Tag: Baroque

La Tempête, Simon-Pierre Bestion
77:18
Alpha 394

[dropcap]T[/dropcap]his account of Schütz’s Historia der Auferstehung Jesu Christi  intercut with items from Johann Hermann Schein’s Israelsbrünnlein  is not without its controversial aspects. Firstly the idea of presenting the music by the two composers in alternating numbers, one piece often emerging seamlessly from the previous one, is a radical idea. I can’t think the music would ever have been performed in this form at the time, but to my mind it works very well. Also controversial is the choice of the Lebanese singer Georges Abdallah for the Evangelist in the Schütz. He is described as a ‘chantre Byzantin’ and decorates Schütz’s simple recitative with an encrustation of decorative ornaments in the manner of Byzantine chant. Again, there will be those for whom this crosses a red line, but I have to say I found that Schütz’s rather long workaday recits were remarkably animated by this unorthodox (or rather orthodox in its truest sense) approach. The accompanying instruments in both the Schütz and Schein were wonderfully sonorous and expressive, and not backward in decorating their lines and even graphically evoking the dramatic quakes, storms and other circumstances of the text. This is an account which has been much thought about and meticulously prepared and, while I can see that certain aspects are difficult to justify academically, I found the resulting performance powerful, expressive and musically convincing. The wonderfully warm acoustic of the Chapel Royal at Versailles enhances the sound, and I found myself drawn into a remarkably involving account of this great music. My only two gripes are that the Schütz is not performed in its entirety, and that the programme note is in the annoying form of an interview with the director – I find that the disembodied interviewer never asks the questions I would like to have answered.

D. James Ross

Vox Luminis, Lionel Meunier
61:22
Alpha Classics Alpha 370

[dropcap]T[/dropcap]his performance couples two five-voice – but otherwise very different – baroque favourites on Vox Luminis’ latest CD. Handel’s Dixit Dominus was recorded in Begijnhofkerk, Belgium in January 2017 and the Bach Magnificat in the Waalse Kerk, Amsterdam in July.

Dixit Dominus dates from 1707, and is performed here with ten singers (two to a part) and five-part strings (3.3.2.2.2.1) with organ at the then Roman pitch of A=392. The photograph of the recording shows the arc of singers facing the strings, with the cellos in the centre in front of the organ and contrabass, and the upper strings to each side. In the Magnificat, they use the substantial Christian Müller organ in Waalse Kerk in Amsterdam, but there is no photograph to show how the forces are deployed. In their live performance in St John’s Smith Square last December, the organist was hidden behind the centrally placed organ, and the two groups of SSATB singers radiated outwards on a single plinth from the basses in the middle with the flutes and oboes in the centre of the orchestra, surrounded by the 3.3.2.2.1 strings. The trumpets were placed to the treble side of the organ and the timpani to the bass. Even when miked for a recording, how the singers and players stand in relation to each other is clearly important in this attentive and well-rehearsed ensemble, where the only directing is done by Lionel Meunier raising his (full) score as he breathes. If you listen carefully, you can hear the corporate breath taken just before the start of track 12 of the Bach Magnificat, the Gloria Patri. Even live, the balance seemed fine, and in St John’s the Bach was complemented by two earlier Magnificats – Pachelbel and Kuhnau.

In this kind of music-making, everyone takes responsibility not just for their own line, but for the ensemble; so singers and players alike breathe as one. The blend and balance are astonishingly good, and even when the whole ensemble is engaged, every stroke from the leader’s bow or beat from the timpani is alert to this corporate breath. The singers betray no anxiety about being heard among so many instruments, so there are no nasty pushes on notes tied over to the next bar or wobbles from those voices who suspect that they may not be heard, that disfigure so many performances. The singers’ prime task is to deliver the text and articulate it, while the instruments fill out the tone and underline the changes in mood and colour – even the Müller organ, one of whose Principal ranks we hear so effectively in Quia fecit  in the Magnificat.

