Author: EMR2015

Camerata Köln
133:51 (2 CDs in a jewel case)
cpo 555 038-2
Suites opp. 4, 5, & 6

I gave warm welcomes to the first two releases of Camerata Köln’s series and I am delighted to say that this is more of the same. The music is delightful and the various scorings (flute + bc, two ‘trebles’ without bass, flute solo, recorder solo, recorder +bc, two gambas, and gamba + bc) keep the ear engaged even when the two discs are played straight through. Other aspects of the performance contribute to this as well, of course. The low pitch (390) produces rich sonorities, the playing is infallibly stylish and the general approach to performance practice is exploratory yet restrained. Thus the ‘recorder’ music is produced by transposing a flute original up a minor third and the ‘gamba’ sonata is a flute original down a perfect fourth. No Baroque musician would have taken exception to this: the transpositions simply involve reading the music in a different clef and imagining a new key signature. The booklet (German/English) is concise but still manages to tell us what we need to know about composer, music and performances. Overall, a most enjoyable package, though I would have welcomed full details of the instruments.

David Hansell

Bologna Baroque (Antonio Mostacci violoncello piccolo a 5 corde, Antonello Manzo violoncello, Paolo Potì clavicembalo)
56:31
Tactus TC 692202

If – like me – you had never heard of Vandini, please do not feel ashamed; although he was one of the leading cellists of his day (as these six sonatas amply prove) and a close friend and colleague of Tartini (to the extent of the latter living with him after the loss of his wife until his own death in 1770), he remains something of a footnote in musical history books. Which is common territory for Tactus, of course – their valiant crusade to rescue the music of their countrymen and women goes on apace, and this is certainly one of their true successes. Bologna Baroque give excellent performances of five three-movement sonatas and a solitary two-movement work. They were not intended as a set and only one of them seems to be dated (1717, so the composer would have been in his mid 20s); only one is in a minor key. They are all, however, lyrical and technically demanding in equal measure. I listened to the performances initially not realising that Mostacci used a violoncello piccolo and was very impressed by the playing in high registers; the additional top string in no way undermines his achievements, though! The continuo accompaniment is just that, and (in my humble opinion!) just as it should be; I’m growing ever wearier of harpsichordists who go out of their way to draw attention to themselves rather than to enhance the music the composer wrote. But I refuse to end on a negative note – well done, Bologna Baroque! Well done, Tactus!

Brian Clark

Antoinette Lohmann violin, Furor Musicus
72:11
Globe GLO 5271

The booklet (English only) offers what may well be the fullest biography of the composer (1721-99) yet published. It is very interesting, to say the least, as is the music, most of which is here recorded for the first time. The composer was born in Rotterdam; perhaps had some contact with Locatelli in Amsterdam; definitely studied with Tartini; was based in London in the 1750s; succeeded Charles Burney, no less, as organist of St Margaret’s, King’s Lynn in 1760; and finallymoved to Cambridge where he continued to be active as a concert violinist whileholding various organist posts. His music very much reflects the mid-centuryItalian style with no real sign of emerging classicism: his English audiences,still besotted with Corelli and Handel, must have loved it.

As did I, even if the final Hornpipe has a whiff of the Proms about it! There are considerable technical challenges in the violin writing, all safely surmounted, and the continuo team offers consistent and unfussy support. Recommended as something new, different and worthwhile.

The CD is a limited edition (1000 copies).

David Hansell

Guillermo Penalver baroque flute, María Alejandro Saturno viola da gamba, Tony Millán harpsichord
137:46 (2 CDs in a jewel case)
Brilliant Classics 95511

Hotteterre’s 1708 publication of flute music was just the second such collection to see the light of day, preceded only by La Barre’s Op.4 and, of course, a basically fine recording is to be welcomed. I especially applaud the decision to decide on a continuo team (in this case harpsichord and gamba) and stick to it: this music is quite strong enough not to need over-dressing with fussy changes of instrumentation. Yet, ultimately I found myself unsettled, frustrated and disappointed by the listening experience because, to my ears it is not quite the right sound. The harpsichord is a Taskin copy – a generation too late for music of 1708, the pitch (415) is too high and the flute itself is a Palanca copy rather than an Hotteterre-style three-piece. But the playing is stylish and affectionate and I’m sure that many will love every note. The booklet is in English only.

David Hansell