Categories
Recording

Marc’Antonio Ingegneri: Volume Two: Missa Voce mea a5

Choir of Girton College, Cambridge; Historic Brass of the Royal Welsh College of Music and Drama led by Jeremy West, directed by Gareth Wilson
62:44
Toccata Classica TOCC 0630

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My review of volume 1 (TOCC 0556) was posted on 12 April 2020. Those who enjoyed the recording will be pleased to know that Gareth Wilson adheres to much the same format in this second helping of Ingegneri. This time the Historic Brass does not embrace the Guildhall School of Music and Drama beside the Royal Welsh, and he includes the motet on which Ingegneri’s mass is based. The composer seems to have assumed that he was paying tribute to his teacher Cipriano de Rore, to whom this motet had become attributed even as early as the sixteenth century, but seemingly it is the work of the less distinguished but worthy Paolo Animuccia, whose brother Giovanni has a higher profile. Paolo’s motet Voce mea is nowhere near as fine a work as Palestrina’s Laudate pueri and it is surprising that the latter is not included on volume one as a prelude to Ingegneri’s mass which is based upon it. Although the ways in which Ingegneri uses Animuccia’s motet are audible and interesting, the inferior material renders this mass (which is in only five parts) less gripping than his Missa Laudate pueri (which is in eight parts) from volume 1. That said, there is a sumptuously beautiful passage built on suspensions which emphasize the profundity of the emotional appeal “miserere nobis” in the Gloria. The majority of the intervening motets are set to texts familiar from the works of significant contemporary composers, and it is interesting to compare Ingegneri’s creative responses to theirs.

Like its predecessor, this recording comes with a detailed booklet containing two impressive and readable essays. Carlos Rodriguez Otero, who sings tenor on this disc, tells us about “Ingegneri in focus: sacred music and religious life in Cremona”, while Gareth Wilson’s article “Ingegneri against the odds” is an enthralling account of how the challenges and obstacles thrown up by the pandemic were overcome in the making of this recording. For this reason alone it is worth supporting the disc.

Perhaps because of the circumstances under which the music was recorded, the Girton Choir sounds different –but not worse – on this album, with more of an edge to the tone, especially in the upper parts. This is by no means detrimental to Ingegneri’s music. As before Historic Brass have an equal role, playing some motets by themselves, or taking over sections of certain pieces, such as the second Agnus in the mass, or simply playing some parts while members of the Choir sing the others. There are also some gung-ho full passages such as the amens concluding the Gloria and Credo. Listeners will either like or dislike this approach, and will relish the variety of sounds or be annoyed by the switches of timbre. Or they will simply take it as it comes.

Richard Turbet

Categories
Festival-conference

Les Traversées 2022

If you happen to be anywhere near the Abbaye Noirlac in central France on any Saturday between 18 June and 16 July 2022, be sure to check out this festival schedule: Les Traversées 2022 – with three events on each date and the option to include a picnic in your ticket price, this sounds like a marvellous way to spend a summer’s evening. Highlights for early music fans will be Aliotti’s “Il Trionfo Della Morte” on 25 June, and a St John Passion by Les Surprises on 16 July.

Categories
Recording

Ou beau chastel

Leuven Chansonnier vol. 2
Sollazzo Ensemble
53:50
passacaille AMY059 | PAS 1109

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The Sollazzo Ensemble return to the Leuven Chansonnier for a second selection from the 62 works it records. Alongside the established composers (Ockeghem, Caron, Frye, Morton, and Busnoys), there is anonymous music which has not been found in any other source, and which supplies the title for their CD. The Ensemble provides convincing and musically engaging accounts of this important music, although just occasionally I felt that some of the songs were a little over-interpreted, with some unidiomatic vocal swooping and portamenti. This is living music, and performers who are undeniably very familiar with the repertoire must be permitted to interpret it meaningfully, but I felt that some of the mannerisms in the vocal contribution sounded disconcertingly out of period. That aside, these are bold and effective interpretations, and it is good to report that the ‘new’ anonymous material is every bit as fine as the established, ‘named’ music – but for the whim of the copyist, we might be adding to the output of one of the familiar masters here, or perhaps more intriguingly even adding to the panoply of the masters of the period. I found it particularly exciting to hear a very persuasive account of Walter Frye’s ubiquitous three-part setting of Ave Regina performed by voices and wind instruments – the performances in the 1980s (by, amongst others, René Clemencic) of the music of this period combining wind instruments and voices were often dismissed as eccentric at the time, but with the welcome challenging of the ‘a cappella orthodoxy’ may prove to have been a perfectly viable and plausible performance option. 

