Month: November 2015

Lia Serafini soprano, Chiara Balasso soprano, Matteo Pigato countertenor, I musicali affetti, Fabio Missaggia
59:00
fra bernardo fb1505643

[dropcap]M[/dropcap]y only previous experience of Lulier’s music was in the days when BBC Radio 3 actively sought out “new” old music; I seem to remember it being a Christmas cantata in which an angel had to sing rather a lot of top Ds, and featuring the concerto grosso line-up of instruments à la Stradella. The present work – apparently recounting the downfall of heathen Rome and its replacement by the centre of the Christian world, and intended as praise both to the host of the original performances (Ottoboni of Handel fame) and his esteemed guest, the new Venetian ambassador – is very similar in feel. Directed by the primo violino, the string band (33211) with harpsichord and theorbo are generally good, though the tuning between the solo and tutti groups in Rome’s “Quanto effimero è il contento” (and elsewhere, if I am totally honest) leaves something to be desired. Most of the arias are tuneful with instrument “ritornelli” to end with; others are better than that – Valore’s “Così quel bianco giglio” has the two solo violins duetting over pizzicato accompaniment, and Gloria’s “Se d’Eroi bella Madre” features a transverse flute. Of the three singers (sopranos as Rome and Glory, a countertenor as Bravery) only Rome sounds like she is forcing herself into “early music mode”. On this evidence, Lulier would repay closer investigation. Sadly I was unable to locate an English version of the libretto on the record company’s website.

Brian Clark

Ensemble Polyharmonique, Alexander Schneider
58:20
edition raumklang

[dropcap]F[/dropcap]or many years now, I had planned to “re-discover” Tobias Michael’s music; there are two sets of original part-books in The British Library and, although I only managed to transcribe one piece the last time I was there, I did make a listing of the contents of both, and was impressed, not only that he involved different combinations of instruments with the voices, but that he wrote out ornamentation for the singers. Those are, of course, the two volumes of his Musicalische Seelenlust, published 20 years into the 30 years war and full of the sort of music you would expect from the generation after Schütz and Schein and before Rosenmüller and Schelle – harmonically pointed, emotive settings of richly poetic texts, full of the imagery of loss, hope, tragedy and faith. Only seven of the 18 pieces on the CD come from the second volume; each of the five singers (SSATB) take one solo each, and there are duets for the two sopranos and tenor/alto.

The other works are all for the full ensemble, supported throughout by bass viol, chamber organ and theorbo. The sound is capital “g” gorgeous – the voices individually are beautiful and the balance they achieve in combination is astonishing and ravishing. Time and again I was reminded of anthologies that appeared in the early 17th century that contained German sacred contrafacta of madrigals by composers such as Monteverdi and Rovetta – for emotional power, Michael’s five-part works would not struggle in such esteemed company. As for the more concertato pieces, the five voices of Ensemble Polyharmonique are fairly put through their paces by the technical demands, without ever losing a serene sense of control. It is also unsual to have a CD of 17th-century music where the performers do not feel the need to intersperse the vocal music with instrumental repertoire; I take this to be further endorsement of the quality and variety of these two fine volumes. I hope we will have the remainder of Michael’s output soon!

Brian Clark

Una Tur Bonet, Musica Alchemica
124:52 (2 CDs)
Pan Classics PC 10329

[dropcap]U[/dropcap]nlike Anne Schumann’s take on The Mystery Sonatas, the present recording sees five continuo players (of ten instruments between them!) accompanying the violinist. Some people may enjoy this approach, and occasionally the reedy sound of the regal and the lush harmonics of the lirone did bring something new to the performances, but actually – as HIPsters – should we be encouraging this approach? Did 17th-century musicians really have the time to sit down and plan out in advance who would accompany which passage, and which not? If so, where are all the surviving parts that contain even the slightest of hints? I know some scores are very clear about characters in musical dramas being shadowed by certain instrumental colours, but I’ve never seen a continuo part that specifies a constant to-ing and fro-ing of this sort. I think, like every other sort of “representative” music, these sonatas imitate worldly (and other worldly) sounds through very simple means and using this battery of auditory devices is akin to a voice over. Or there is a fear that the ear will get tired hearing the same texture for 15 whole sonatas. Actually, even if each sonata were accompanied consistently by a different combination of instruments, the overall effect would have been less irksome, and – of course – when it comes to the final Passigalia, there is only one option: unaccompanied violin.

Here, though, Tur Bonet does confirm her qualities as a Biber fiddler; nicely paced, with lots of space around the notes, no showiness. After her opening “mission statement”, the booklet notes contain a sonata by sonata two-page spread sequence of arty photo to the left and discussion of the different scordature on the right, but I found the translations difficult to understand; not that the rather poetic sounding Spanish was easier! I suggest simply listening to the fabulous music and ignoring the booklet.

Brian Clark