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Septem dies: Seven Days with Music at Prague University (1360-1460)

Septem dies Corina Marti, Schola Gregoriana Pragensis

Schola Gregoriana Pragensis, Corina Marti
63:51
Supraphon SU 4282-2

In their efforts to provide a snapshot of the complete musical lives of students at Prague University in the century from 1360-1460, Corina Marti and the Schola Gregoriana have drawn on the work of a number of musicologists on the University’s considerable collection of musical manuscripts to provide sacred and secular monophony and polyphony for this varied and beautifully executed programme. The singing is wonderfully idiomatic, the singers sounding equally at home in plainchant and polyphony, while Marti provides instrumental interludes and accompaniments on the clavisimbalum. In this way, liturgical music relevant to the seven-day round of religious services is punctuated by student songs and instrumental pieces of the sort they would have played for entertainment. A lavish book of background information provides an intriguing context for the music, and the whole package is a testimony to the very fruitful interaction of scholars and performers. Much of the music here has been freshly transcribed and is receiving its first performance in modern times. The whole team behind this admirable and vivid recording, made in the generous acoustic of the Basilica of the Visitation of the Virgin Mary in Milevsko, has more than achieved its stated aim of representing the musical landscape that would have confronted a student at Prague University in the 14th and 15th centuries.

D. James Ross

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Recording

Sigismondo D’India: Lamenti & Sospiri

Sigismondo D’India Lamenti & Sospiri

Mariana Flores, Julie Roset, Cappella Mediterranea, Leonardo Garcia Alarcón
91:08 (2 CDs)
Ricercar RIC 429

Sigismondo D’India is a composer who has been somewhat overshadowed by his fellow Italian and near-contemporary Claudio Monteverdi. Both were strong advocates of the seconda prattica which prized the expression of passion above any formal considerations, and this two-CD collection of arias, laments and duets underlines the importance of D’India in this vital stage in the development of music. The two sopranos Mariana Flores and Julie Roset split the solos between them and combine for the duets – both have lovely pure and expressive voices, perfect for this repertoire, and they blend beautifully when singing together. The vocal ornamentation is not overdone and executed with deft precision. They are ably and sympathetically supported by a consort of bass viol, harp, theorbo/guitar and archlute led from the harpsichord/organ by Leonardo Garcia Alarcón. The interaction of voices and instruments is a masterclass in empathy, and the resulting performances are consistently persuasive and utterly enjoyable. In addition to their considerable musical merits, these performers manage to inject an element of languid Mediterranean sunshine into their music-making which shines through in these CDs. Too often D’India features as a filler on recordings of the music of other composers such as Monteverdi, but these CDs more than make the case for his own considerable merits as an important composer in his own right. The two extended laments, the Lamentatione d’Olympia and Infelice Didone, are considerable masterpieces worthy of wider acquaintance.

D. James Ross

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Byrd: Complete harpsichord & organ music

CD cover Pieter-Jan Belder Byrd Complete harpsichord & organ music

Pieter-Jan Belder harpsichord, muselar, virginals and organ
9 CDs
Brilliant Classics 97074

This album of Byrd’s complete music for keyboard is in every way a worthy successor to Davitt Moroney’s pioneering boxed set released in 1999 (Hyperion 66551-7, reissued 2010 as CDS444617). Musically the fact of the music being by Byrd is self-recommending. He was the first great composer for the keyboard, writing music that is not only attractive on its own account, transcending the liturgical parameters of preceding repertory, but also idiomatic to the harpsichord, comfortable under the fingers as well as to the ears! As for performance, Belder’s strength is in allowing Byrd to speak through the music rather than inflicting an interpretative regime upon the music. The sheer variety among the pieces, well over a hundred in total, is mind-boggling, and thanks to the clarity of Belder’s readings, lesser-known jewels such as the Pavan and Galliard BK 16 glow in their own light, while the neglected Pavan and Galliard BK 76-77 (probably intended as a pair but not presented as such in their unique source) positively bask in the glow of Belder’s performance. More familiar masterpieces and classics such as The barley break, Walsingham, Ut re mi fa sol la (BK 64) plus the great sequence of Nevell pavans and galliards, the grounds and the fantasias (especially BK 13 in A minor, the first true masterpiece for the keyboard) flourish in this environment.