D. James Ross

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Recording

Mirabilia Musica

Echoes from late medieval Cracow
La Morra
61:05
Ramée RAM 2008

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In a fascinating programme note, La Morra’s director Michal Gondko draws attention to an account of around 1470 by Filippo Buonaccorsi (aka Callimachus) of music in Cracow, at that time the capital of Poland, as well as the two seminal manuscripts from which the music on this CD is extracted. The major discovery is the composer Mikołaj Radomski (fl c1425), who contributes an impressive polyphonic Gloria and a Magnificat, and who may also be ‘Nicolaus’, the composer of keyboard pieces and whose Nitor inclite is performed here. Also impressive is music by Petrus Wilhelmi de Grudenz, given a stunning performance, as well a strikingly original Gloria by Antonio Zacara da Teramo. The singing and playing of La Morra is of a very high order throughout, and they give very persuasive performances of this unusual repertoire. It can scarcely come as a surprise that an important kingdom such as Poland would at this time have boasted a thriving musical culture, but it is exciting to have this confirmed in these excellent performances of superb music from the period, which was either composed in Cracow or certainly performed in it. 

D. James Ross

Categories
Recording

Giosquino

Josquin Desprez in Italia
Odhecaton, Paolo Da Col, The Gesualdo Six, [La Reverdie, La Pifarescha]
77:17
Arcana A489

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Coinciding as it does with the reopening of the Burrell Collection in Glasgow, with its magnificent Renaissance tapestry featuring Hercules, dux Ferrara, one would like to think this similarly magnificent recording featuring Josquin’s Mass Hercules dux Ferrariae might have found its way into the gift shop. If you like your Josquin big and muscular, this is the recording for you. Looking at things through musicological glasses, we know that the ducal court of Ferrara possessed the musical resources to stage events of this stature, so the only consideration is whether Josquin’s music is effective, performed by these large forces. I think that the approach here, using as many as twenty voices for full sections, with solo voices emerging to perform the more intricate passages works extremely well. The otherwise detailed programme notes are inexplicably uninformative about the role played by the wind instruments – I am sure that the voices are supported by cornets and sackbuts in several tracks, and one photo of the recording sessions would seem to confirm this. If this is indeed the case, the blend of voices and brass is exemplary, and again highly effective. I have to say, I felt the two short instrumental tracks sound a little out of place in this programme of largescale sacred music. The programme ends with Josquin’s extraordinary 12-part setting of Inviolata, integra et casta in which all the vocal and instrumental forces combine in a dramatic performance tour de force. I have recently suggested that this work dates from later in Josquin’s life, and through his pupils kicked off the early 16th-century vogue for works in many voice parts (Brumel, Gombert, Carver – www.earlymusicreview.com/robert-carver-exploring-his-aberdeen-connections) – Camilla Cavicci’s programme note points to the interest in the cult of Franciscan immaculatism at the court of Ferrara as a possible alternative context for the work. Either way, it makes for a dramatic conclusion to this fine CD, and provides more persuasive evidence for the more flamboyant and lavishly scored performance of works from the 15th and 16th centuries.

