Category: Recording

Gunar Letzbor, Ars Antiqua Austria
61:42
Pan Classics PC 10363

[dropcap]T[/dropcap]his recording features four (of six) sonate da camera  from Lonati’s XII Sonate a violino solo e basso, printed in Salzburg in 1701. As the booklet notes suggest, they were probably written earlier in the virtuoso violinist’s career, and at least some of them look north of the Alps for their inspiration. The first three (nos. 1-3 of the second part of the publication) use a variety of scordatura (a retuning of the strings of the violin to give a different timbre to the sound and allow a different range of chordal possibilities). The final work from the set is simply labelled “Ciaccone” and goodness, what a beast of a movement it is! Variation after variation before the style switches completely for a couple of short movements then off the chaconne goes again, ever more intricate, ever more demanding ‒ either the violinist had a page-turning assistant or his part must have been written out on enormous paper. Letzbor’s lightness of touch and deft bow work bring out all the subtleties in the music, far and away the very best playing I have ever heard from him. The continuo line-up of keyboard, lute and 8’ violone provide an unfussy aural backdrop that throws the always interesting solo line into relief. The scores are readily available online – following them merely underlines Letzbor’s equalling Lonati’s wizardry.

Brian Clark

Collegium Musicum 90, Simon Standage
68:57
Chandos Chaccone CHAN 0818
Montanari op. 1/2, 6 & 6 Mossi op. 4/11 & 12 Valentini op. 7/11

[dropcap]R[/dropcap]ichard Maunder’s work on the performance of the 18th-century concerto bears the ultimate fruit here in wonderfully stylish performances of music by composers who were among the orchestra directed by Corelli in the original performance of Handel’s La Resurrezione in 1708. Thus we have one-per-part performances of five fine concertos with four violin parts and Mossi’s exceptional op. 4/12 for a total of eight violins with viola (except the Mossi pieces), cello, violone grosso and harpsichord (and archlute for three pieces). The playing is crisp and clean, the tempi well judged and the recorded sound exemplary. I have known the Valentini concerto for a long time, but rarely heard it played with such lustre. It is nice that only two concertos from Ensemble Diderot’s recent Montanari recording are duplicated. I would certainly love to hear more of Mossi’s output.

Brian Clark

Jean-François Madeuf, Musica Fiorita, Daniela Dolci
65:04
Accent ACC 24327

[dropcap]T[/dropcap]his is the second new CD devoted to Molter’s music this year and, once again, it reveals a composer of great imagination, particularly when it comes to instrumental colour. Alongside works for the brass instruments of the title, the programme includes a Concerto Pastorale  for strings as well as a Divertimento  for 2 chalumeaux, 2 horns and bassoon and Tendrement that drops the bassoon from the line-up. Anyone of a nervous disposition (or with troublesome perfect pitch) will suffer some discomfort at the brass playing as this is cutting edge natural instrument playing, all done with the embouchure without the artificial aid of finger holes, etc. If such a basic question of “authenticity” is still considered challenging, all credit to Madeuf and his colleagues for undertaking to give us these raw performances. I sincerely doubt whether many 18th-century musical events featured the perfection we expect nowadays – and my work as an editor who constantly has to correct mistakes in the source material confirms that the odds were stacked against error-free playing. Musica Fiorita play very well (though it is not indicated in which pieces the four oboists play). It is slightly frustrating that only three of the six full works on the disc are given their catalogue numbers – a librarian’s nightmare.

Brian Clark

Europa Galante, Fabio Biondi
Glossa GCD 923407
op. 7 nos 1, 3, 4 & 5

[dropcap]M[/dropcap]uch as I was fascinated to hear Italians playing Fasch’s music, it has been very interesting hearing them tackle Leclair’s concertos. Of course, his violinistic family tree leads directly back to Corelli, and thus his music, though infused with Gallic harmonies and ornamentation, has a strong Italian heritage. Biondi and his colleagues have chosen four works from the first published set, op. 7 of c. 1737. It is often said that one cannot avoid sub-consciously comparing “new” versions and I must simply confess that I was guilty of hearing things that “weren’t quite the way Simon Standage” played them; whether or not that is a good thing, the older Chandos recordings come out on top (despite Biondi’s virtuosity and the vitality of his colleagues’ brilliant accompaniments) for one principal reason – too often I felt that the tempo was pulled about too much, presumably with the aim of making the music seem more dramatic than I personally feel it needs. Don’t misunderstand me – rubato definitely has its place in Baroque music; there is a great deal to admire in these performances and recordings, but I feel the pudding has been over-egged a little.

Brian Clark