For an illustration of balance, listen to how the strings and organ let the singer breathe in Et exultavit  in the Magnificat without any sense of artificiality or hold-up in the rhythm, and then note the contrast between Stefanie True in Et exultavit  and the matchless but quite different Zsuzsi Toth in Quia respexit  which leads without a break into the five-part omnes generationes, the subject of the sentence coming at the end in the Latin for emphasis: ecce enim ex hoc beatam me dicent omnes generationes. In this performance we have no sudden change in the marked tempo Adagio  as we are used to, with omnes generationes  going off at a gallop, divorced from the rest of the sentence as if it were a different number. Perhaps it will surprise you as it did me, but the more I listen to it, the more sense it makes. There are no other surprises, and the singers when performing alone or in duets or trios sing within their comfort zone so there are no overt histrionics from attention-seeking would-be stars.

This balanced elegance is true of the Handel as well, where vocal agility and the ability to blend with your fellow singers is a sine qua non. The vocal sound is sharp and incisive and a perfect complement to the five-part strings. The two sopranos in De torrente in via  and the lead into the Gloria Patri  are stunning if you want to take a brief snapshot of why this CD is so splendid. As well as enjoying Vox Luminis’ wonderful sound, I learn something each time I listen to them. I thoroughly recommend this disc.

David Stancliffe

[Julia] Lezhneva soprano, [Franco] Fagioli countertenor, [Diego] Fasolis, I Barocchisti, Coro della Radiotelevisione svizzera
59:16
Decca 00289 483 3874
+Nisi Dominus, Nulla in mundo

[dropcap]T[/dropcap]here is much to enjoy here; the choral singing is excellent, the instrumental playing first rate, and – be you a fan of the two super-star singers or not – amazing singing. There is a problem, though; ‘Two soloists in Vivaldi’s Gloria?’ I hear you ask… Well yes – why hire a second soprano for the duets if you have the “distinctive and almost feminine sound” of Franco Fagioli in the room? It seems to me a cruel irony that these words were chosen from the reams of critical acclaim the man has had to tag on the back of a CD of music that was written for a woman. In these days of rows over non-Latino singers taking the lead role in West Side Story  and cultural misappropriation when an American high school girl wears a Chinese dress to her prom, countertenors need to watch their step. His performance of Nisi Dominus is very convincing though, even if his box of tricks does not include a convincing trill. Julia Lezhneva’s contributions are almost flawless as usual, even taking time to subtly colour repeats of phrases (without OTT ornamentation or ostentation!) and the final Alleluia of her motet is the perfect close to a fine CD, even if there was plenty room for another contribution from the choir.

Brian Clark

Athesinus Consort Berlin, Klaus-Martin Bresgott
74:24
Carus 83.488
[+Schwemmer]

[dropcap]T[/dropcap]here are eleven fabulous two-choir motets by Scheidt on this CD, which were published in 1620; seven are scored for equal SATB groupings, the remainder in what I think of as the Venetian standard, SSAT in one choir and ATBB in the other (the seventh voice in C4 clef but lower than the other two tenors). What I must confess to not expecting was the extraordinary quality of Scheidt’s music – if I’m honest, he’s always been overshadowed by Schütz (as I suspect he has for many people), and while I’m beating myself up in public, I have to admit to not being a great fan of his either… The handling of the four voices of each grouping, and the juxtaposition or combination of both is expertly done, with echoes and building dynamics (by stacking up the number of voices, not marking the pages with a pencil!) In this respect, too, the Athensius Consort Berlin is exemplary – no nonsense, just honest, clean singing, serving the music not making it fit anyone’s vision for it. If the composer’s own choirs were anything like as disciplined (and full of such easily balanced voices!), his sumptuous music must have resounded around the chapel in Halle. These are all premiere recordings, and there are another 15 such works in German and 12 in latin still to come. The music is also available from Carus Verlag in typically beautiful and practical editions. The other music on the CD (specially composed for the choir by Berlin composer, Frank Schwemmer) is beyond the scope of my review. Let’s just say that – although I didn’t dislike it to the extent of being forced to reach for the remote control – the following Scheidt came as a balm to my soul.

Brian Clark