Category: Recording

Accademia Daniel, Shalev Ad-El
67:17
cpo 777 645-2
GWV301, 302, 306, 337 & 468

[dropcap]I[/dropcap] had never before come upon the suggestion that Uta Wald makes in the booklet notes that the impetus for Graupner to start writing purely instrumental music came in 1729 when the woodwind player Johann Michael Böhm fled to the court of Ludwigsburg near Stuttgart under threat of arrest for stealing – his salary had not been paid for a long time, so one might imagine he was desperate! The key point was, though, that he took all his music with him. Graupner, it seems, though technically responsible for all music at the court, had been so busy supplying music for performances in the chapel that he had more or less relied upon Böhm to take care of non-liturgical repertoire. For the present disc, Accademia Daniel have chosen solo concertos for violin, viola d’amore and bassoon, as well as a concerto that combines three bass soloists (chalumeau – a popular instrument in Darmstadt, it seems – cello and bassoon), and one of several of the composer’s Entratas “per la Musica di Tavola”, to all intents and purposes an orchestral suite, though eschewing the French overture associated with that form. All of the concertos are in the fast-slow-fast three movement form and have little in common with the Vivaldian model; in fact, the solo instrument is more just another colour on the composer’s palette. With that idea in mind, the wanton addition of a recorder to the final movement of the suite is easily forgiven. Graupner’s music takes some getting used to – what seem like normal baroque movements take some unexpected harmonic twists and turns, and his melodies frequently surprise; these players are well used to his music now, and their easy facility is reflected in some delightful performances.

Brian Clark

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Aapo Häkkinen
78:54
Naxos 8.573087
BWV818, 819, 832, 895, 896, 899-900, 917, 918, 922, 933-938, 952, 959, 961 & 993

In addition to the works listed on the title page of this CD, there are a large number of lesser-known works by Bach, some of which were quite unknown to me. They show Bach experimenting in a number of styles, sometimes sounding more like Telemann, sometimes more galant; at other times more rhapsodic or even more like an intellectual exercise in complex fugal forms. These factors alone would make this an interesting CD, but what makes the music work is the quality of the playing and Häkkinen’s choice of instrument. Recorded in a Finnish church, he uses a 1970 harpsichord by Rutkowski & Robinette after the 1760 Hass in the Yale instrument collection which has 1 x 16’, 2 x 8’, 1 x 4’ and 1 x 2’ (though this rank was not included by Rutkowski & Robinette), with buff stops to the upper 8’ and lower 16’. The instrument was beautifully prepared in a variety of temperaments for different sections of the pieces: 1/6 comma meantone, Kellner and Sorge. In the acoustic of the church and recorded exceptionally well, this gives a range of tone from the bell-like (the opening Prelude in A major is played on the 4’) to the ringingly rumbustious when the 16’ is used as well.

We know surprisingly little about Bach’s harpsichords. The only maker whose name is directly associated with Bach is Michael Mietke, the Berlin maker who delivered a harpsichord to Köthen in 1719, and none of his instruments that survive have a 16’. And while Zacharias Hildebrandt, who had care of the harpsichords in Leipzig churches at the end of Bach’s life, did build a large-scale instrument with a 16’ register, there is no evidence that Bach had one or used one. Yet on the evidence of the ringing clarity of the 16’ on this instrument in fugal writing as well as in the suites, I am persuaded that we should not dismiss the use of a large instrument of the Hildebrandt style being used in HIP of Bach.

David Stancliffe

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Trio Sonatas op. 3 Suite op. 8 Camerata Köln
75:15
cpo 777 867-2

I gave the first issue in this series a warm welcome and am happy to extend the same to this release. Indeed, the word ‘exemplary’ is not out of place here. Both flutes and recorders are played with a chunky rich sound to which the pitch (390) is a well-chosen contributing factor; instrumentation is varied, though within Hotteterre’s stated parameters; the playing is unfailingly stylish; and the lively booklet essay (German/English) addresses issues of context, content and performance practice. Oh – and it’s lovely music.

David Hansell

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Julia Doyle, Maria Valdmaa, David Allsopp, James Gilchrist, Roderick Williams, Peter Harvey SScTBB, Nederlands Kamerkoor, Le Concert Lorrain, Roy Goodman
127:45 (2 CDs)
Et’cetera KTC1517

[dropcap]O[/dropcap]ne shouldn’t compare recordings of different works by different artists, even if the composer is the same. However, having just listened to FestspielOrchester Göttingen’s live recording of Joshua, I was deep into the world of Handel oratorio and thus expectant of a similarly absorbing oral experience thanks to this recording of Israel in Egypt. Much to my surprise, however, I found my attention wandering halfway through the first chorus. After listening to end of the first CD, I returned to the first chorus and was struck by the density of sound that it presented. On second listening, I didn’t find it so shocking as before, partly because my ears had adjusted to the difference in sound between Le Concert Lorrain/Nederlands Kammerkoor and FestspielOrchester Göttingen/NDR Chor. However, I realised that my expectation throughout the symphony was of a lighter introduction to the work, despite its dark and awesome beginning. The orchestral sound is, to my taste, too dense at all times in the choruses, lacking subtleties of phrasing. The choir, on the other hand, present a highly polished sound which conveys very well the sense of awe and majesty appropriate to the story. Their subtleties of phrasing are, unfortunately, not always audible over the orchestral sound. However, the arias are a completely different case. In each aria, the orchestra accompanies in a hugely sympathetic and imaginative manner. One can only assume, therefore, that the dense texture of the chorus accompaniment was an artistic decision.

