Category: Recording

Zefiro
104:10 (2 CDs in a cardboard sleeve)
Arcana A394

[dropcap]T[/dropcap]hese two CDs were originally recorded and released by naïve in the mid 1990s; recorded out of numerical order, sonatas 5, 6 and 2 are on the first disk, while 1, 3 (in which a violin replaces one of the oboes) and 4 are on the other. Both sets involve a theorbo and deep string bass (contrabbasso on CD1 and violone on CD2), all played by different players. The wind soloists are constant (and what a stellar line-up – Paolo Grazzi and Alfredo Bernardini on oboe and Alberto Grazzi on bassoon); Manfredo Kraemer is the violinist. Where for most composers six trio sonatas would comfortably fit on a single disc, Zelenka’s expansive contrapuntal themes mean that it is not unusual for individual movements to exceed six minutes, and there is even one which lasts more than eight minutes! In these performers’ hands, though, the music unfolds organically and simply fills the space; it certainly never feels too long, and in some sense (at least as far as this listener is concerned) Zelenka could easily have sustained movements of even greater length, had he chosen to do so. Bravo to all concerned!

Brian Clark

Elizabeth Wallfisch, The Wallfisch Band
62:18
cpo 777 701-2
TWV 51:a1, 55: F13, h4, 40:200

[dropcap]T[/dropcap]his disc of two concertos proper and two “ouvertures in concerto style” was actually recorded way back in 2011; such is cpo’s extensive backlog that even fine performances – which form part of a very impressive series – must still wait five years for public consumption. The first work is essentially a concerto for four-part strings out of which a solo violin grows (TWV 40:200); the second (TWV 51:a1) also survives as an oboe concerto (and has appeared thus on a previous cpo disk), but is here given a very persuasive performance. For me, though, the most interesting music were the two overture-concertos (essentially, think the Bach “orchestral suites” with a solo violin part), both lasting over 20 minutes. The second is unfortunately referred to as a Concerto in B major on the cover (it’s actually in the minor), but the typo is the only thing wrong with it; Libby Wallfisch effortlessly emerges from the full band sound then blends marvellously back into it. This is all the more impressive when in concert (at least those I found online) she (and her fellow soloists) take the “modern” approach to concert giving by standing out front, but clearly she firmly believes in the primus inter pares approach to what is still essentially chamber music. I wonder how many more installments of this fabulous survey of Telemann’s concerted music with violin(s) remain in the cpo vaults for future release – I’m sure every single one of them will hold some new delight!

Brian Clark

Neue Hofkapelle Graz, Lucia Froihofer, Michael Hell
121:34 (2 CDs in a jewel case)
cpo 777 980-2

[dropcap]O[/dropcap]ut of interest I played this in my car recently while ferrying colleagues to a meeting just to gauge their impressions of the music. Although what one might call fans of classical music, none of them has a particular interest in the HIP approach. One thought it sounded quite French, another more Italian, one thought it sounded like Handel, the other like Purcell. In fact, that was precisely how I myself reacted to hearing these seven richly varied works from Fux’s collection; with one exception (a “sinfonia” for recorder, oboe, “basso” and “cembalo”), they are primarily “orchestral”, though the texture varies from a4 (purely strings), through a8 (adding a woodwind trio) to a8 (a pair of trumpets add lustre to the sound). The Neue Hofkapelle Graz further vary the sound by using single strings for some pieces and multiples for the rest. This gives a great overall impression of the ways such music would have been performed in Fux’s day. The recorded sound is excellent and – apart from the occasional superfluous use of percussion – I thoroughly enjoyed both discs. While such additions are perhaps part and parcel of a live performance (which only lives on in the memory), for a recording they are an unnecessary distraction (and not something one can “un-hear” on subsequent listenings).

Brian Clark

Corelli’s Heritage and the Roman School
I Musici
54:51
Dynamic CDS7752
Castrucci op 3/10, Corelli op 6/4, Geminiani op 5/7 (after Corelli), Locatelli op 1/11, Valentini op 7/11

[dropcap]T[/dropcap]his group was among the pioneers of the re-discovery of baroque music, if not quite what we now call HIP. Their recordings of complete sets of Vivaldi’s publications brought him back into the mainstream. Given that attitudes to performance practice have moved on a great deal since those days, I was a little wary of even listening to this CD, even though the performances are from as recently as last year. In actual fact, however, although there are some hints of yesteryear (the trills, for example), these are lively and enjoyable accounts of some lovely music. I don’t mean to sound condescending or disparaging, but this would make an ideal gift for someone who likes less frequently recorded baroque music but does not have any special interest in how it is performed – this is bound to make them smile. Lots.

Brian Clark

Marcel Ponseele, Il Gardellino
133:29 (2 CDs in a darboard wallet)
Accent ACC 24314
TWV 41:g2, g6, a3; 42:c4, d4, Es3, g5; 43:D7; 51:e1, f2, A12; 53:E1

[dropcap]T[/dropcap]his is a compilation of recordings dating from 1995–2005 and covering the whole gamut of Telemann’s works for solo oboe; sonatas with continuo from various of his published sets, trio sonatas with violin or flute or even obbligato harpsichord, and concertos (including oboe d’more, too). This, of course, is not just any old oboist playing – Ponseele has been recognized as one of the performers on the instrument for many years and these recordings are like a compendium of masterclasses in each of the works involved. Nor are his companions unkown; one the “concerto” disc he is joined by Il Gardellino, while the second disc has Richte van der Meer on cello and Pierre Hantaï on harpsichord, with contributions from Fred Jacobs (in the sonata with obbligato harpsichord and continuo), and Taka Kitazako (oboe) and Per-Olov Lindeke (trumpet) in the rarely heard TWV 43:D7. This is a thoroughly enjoyable set which I have no hesitation in recommending.

Brian Clark

Weser-Renaissance, Manfred Cordes
68:26
cpo 555 010-2
Förtsch: Ich vergesse was dahinten ist, Unser Leben währet siebenzig Jahr
Michael Österreich: Ich habe einen guten Kampf gekämpfet
Georg Österreich: Plötzlich müssen die Leute sterben, Unser keiner lebet ihn selber

[dropcap]T[/dropcap]his is the fourth CD that Manfred Cordes and his excellent team has devoted to music in Gottorf. Alongside music by two of the composers already featured there is a very fine work by the more famous Georg Österreich’s older brother, Michael. The opening piece is Förtsch’s lavish “Unser Leben währet siebenzig Jahr” with seven voice parts, four violins, two violas, four gambas, bassoon and continuo! The fact that it survives only in a copy might explain the rather odd passages in some verses of the central aria where the duetting alto and bass occasionally sing in octaves (a fact that the otherwise informative booklet notes fail to mention).

https://www.youtube.com/watch?v=ilCisLpkft0

It is followed by the older Österreich’s setting for more modest forces of one of “the standard” funeral texts, “I have fought a good fight”, which reveals the former Thomaner’s considerable skill. The final work – the longest on the disc at over 19 minutes! – adds a pair of oboes to the ensemble. It ends with a “tremolo”-accompanied setting of a verse from “Herzlich tut mich Verlangen” (known to English speakers as “the Passion chorale”). Throughout the singing and playing as excellent, the balance between individual voices and vocal and instrumental groups is well managed, and the sound quality is very high. All in all, another success for this typically enterprising cpo series.

Brian Clark