An interesting talking point, possibly controversial to some, is Belder’s choice of “fringe” repertory. Most of the accompanying booklet is written by Jon Baxendale, experienced co-editor (with Francis Knights) of such important sources as My Lady Nevells’ Book, Will Forster’s Virginal Book and the Fitzwilliam Virginal Book, though parts of his text must be read with caution: Byrd is now known to have been born in 1540 or late 1539, not 1542/3 as stated; he was appointed to the Chapel Royal in 1572, not 1573; he moved to Stondon Massey in 1595, not 1594; and pace Mr Baxendale, the anonymous variations on Robin Hood are not attributed to Byrd by Will Forster anywhere at all in his Virginal Book (WFVB), the work’s unique source. In a brief but informative personal note in the booklet about the recording project, Belder is “up front” about some inclusions, and one of these is Robin Hood (previously performed by Bernhard Klapprott on his complete recording of Thomas Tomkins Keyboard Music MDG 607 0704-2 with circumstantial evidence for Tomkins’ authorship on p. 12 of the booklet; and subsequently recorded by Bertrand Cuiller on Mr Tomkins his Lessons of Worth, Mirare MIR137, as by “Thomas Tomkins?”) but Belder cites the less assertive comments of Baxendale and Knights in their edition of WFVB (p. 372) merely suggesting tentatively that it offers traces of Byrd’s style. Half a dozen of Byrd’s songs survive in contemporary arrangements for keyboard. Two had already been recorded: Lullaby and Susanna fair. None are thought to be by Byrd himself, but rather than record all or none of them, Belder has decided to include a couple that “work” for him as works for keyboard. One such is the album’s single premiere recording! This is the arrangement for keyboard of Care for thy soul from the Psalmes, sonets and songs published in 1588; the original song has already been recorded twice. The other is Susanna fair. He also includes two settings of Dowland’s If my complaints. BK 103 is attributed to Byrd in its source but rejected as being by him, while BK 118 is anonymous but accepted as likely to be by Byrd. Belder explains this in his note so listeners can agree or disagree with scholarly opinion, or simply just enjoy both settings! In the same generous spirit, those pieces attributed uniquely to Byrd in contemporary sources, but considered improbable or impossible to be by him, are also included. A few works receive two “versions” performed on different instruments, such as the arrangement of Robert Parsons’ In nomine on harpsichord and on organ.

It remains wholeheartedly to welcome and recommend this fine discographical achievement. Pieter-Jan has recorded the pieces from Nevell and Fitzwilliam before but, given the many extra works here which include some gems which are outstanding even by Byrd’s elevated standards, and at its reasonable price, this boxed set is worth the attention – and outlay – of everyone who is already aware of this music, or who is moved to discover it.

Richard Turbet

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Recording

Torelli | Perti | Pollarolo | Colonna – Concertos and Cantatas

CD cover Torelli Perti Pollarolo Colonna – Concertos and Cantatas

Nuria Rial soprano, Kammerorchester Basel directed by Julia Schröder violin
57:29
DHM 19658813432

‘For the most part, nothing can be heard in their [the Italians’] music apart from a consistently elaborated basso continuo, often consisting of a kind of barrage of chords, with arpeggios added to throw dust in the eyes of those who are no judges of such things’. What was true for the Mercure galant in 1713 is equally as true of the 2020s, with the exception that the contagion is now widely spread throughout early music and not just applicable solely to the Italians. I’ve opened in this rather unusual way to highlight that the present recording provides one of the most severe examples of theorbo-itis I’ve encountered, with inappropriate twanging, passaggi, bangs, and arpeggiated janglings throughout the performances. Especially damaging examples appear in ‘Aurae sacrae amati ardores’, a charming solo motet by Pollarolo (c. 1653-1723). Both its arias (it ends in typical motet-fashion with a virtuosic Alleluia) feature lovely cantabile writing for the soloist, here the lovely warm, but pure voice of the enchanting Spanish soprano, Nuria Rial. Both however are virtually ruined by the distraction of the theorbist, who seems unaware that the arias are intended to evoke tranquility and contemplation by twanging away as if playing a concerto, masking the lyrical line of Rial’s voice. The result sounds ridiculous and is totally unmusical.