Each of the soloists (this time very well known) is excellent, though with the odd fleeting moment of strain sounding in Peter Harvey’s voice, particularly in the quartet ‘The righteous shall be had’, which is rather high in tessitura.

A rather general and brief overview of the context of the work’s composition (mostly recycling relatively well-known facts) makes up half of the booklet notes. The other half consists of ‘some personal thoughts’ from Roy Goodman. These start unfortunately as an exercise in self-advertisement but, after the initial paragraph, are actually very informative and interesting. The recording is of the complete original three-part version, performed at the premiere on 4 April 1739, and thus includes the opening Larghetto of the organ concerto, HWV 295) completed by Handel on 2 April and played by the composer as an introduction to Part II.

Violet Greene

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Johannes Pramsohler violin, Philippe Grisvard harpsichord
65:11
Audax Records ADX13703
J S Bach BWV1024, 1026, Anh. 153
J G Graun Sonata in G
Krebs Sonata in c
Pisendel Sonata in a

[dropcap]T[/dropcap]his latest fruit (and a rich one at that) of the collaboration of two of the stars of the younger generation focuses on music for solo violin by Johann Sebastian Bach and his colleagues and pupils. Alongside world premiere recordings of works by Krebs and Graun are the G minor Fuga by Bach himself, the unaccompanied sonata in A minor by Pisendel and two works of uncertain origin – Anh. 153 might be authentic Bach, and Pisendel is a possible author of BWV1024. As the premise of the CD suggests, these two men were well acquainted, and Bach clearly knew Graun’s reputation since he sent Wilhelm Friedemann to him for lessons; Krebs, of course, was one of Bach senior’s pupils. As usual the combination of Pramsohler’s virtuosity in realising the demands placed on him by these composers – along with a genuine desire to give the music a heart and a soul – and Grisvard’s magical realisations (one minute providing harmonic support, then engaging in a keen dialogue with the violin, sometimes even grabbing the limelight for himself) is a joy to behold; if the photo on the cover of the packaging is all very serious, the one on the front of the booklet suggests they have tremendous fun together, too. And that is oh so audible! If Audax had a subscription series, I would recommend you sign up.

Brian Clark

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Juilliard Baroque
100:13 (2 CDs)
Naxos 8.573347-48

[dropcap]T[/dropcap]here are times when I wish Couperin had never offered performers the options of instrumentation that are attached to his Concerts Royaux. Had he not done so, I suspect that we would now treat Les Nations as music for a standard Italianate string trio sonata ensemble more or less without question. Juilliard Baroque, on the other hand, have to all intents and purposes orchestrated it, including passages in which more than one instrument combine on an upper line. I found this irritating and distracting to the point at which it became difficult to appreciate the great musicianship of much of the playing. At least they could allow individual movements an individual sonority. The note (English/French) is interesting on the subject of the music but avoids issues of performance practice. It also suggests that each sonata/suite lasts over 30 minutes – contradicting the recorded durations printed opposite. The recorded sound is very good though the balance of the parts sometimes disadvantages the flute or over-favours the oboe. Nice to hear the continuo, though. Overall, frustrating.

David Hansell

[dropcap]C[/dropcap]ouperin’s great collection of four ordres, written towards the end of his life, were composed to represent the styles of four nations – France, Spain, Italy and Piedmont. Each consists of a large-scale opening sonata (sonade) in several movements, and a series of dances with the inevitable chaconne or passacaille. Les Nations is scored for two treble instruments, bass instrument and a figured bass continuo line, leaving the choice of instrumentation to the players. Here Juillard Baroque uses two violins, transverse flute and oboe for the two upper lines, and bass viol, bassoon, theorbo, guitar and harpsichord for the two lower lines. Some may perhaps find the ensemble’s swapping of instruments between movements – and in some cases during movements – disturbing, while others may appreciate the contrasts which aptly reflect the affekt of each section implied in Couperin’s writing. That said, Juilliard Baroque has assembled a team of some of the top players for this recording who seem totally at ease with the French style, their ornaments seeming to flow naturally from the melodic line. Listeners unused to the French Baroque may find it difficult to distinguish between the national styles implied in each suite; for, with the incessant ornamentation (all according to the composer’s own markings, with nothing added) all may sound French! Subtle stylistic differences in each suite, however, can be appreciated by the discerning listener. (For those interested in following the score, a facsimile can be downloaded from the IMSLP site.) I found the recording quality a little bright, so some may wish to ‘tone down’ the treble. As with many Naxos issues, a magnifying glass may be required for the booklet notes.

Ian Graham-Jones

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