D. James Ross

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Recording

Sopra La Spagna

La Spagna, Alejandro Marías
74:42
Lukos records 5451CRE201665

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This celebration of the tune la spagna and its role throughout the history of music, opens paradoxically with a work which is not part of this tradition. The lament Triste España by Juan del Encina was composed to mark the death of Don Juan, the son of Ferdinand and Isabella, and I can’t hear it without recalling the searingly minimalist 1970s performance by Musica Reservata and the unrelenting voice of Jantina Noorman. In their instrumental rendition here, La Spagna manage a similar level of bleak integrity, appropriate perhaps for a project delayed by a global pandemic. What follows is a tour of la spagna-inspired music from throughout Europe, including a some newly conceived improvisations. There is some degree of variety amongst the historical la spagna settings, and the threat of turgidity is avoided, if occasionally only just. There is a certain degree of uniformity in the all-string rendition of much of this repertoire – perhaps a recorder might have lent a little textural variety? – but these are intense performances with integrity and considerable commitment. Particular highlights for me were the introduction of castanets into one of the modern improvisations, as well as the dynamic account of Tobias Hume’s Spanish Humor and the delightfully varied performance of Marin Marais’ Folies d’Espagne with which the programme concludes.

D. James Ross

Categories
Recording

Gesualdo: 6th book of madrigals

La légende noire, La Guilde des Mercenaires, Adrien Mabire
65:56

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These performances of madrigals from Gesualdo’s extraordinary final publication, Book VI, a work of stunningly daring harmonic progressions and musical non sequiturs, are themselves revelatory. La Guilde des Mercenaires under the direction of Adrien Mabire are attempting something revolutionary, performances of Gesualdo with wind instruments. The programme note asks why performances of Monteverdi are regularly presented with instruments, while Gesualdo is almost invariably presented a capella. The answer seems obvious – that while Gesualdo’s highly chromatic idiom is tricky for singers, it is perhaps even more tricky for early wind instruments. These performances seem to belie these difficulties, as the wind instruments, occasionally playing on their own, never sound less than comfortable. Whether this is due to the technical proficiency of the players, or whether after all Gesualdo’s writing is more about unexpected progressions and juxtapositions rather than sheer chromaticism, and therefore possibly easier for wind players than singers, the overall effect is very convincing. Part of the ongoing questioning of the myth of a capella performance, it is encouraging to see younger players challenging the old dogmas of HIP performance and exploring alternatives. The wind component of these performances is a real revelation – the vocal contribution is also pretty impressive, and when voices and instruments combine we get a genuine flavour of a whole new dimension of Gesualdo’s music. I still remember the effect of first hearing Byrd’s Great Service with wind and before that, performances of Dufay Masses with voices and wind, and I can’t help feeling that this recording is a similar moment of transformation.

D. James Ross

Categories
Recording

The Myth of Venice

16th-century music for cornetto & keyboards
Gawain Glenton, Silas Wollston
61:50
Delphian DCD34261

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The opening two pieces of this disc announce one of the primary tensions between musical schools of this era. The foremost theorists at the time were typically the organists, drawn to music’s formalities, whereas the soloists were wont to indulge their flights of fancy, with more attention to drama and personality. Andrea Gabrieli, one of the first organists at St Mark’s, provides the introduction: his formally structured ricercar, whose second voice, here on cornett, enters en point, continuing to pirouette lightly, using all the stage space available. Meanwhile, the formal organ continues to provide a tactus to set your watch to, in and out of the changes in mensuration. After this little delight, we turn to the founding father of the Venetian tradition, Adrian Willaert, whose beautiful arrangement of the chanson Jouissance de donneray, has to fight its way out of a briar of notes provided by Dalla Casa, perhaps the most self-indulgent of all cornettists at the time. These lines delineated, we proceed to an exploration of what lies between. We enjoy Glenton’s diminutions on Willaert’s A la Fontaine, using Ganassi’s thesis La fontegara, which add his sense of asymmetry, and hence freedom beyond his contemporaries. The effects of timbres are explored imaginatively. Between the dense and gently tremulous metal trebles of organ pipework, steals a mute cornett in Parabosco’s ricercar – offering a discreet and steady hand – da Pace. Diruta’s ricercar has a beautiful simplicity and grace, provided by a broad-sounding mute cornett and organo di legno. The organ playing throughout is marvellously seamless, with the most sparing and judicious lingerings and details of articulation that make the extended toccatas particularly engaging. The disc finishes with a selection of pieces instrumentally conceived from the off, and so into which the divisions slot comfortably – including a couple of premieres by Gorzanis. I am now looking forward to more discs from these players.