The foregoing would alone be enough to stop me wanting to hear the CD again, but given that the orchestral playing is excessively mannered there is little to attract any but the most tolerant of listeners. Allegros are invariably taken too fast, the performances skating over the surface with clipped chords and meaninglessly superficial runs. Slower movements are played in a mannered style in which I suppose some may find elements of sprezzatura and certainly there’s some virtuosic solo violin playing by director, Julia Schröder, though I don’t care much for her rather thin tone.

For those interested, that might be more forgiving than the present writer, a word or two about the programme. The instrumental part is devoted to four of the concertos from Torelli’s Concerti grossi, op 8. Composed in 1709, but only published posthumously, they are, like Corelli’s famous op 6 of five years later, intended to make a grand sonorous effect, with the body of concertante strings creating breadth and depth. That doesn’t happen here because of the clipped phrasing and the solo contribution being dominated by the solo violin. The other vocal solo items sung by Rial are a brief scena comprising a fluid alternation of air and recitar cantando from Giovanni Colonna’s oratorio Salomone amante (Bologna, 1679) and a spirited cantata, ‘San Tomaso d’Aquino’ by Giovanni Perti (1661-1756). In these, there is some enchanting singing. Rial demonstrates not only lovely cantabile lines but impressive agility in passaggi and ornamentation, though regrettably she has no trill and her words might have been projected with greater clarity.

Sadly for all the quality of the singing the disc is a non-starter for the reasons given above. A pity given that the repertoire is unusual and of considerable interest.

Brian Robins

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Recording

Lully: Grands Motets – Volume 3

Lully Grands motets Volume 3

Les Épopées, conducted by Stephane Fuget
72:40
Versailles Spectacles CVS087

Volume 3 of the Versailles edition of Lully’s motets – part of a more extensive series devoted to motets of the 17th and 18th centuries – brings four grands motets: Plaude, laetare Gallia of 1668; a setting of the Benedictus of unknown date, but probably the late 1660s; the tiny Domine salvum fac regum, an undated early work that lasts under four minutes; and the dramatic Notus in Judaea Deus, a late work probably dating from around 1684 or 85. Also included is a splendid Magnificat composed between 1663 and 1666 by Henri Du Mont (1610-1684), composer of the Chapelle Royale from 1672 to 1683. The recording was made in the Chapelle Royale at Versailles and has an imposing depth and resonance, though I always feel the acoustic of this wonderful building is at its best when it has an audience, which is not the case here.

The grands motets of Lully and contemporaries such as Du Mont always carry with them a question mark as to whether they are directed more at praise of the king, Louis XIV or God. There is little doubt here in the case of the grandest and most panegyric of these works, Plaude, laetare Gallia for it owes existence to the christening of the Dauphin at St Germain-en-Laye (then the royal palace), an occasion attended by so many it had to be held in the courtyard rather than the palace chapel. Like all the grands motets it is cast in contrasting sections that include solos, chamber-like writing for a small group of soloists (the petit choeur) and the full chorus (grand choeur). The orchestral writing is often elaborate and, in a ceremonial work such as this, intended for the large forces employed here. As one might expect for such an occasion the overall mood is bright and often exuberant, though the heart of the work is a more supplicatory and lyrical passage based on the text, ‘O Jesu, vita credentium! (O Jesu, life to those who believe), its long lines beautifully sustained by the unidentified tenor soloist. It would indeed have been helpful to have the excellent soloists drawn from the chorus identified as they deserve to be in the context of performances that convey outstandingly all the varied features of these works.

The most ambitious work as to scale is the Lully Benedictus, which is divided into nine sections ranging from the measured opening tenor solo, via the chamber-like intricacy of ‘Sicut locutus est’ for tenor and bass and solo instruments and the full choral texture of ‘Salutem’ to reach a magnificent peroration in the sublime solo bass ‘Per viscara misericordiae’ and the theatrical contrast of ‘in tenebris, et in umbra mortis sedent’ (in darkness and in the shadow of death) and ‘ad dirigendos pedes nostros in viam pacis’ (to direct our feet into the way of peace). The text of Notus in Judaea Deus, based on Psalm 75 (76) and the most colourfully orchestrated of these motets allows for even greater theatricality, its invitation to word painting at references such as ‘the earth trembling and then becoming still’ not passed up by Lully. The Du Mont setting of the Magnificat is a supreme example of his work, combining polyphony that displays a clear influence of Venetian sacred music in addition to exquisitely lovely beautiful cantabile writing at a passage such as ‘Et misericordia’, a tenor and bass duet with choral interjections.

