonata for viola and violino piccolo. With all the intricacy going on in the melody parts, NeoBarock wisely limit their continuo section to cello and either harpsichord or organ, and their simple accompaniments provide the perfect backdrop. The booklet and casing are decorated by an original artwork by Gerhard Richter, for which the performers express their thanks; I would like to express my thanks to all concerned for a fabulous hour’s entertainment.

Brian Clark

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Recording

W. F. Bach: Concertos pour clavecin et cordes

Maude Gratton, Il Convito
74:00
Mirare MIR162

[dropcap]W[/dropcap]ilhelm Friedemann Bach’s is an interesting voice – part baroque, part galant and the occasional touch of Sturm und Drang. Here we have three harpsichord concertos, a lively fugue for strings and a four movement sinfonia. It has to be a matter of regret that Il convito have not explored the performance practice options inherent in their chosen repertoire. Single strings (including a rather heavy 16’ double bass) are used throughout where just a quartet might have been more appropriate for the concertos and then multiple instruments (with 16’) for at least the sinfonia if not necessarily the fugue. The booklet scarcely helps this rarely-recorded composer. Although the concertos receive a full commentary there is no mention of the other pieces, even though there’s no lack of space. But whatever the shortcomings of the issue the music is splendid – real virtuosity in the keyboard writing; Maude Gratton (a Bruges prize-winner on organ) delivers it with considerable panache; and against single strings the harpsichord is never overwhelmed though I did feel that it could have been a little more forward in the overall sound. But you should get this, and not just to round out your view of the truly extraordinary Bach family.

David Hansell

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Recording

C. P. E. Bach: Empfindsam

Collegium Musicum Den Haag, Claudio Ribeiro
65:00
C. P. E. Bach: Symphony in D, Concerto Wq, 14, H417, Sonata in A minor Wq90.01, H522
W. F. Bach: Symphony in F
Barbella: Concerto III

My first reaction to putting this CD in my machine was, “Oh no, not C. P. E. Bach’s greatest hit [the D major Symphony] AGAIN!” It didn’t take me long, though, to realise that CMDH were not just going through the motions of producing a disc devoted to this music – they had grabbed it by the neck and decided to give it a good shake; these are performances of real vitality and, even if the programme is something of a calling card for the group with a Neapolitan recorder concerto at its heart and a sonata for keyboard with violin and cello accompaniment as another filler, that is insignificant when one is dealing with such stylish and passionate performances. Listening to the adagio of the harpsichord concerto was an emotionally draining experience, but not at all in a bad way – the deepest sentiments of C. P. E. Bach’s soul are seemingly laid out for all to feel, and Ribeiro and co. capture all the nuances to perfection. I think my only (slight) complaint about the whole set is the fact it took me so long to identify the outstanding players. To save readers the bother, the talented recorder player is Inês d’Avena – her even and pure sound reminds me a lot of the legendary Gudrun Heynes. If this group is new to you (as it was to me) do not hesitate to make their acquaintance – they have something to say, no matter what they are playing!

Brian Clark

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Recording

Graziani Adae Oratorium, Filli Prodigi Oratorium & Five Motets

Consortium Carissimi, Garrick Comeaux
71:20
Naxos 8.573256

[dropcap]T[/dropcap]he two oratorios on this CD were published in the Garland series of facsimiles. As someone who has championed Graziani (and his Roman colleague, Foggia) for some time, it is always reassuring to hear performances that confirm the quality of this music – as the brief but informative note says, Graziani is “one of the best kept secrets of the early Italian Baroque”. I’m puzzled by the consecutive statements that Italian vocal music was usually performed one step below modern pitch, and that the performers have chosen to use A=415 as their pitch level. I imagine that going that extra semitone lower might have taken the edge (by which I’m being kind) off (especially) the soprano tone – some of their entries in imitative music (of which there is plenty, as Graziani is a skill contrapuntalist) are not the most accurate. That said, I admire the way the voices sing through phrases so that the hemiola cross rhythms are audible without being signposted or micromanaged by a director.

Brian Clark

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Sheet music

Zelenka church music

Missa Dei Filii, ZWV20
Edited by Wolfgang Horn, continuo realisation by Paul Horn
Breitkopf Urtext PB 5565 – Full score €68.90

Missa Omnium Sanctorum, ZWV21
Edited by Wolfgang Horn, Piano reduction by Matthias Grünert
Breitkopf Urtext EB 8052 – Vocal score €12.90

[dropcap]B[/dropcap]oth of these masses were issued as part of Das Erbe deutscher Musik  (volumes 100 and 101 respectively) in editions by two of the experts on the Catholic chapel at the Dresden court during the late 17th and 18th centuries. The Missa Dei Filii  was the first piece by Zelenka that I heard performed on period instruments (the recording available is on youtube) and it is a most impressive piece with all of the trademarks of the composer’s style and equally demanding for chorus and orchestra (strings with woodwinds only). The fact that Breitkopf also sell vocal scores (EB 8050, €19.90 each) and hire performance materials will hopefully encourage choirs to explore the repertoire.

If the vocal score for the Missa Omnium Sanctorum  (his last, dating from 1741) is anything to go by, choirs can have absolute confidence in buying it – and at least three quarters of the 94 pages are for chorus, so there is a LOT of singing in the work. The text is (again) based on Das Erbe deutscher Musik, though with a new keyboard reduction of the instrumental parts (which possibly even I could play most of!) All four voices have solo movements (the Tenor Christe eleison  is perhaps the most virtuosic). There is a video of a live performance here – let it inspire you!

Beautifully printed and laid out, these are exemplary editions of music that deserves to be better known.

Brian Clark