Stephen Cassidy

Categories
Recording

In the Garden of Polyphony

French Renaissance Music for Lute and Guitar
Israel Golani (Renaissance lute and Renaissance guitar)
68:00
Solaire Records SOL 1010

Israel Golani’s CD is an anthology of French music from the 16th century for lute and for guitar. His gut-strung 6-course lute built by Martin Shepherd has a lovely sound quality, particularly in the treble; as was customary for 6-course lutes it has a high octave string on the fourth course. Golani also plays a similar lute built by Alfonso Marin, which sounds a semitone lower, and has no high octave string on the fourth course – fewer treble notes, but clearer for polyphony. The guitar pieces are played on a 4-course renaissance guitar also built by Alfonso Marin.

Golani begins with Albert de Rippe’s intabulation of Pierre Sandrin’s “Pleurez mes yeux”. De Rippe tracks Sandrin’s chanson closely, but with the addition of flowing divisions, mainly quavers. Golani’s playing is clear with nicely shaped melodic lines. I do like the way he plays cadential semiquavers in this piece – neat, in time, and without interrupting the flow. Some of De Rippe’s accidentals are surprising. The piece is essentially in F major, but De Rippe adds sharps to the f’s in the second bar; they would not have been sung in Sandrin’s original, but they are effective on the lute. Surprising harmonies also appear in De Rippe’s lengthy Fantasie quatriesme. His intabulation of “Un jour le temps” is given an unhurried, sensitive interpretation.

Golani includes pieces from the first two books of lute tablature to be printed in France: Pierre Attaingnant’s Tres breve et familiere introduction (Paris, 1529) and Dixhuit basses dances (Paris, 1530). Track 7 is an intabulation of the tender chanson for three-voices, “Fortune laisse moy”. It is a lovely piece of music played well, so it is a pity there is a wrong note – 18 notes from the end – where Golani plays f’ instead of b’ flat. The note is b’ flat in Attaingnant’s original and in Daniel Heartz’ edition, so I guess Golani made his own copy, and accidentally wrote tablature d on the wrong line. The Branle gay “C’est mon amy” whizzes along at a gay speed. Basse dance “Beure frais” lacks its Tourdion, which would have added a refreshing change from C minor to C major. Golani opts for a nice slow tempo for a gentle “Dolent départ”, but succumbs to adding erratic touches of rubato. Playing out of time does not necessarily make a piece more expressive. As with the music of Albert De Rippe, there are some surprising accidentals, including a false relation involving e’ natural and e flat. It might have lost a mark in an ‘O’ Level exam, but such clashes add a certain expressive piquancy, especially when played on a lute. For “Amy souffrez” Golani turns to a manuscript source, Öffentliche Bibliothek der Universität Basel Musiksammlung, Ms. F IX 56, which has more divisions and unexpected accidentals than Attaingnant’s more familiar printed source.

One of the pieces published in Louvain by Pierre Phalèse is Allemande (track 4), which also appears in various guises in non-French sources, including the Willoughby MS, where it has the title “Grenes Alman”. The Willoughby divisions are twice the speed of Phalèse’s fast notes, which makes me wonder if Golani’s interpretation is a bit on the fast side. At any event I would have preferred the rallentando to occur after (not during) the divisions over the dominant of the final cadence.

The 4-course guitar was popular in 16th-century France. Nine different collections were printed in the 1550s, and another printed in 1570 survives. Golani plays six pieces from these guitar books together with his own intabulation of the basse dance “Auprès de vous” from Attaingnant’s Second Livre (1547). The texture is inevitably thin, and all four voices cannot be sustained. However, it is a nice arrangement, and Golani captures the essence of the piece in a tasteful way.