It has already been made clear that the performances are of outstanding quality, leaving this an essential addition to a series of great value.

Brian Robins

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Recording

Binder & Clavecin Roïal : Chamber Music at the Dresden Court

Binder & Clavecin Roïal Chamber Music at the Dresden Court

Ricardo Magnus, Ensemble Klangschmelze
68:33
Etcetera KTC 1753

The programme note for this intriguing CD is quick to answer the first of two obvious questions raised by the title. The Clavecin Roïal is a type of square piano, specially reconstructed for this recording, which has the facility to change from one timbre to another at short notice. In fact, under the fingers of Ricardo Magnus it is not so much rapidly changing tones but its constantly tinkling presence, soothing and absolutely charming, that is its distinguishing feature. To my ears, it combines the virtues of the clavichord and the early piano. In his introduction to the instrument, the builder Johann Gottlob Wagner announced it has a number of stops which reproduce the sounds of clavecin, harp, lute, pantaleon, and fortepiano – some explanations raise as many questions as they answer! The second question – who or what is a Binder? – is answered almost as quickly. Christlieb Siegmund Binder is the composer of the chamber music featured on the CD: two keyboard quartets and a trio for obbligato keyboard and flute, all receiving their premiere performances, as well as a further trio for obbligato keyboard and viola. This innocuously entertaining repertoire, sensitively and expressively played by Magnus and his ensemble, helps further to confirm the role of the Dresden Court as an important focus of music-making in 18th-century Germany. Binder was born and died in Dresden, and in his youth played the pantaleon, a type of large hammered dulcimer invented by Pantaleon Hebenstreit, so would certainly have appreciated the Clavecin Roïal’s ability to reproduce its sound.

D. James Ross

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Recording

Early European and Hungarian Dances

Early European and Hungarian Dances Savaria

Capella Savaria, Zsolt Kalló
54:06
Hungaroton HCD 32881

Founded in 1981, the Hungarian period instrument ensemble Capella Savaria are veterans in the field and have assembled an impressive discography over the forty years of their existence. Their playing combines precision and energy, and these are the predominant features of this recording of Telemann’s Ouverture-Suite in B flat major ‘Les Nations’, in which the composer characterises the nations of Europe in appropriate movements. The ever-imaginative Telemann warms to the task, and produces some strikingly original music which suggests that he had some passing acquaintance with folk music from Turkey, Switzerland and Russia. The transition into the second half of the programme, which opens with a couple of dance movements by Hungarian composers of the early 19th century – essentially concert music with a slight Hungarian flavour – is a bit of a jolt. Soon we are into more distinctive traditional Hungarian melodies and dances from a selection of 19th-century manuscripts. With their instinct for their native music, we could expect no better guide to this material than Capella Savaria, and they find the ideal blend of classical ensemble and gypsy folk band. I recalled the recordings of earlier Hungarian material made by the late great Rene Clemencic, and this CD has some of the flamboyance and smouldering energy with which he invested his accounts of his native music. In the final analysis, this had the feeling of two very different programmes sharing a CD. I have heard more imaginative accounts of the Telemann, and in a way I would have preferred a whole CD of the later fascinating Hungarian material. I hope this isn’t as annoying for the performers as the suggestion from a member of one of our audiences, after we had finished an intense programme of Renaissance music lightened with an encore of Ronald Binge’s Elizabethan Serenade, that we should perform a whole programme of ‘that kind of music’! Anyway, the music from Pest, Nagyszombat and the Poszony Manuscripts has considerable charm and character, and Capella Savaria clearly enjoy playing it.

D. James Ross

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Recording

Mozart : Piano Concertos K107s K175 K336

Mozart Piano Concertos Robert Levin AAM Laurence Cummings

Robert Levin, Academy of Ancient Music, Laurence Cummings
62:33
AAM 042

The Academy of Ancient Music’s complete recordings of the Mozart piano concertos with Robert Levin is a project begun in 1994 under the direction of Christopher Hogwood and resumed in the 2020s, now under the direction of Laurence Cummings, in which the latest scholarship is combined with state-of-the-art period performance. For volume 10, we return to Mozart’s earliest essays in the genre, a movement from Nannerl’s Music Book reconstructed by Levin, the composer’s three concertos K107 based on J C Bach Sonatas and his first completely original Concerto K175 no 5. Famous for his quest for authenticity as a keyboard player specialising in the music of the 18th century, Levin’s flair for embellishment is given full rein here – I remember him explaining to me at a concert (only partly in jest) that he had the musical notes in front of him on his piano mainly so that he knew what to avoid in his embellished versions. The radical approach of this project is further manifest in the fact that no piano features in the making of the CD! In the extensive and lavishly presented programme notes, Cliff Eisen makes a very cogent case for the K175 concerto having been intended for performance on organ, and this imaginative piece flamboyantly scored by the young Mozart fresh from a visit to Mannheim for horns, trumpets, timpani, oboes, bassoon and strings works very well as an organ concerto. The solo instrument is the recently restored George England in Christ’s Chapel in Alleyn’s College of God’s Gift, Dulwich, which offers a range of characteristic stops which bring this lovely music to life. If the geography of the chapel just occasionally takes the edge off the crispness of this performance compared to an account on fortepiano, the colour palette more than compensates. In similar vein for the G major fragment and the K107 concerti Levin very convincingly employs a harpsichord, a 2013 copy by Alan Gotto of an instrument of around 1770 by Johann Heinrich Silbermann of Strasbourg. It is interesting that having composed them in his teens in 1773, Mozart continued to perform these concertos on tour, clearly enjoying their freshness and originality. The influence of Mannheim and the revolutionary Stamitzes is never far from this music, while J C Bach’s sonatas provide a useful framework and springboard for the developing young composer. Levin and the AAM provide beautifully nuanced accounts, crisp and fresh but also thoughtful and profound. For a brief bonus track Levin returns to the organ for no 17 of Mozart’s K336 church sonatas, a set of effervescent works in which I have observed elsewhere Mozart’s originality found perhaps its most unfettered expression. With its rippling cadenza and its dynamic interaction between soloist and ensemble, it provides the perfect sign-off for this excellent CD.

D. James Ross

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Around Baermann

CD cover Around Baermann 19th-century clarinet music

Maryse Legault clarinet, Gili Loftus, fortepiano
71:11
Leaf Music LM265 (www.leaf-music.ca)

Born in Potsdam, Heinrich Baerman (1784-1847) was the great clarinet virtuoso of the early 19th century, a pupil of Joseph Beer, who in his turn had revolutionised clarinet playing late in the previous century. As such, Baerman, who for most of his career was first clarinet of the court orchestra in Munich, had contact with many of the leading composers of the day. These links owed much not only to his reputation as a virtuoso but also to his apparently congenial personality. The present CD includes two works by Baerman himself, an improvisatory Introduction and bright Polonaise (op 25), and a Nocturne in several sections, the most appealing of which is the lovely cantabile melody that follows the unexpectedly (given the title of the work) lively opening. Neither reveal Baerman to have been more than a modestly talented composer.

As might be expected, the works by Weber and Mendelssohn are a different matter. Weber’s connections with Baerman are more significant than those with any other major composer since, after their meeting in 1811, they not only toured together but Weber also composed several works for Baerman. They include his two clarinet concertos and a quintet.  The Variations on a theme from the Opera ‘Silvana’, op 33, are a particularly interesting example of collaboration between composer and performer, having according to an anecdote cited in Maryse Legault’s helpful notes been composed together over the course of one night. One wonders how much liquid refreshment might have been added to the mix! It’s an attractive set of a theme and seven variations based on an aria from Weber’s Silvana, first given in Frankfurt in 1810. The theme sounds like the seeds of something that might have re-emerged in the music for Agathe in Der Freischütz. Also premiered by Baerman and Weber was the virtuosic Grand Duo Concertant, op 48, first performed in 1815, while the CD programme is completed by Mendelssohn’s  three-movement Sonata in E flat of 1824, a work astonishingly not published until 1941 in New York. In addition there is a digital bonus in the shape of a three-movement Sonatina by Caroline Schleicher-Krähmer (1794-1873), the daughter of musicians who in addition to having been the first woman clarinettist to play in public also played the piano and violin professionally. The Sonatina – which includes a Waltz (ii) and Polacca (iii) is pleasing enough, if never aspiring to be more than salon music.