There is much variety in Golani’s collection, which includes lute music by Adrian Le Roy, Guillaume Morlaye, Jean-Paul Paladin, and Julien Bellin. It ranges from Morlaye’s catchy little Gaillarde with a plethora of bluesy flattened sevenths, to Bellin’s strict three-part counterpoint in his Trio. Golandi plays the Trio twice, the second time with his own divisions added. I like what he does – sometimes the extra notes simply fill gaps between notes a third apart, but other times he is more adventurous, for example with some nice jazzy syncopation introduced towards the end. The CD ends where it began, with an intabulation of Sandrin’s “Pleurez mes yeux”, this time in a setting by Guillaume Morlaye for 4-course guitar. Never mind that harmless wrong note in Track 7 mentioned earlier. Golani’s performance is really excellent, and makes for a most enjoyable CD.

Stewart McCoy

Categories
Recording

William Byrd: Keyboard Music

Friederike Chylek harpsichord
57:02
Oehms Classics OC 1724

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While listening to this excellent disc, it occurred to me that Friederike Chylek would be the ideal harpsichordist to make another recording of Byrd’s complete keyboard music, a successor and alternative to Davitt Moroney’s boxed set from 1999 (Hyperion CDS 44461-7, reissued 2010). The baker’s dozen of pieces selected here are varied in genre and structure, and in technical and interpretive demands. By now most of these pieces have achieved more than one recording, but it is good to hear less familiar items such as The Irish march, extracted from its home in The battle, and the will o’ the wisp Wilson’s wild amongst the mighty Second ground and the pioneering virtuoso Prelude and Fantasia. One of the finest of the great Nevell pavan and galliard pairs, the Fifth, appears in company with two of Byrd’s most familiar song variations, Sellinger’s round and The carman’s whistle. The programme is completed by two almans – BK 89 (T 437) and The queen’s alman – and is topped and tailed by The Earl of Oxford’s march, and Tregian’s ground aka Hugh Ashton’s ground. The use here of the former title indicates that Ms Chylek is playing the version in the Fitzwilliam Virginal Book (FVB), which was compiled by Francis Tregian, and not the version in My Lady Nevell’s Book which uses the alternative title; she also defers to the FVB version of the Prelude and Fantasia rather than that left in another manuscript by Byrd’s pupil Thomas Tomkins.

Ms Chylek has made two previous recordings which feature Byrd’s music to a greater or lesser extent: Time stands still (OC 1864 – my review posted in EMR 7 February 2017) and From Byrd to Byrd (OC 1702). I reviewed both of them favourably, noting that she has a unique feel for the English virginalists in general, and for Byrd in particular.

Among discs devoted to Byrd’s keyboard music, this current recording is among the very finest. Her interpretations are penetrating but not quirky, profound but not distracting. This transcendence is best illustrated in Tregian’s ground which, at 8’30, is one of Byrd’s longest keyboard works. The triple time of Byrd’s chosen ground is sustained unassertively but irresistibly while Byrd’s remarkable ruminations continue above and around it. There have been several recordings of this magnificent piece, and a number of performers treat it as a virtuoso work to display their techniques. This works perfectly well, and the music can withstand it. Ms Chylek takes a more contemplative, less frenetic view, so that every aspect of Byrd’s counterpoint and harmony is clearly audible, while the passion of Byrd’s creation still shines through. Her interpretation – and this is the case with every track – is seemingly not so much aimed at exhibiting her own formidable technique, but rather, is placed at the service of the composer and what Byrd himself seeks to express through his music. This is no criticism of other more flamboyant performances, but it is the key to what gives this recording its unique character, which in turn elevates it to such a high level of achievement. She uses a modern copy of a Ruckers from 1624, and her playing on it provides ideal listening: stimulating to the intellect, and delightful for recreation.

Richard Turbet