‘Mr Baerman does wonders on the clarinet, but he charms as much as he amazes’. These words quoted by Legault from a review published in the Gazette de France in 1818 might well with slight adjustment be applied to Maryse Legault herself. A native of Montreal, she studied with Erich Hoeprich, the father-figure of the revival of the historical clarinet. Not only does she own to an exceptional technique but equally a beautiful evenly produced tone across the range. She plays with real musicality and considerable nuance, as the slight change of dynamic in the repeated phrases in the statement of the theme the Weber variations immediately announces. The third variation of the same work demonstrates her ability to encompass a wide tessitura and virtuoso leaps, while her mezzo voce playing can be heard to ravishing effect at the end of the central movement of the composer’s Grand Duo. She seems, too, to have an exceptional rapport with her accompanist, Gili Loftus, herself evidently an outstanding fortepianist (she also plays the harpsichord and modern piano). She is especially impressive in the Mendelssohn, which needs some demanding bravura work from the keyboard player. Her instrument here is a copy of a Viennese fortepiano from 1820 and 1840 inspired by Conrad Graf and Ignaz Bösendorfer and built by Rodney J Regier of Freeport, Maine in 2000. The sound as recorded is full and rounded across the range.

An exceptional disc. well worthy of investigation by any one attracted to the historical clarinet – or indeed the exceptionally talented young performers. 

Brian Robins

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Haydn No.14 – L’Impériale

CD cover Haydn No.14 – L’Impériale Antonini

Kammerorchester Basel, conducted by Giovanni Antonini
77:07
Alpha Classics 694

Giovanni Antonini’s Haydn cycle, with his own Il Giardino Armonico and the Kammerorchester Basel alternating, here turns its attention to three symphonies plus an alternative finale for No 53 in D. It is from the nickname for that symphony, a 19th-century acquisition, that the programme takes it theme. All three symphonies are celebratory in character, with trumpets and timpani to enhance the grandeur, though they were a later addition in the case of No 53. The earliest, No 33 in C, is a pre-Esterháza work and is indeed with its twin No 32 in C the first of Haydn’s symphonies to include trumpets and drums. It was composed during the short period Haydn was in the employment of Count Morzin (c 1759-60). Cast in four movements, it opens with a Vivace that brings some champagne-like sparkle and agility from the superb Basel strings, a tranquil Andante scored only for strings, a pompous Minuet that unlike many of Haydn’s remains firmly in the ballroom, and an Allegro finale full of quirky humour made much of by Antonini and his orchestra. Oddly only passing mention of the symphony is made in the otherwise informative notes, suggesting that perhaps its inclusion to make for the unusually long playing time was a late decision.

One of the ever-increasing problems with Antonini’s cycle for a reviewer is to find something new to say about performances that up to this point have been remarkably consistent, whichever orchestra he is directing. Both produce superb playing for him, with unflagging dynamic energy brought to outer movements, insightful sensitivity to slower ones, while the bucolic extroversion that characterises many of the minuets is consistently infectious. Perhaps question marks may arise over a fast tempo, such as the secondary idea in the opening Vivace of No 53. Perhaps a little more warmth might have been brought to the odd cantabile movement, though that is certainly not the case here where the Adagio assai of No 54 – the only true slow movement on the disc and one of the longest Haydn ever wrote – takes on a mesmerizingly nocturnal mood.

Symphonies 53 and 54 both belong to the Esterháza period. No 53, first performed in 1778, is – to put it inelegantly –something of a dog’s dinner of a work. In addition to the later trumpets and strings mentioned above, it also originally lacked the boldly imposing slow introduction. There are three different finales, though one is considered spurious. The one given here is a Presto dated 1777. It is believed by some Haydn scholars to have been composed originally for the fourth part of the marionette opera – which were extremely popular at Esterháza – Genovefens, although Robbins Landon is of the opinion that Haydn, responsible for all dramatic performances there, just assembled the music for it. It’s a movement that juxtaposes pomp with an extremely attractive and more lyrical secondary idea.

Those who have investigated this series will need no urging to obtain this latest addition, in which they will find three less familiar symphonies given in performances that happily maintain the extraordinarily high standard established from the first issue in the series. Otherwise, anyone starting here has a great deal of catching up to do!

Brian Robins