RossoPorpora, Walter Testolin
65:56
Stradivarius STR 37004
[dropcap]I[/dropcap] have known this work since the early 1980s and I have yet to find a recording of it that is utterly satisfying on all levels. This disc, alas, also fails to deliver the perfection which the work that is arguably Buxtehude’s magnum opus deserves. In fact, it is as if three totally different performances had been combined: the instrumental sonatas are rather understated and rather plain, the tuttis – despite what I have to commend as the best choral singing I have ever heard from Italy with a beautiful balance between the voices – are micro-managed (in my opinion) to a fault, and the solos (though once again well sung by different members of the choir) are overly fussy in their redistribution of continuo instruments. In the “choruses”, it is as if the conductor wants to wring every last drop of passion out of the notes – vast expanses of silence interrupt the flow (this also happens in some of the sonatas, where there is no indication in the score), then powerful forward-driving harmonic passages are drawn out – try “Quid sunt plagæ iste” (Tracks 14 or 18) for size; I’ve never heard the third word sung with a soft “g” before either… If you are unfamiliar with the music, you may not have the same reaction to these performances as I have – do try it for yourselves!
[dropcap]I[/dropcap] don’t normally approve of advancing the reputation of a composer at the expense of one of his contemporaries, but the statement in Patrick Ayrton’s that we would be more familiar with the name of Marcello if Vivaldi hadn’t sprung to prominence at the beginning of the 20th century undoubtedly has some truth to it. Marcello’s music has always struck me as having more heart than Vivaldi’s, and this is born out by these charming settings of the Psalms.
I am not convinced by the wisdom of presenting them here in the 1757 English adaptations by Charles Avison – perhaps these works are so unfamiliar that they deserve to be heard in the original Italian, a form in which they swept Europe and impressed Marcello’s musical contemporaries. And perhaps lines such as ‘his eyelids try the children of men’ and ‘my moisture is like the drought in summer’ are best left in the relative obscurity of Italian. The performances are generally idiomatic, although I found the rather roomy church acoustic made both voices and instruments sound rather indistinct and distant. Having said that, a nice variety of vocal colours and a lovely blend make for a convincing representation of Marcello’s largely unknown masterpiece Estro poetico-armonico. More please.
stile antico
72:57
harmonia mundi HMU 807575
Clemens non Papa: Motet/mass Pastores quidnam vidistis
+ Music by Eccard, Handl, Hassler, Hieronymus and Michael Praetorius & Vulpius
[dropcap]B[/dropcap]uilt around Clemens non Papa’s Christmas MassPastores quidnam vidistis, this collection brings us some of the less familiar Renaissance choral repertoire from the continent. Clemens’ Mass, elegant rather than profound, makes pleasant listening, as does his motet on which it is based, and the exquisitely fluid style of Stilo Antico, perfectly blended, beautifully tuned and phrased, serves perhaps to make adequate music sound special. The same is the case with the rather four-square German settings by Michael Praetrius, Johannes Eccard and Melchior Vulpius of vernacular texts, turned to musical gold by the beautifully expressive and crafted singing of Stilo Antico. The balance of the CD is made up with Latin motets by Handl and Hassler and a Magnificat by Hieronymus Praetorius. The daringly chromatic setting of Mirabile Mysterium by Handl exhibits the largely unappreciated skills of this lesser known composer, while his more declamatory Canite tuba demonstrates his versatility. Hassler’s exuberant Hodie Christus natus est is a complete delight, and Praetorius’ Magnificat with its very familiar Christmas ‘inserts’ is charming. There is a tiny recording issue in the second track where a background rumble which one could easily ignore turns rapidly on and off making it more obvious – I can hardly think this is the result of editing as the singing is perfectly continuous and only the rumble pops in and out. This is not enough to put off anybody from buying this superb CD, but a sharp-eared producer might have asked for a retake. D. James Ross
Francesca Cassinara soprano, Marta Fumagalli mezzo, Roberto Balconi alto, Mauro Borgioni bass, Gabriele Cassone & Matteo Frigé natural trumpets, Antonio Fringé organ, Alberto Stevanin violin, Marco Testori cello, Rei Ishizawa oboe, Ugo Galasso chalumeau, Ensemble Pian & Forte, Francesco Fanna conductor
59:59
Dynamic CDS7710
RV537, 554A, 779 + arias from various operas
As the booklet notes explain, the trumpet is mostly associated with war and/or royalty in baroque opera. The seven arias from Vivaldi operas confirm the stereotype but also remind the listener of the technical demands the composer put on his singers. Most successful of the four soloists in Francesca Cassinara, whose bright soprano voice is well suited to combination with trumpets and oboes. Marta Fumagalli’s fruitier sound distorts some pitches but the bravura in her aria (which is Track 13, not 11 as printed in the booklet and on the record company’s website!) is exceptional, though I could have lived without the staccato arpeggios added to the Da Capo! The men are adequate. The instrumental playing is actually very good – the strings phrase nicely and layer dynamics convincingly. There is an elephant in the room, though – why does the disc conclude with a chamber concerto without trumpet? No matter how nicely it is played, does it actually serve a purpose? Sure one of the bravura soprano arias could have been held in reserve?
Fantasticus (Rie Kimura violin, Robert Smith viola da gamba, Guilliermo Brachetta harpsichord )
71:15
resonus RES10156
Buxtehude: Praeludium in g, Sonata in A op. 2 no. 5
Erlebach: Sonatas II in e, III in A
J. P. Krieger: Sonata X in A
Kühnel: Sonata VIII in A
Walther Cappricio [sic] in C
[dropcap]I[/dropcap]t does not seem so long ago that I was (rightly) praising Fantasticus’s recital of sonatas by Tartini and Veracini. Arguably the repertoire on the present disc – chamber music for violin, gamba and keyboard – is what a group like this “should be playing”; instrumental composers letting their imaginations take flight, even if the Erlebach sonatas are broadly cast as suites of dances with more abstract introductions. The style comes into its own when the harmonic rhythm slows down and tuneful melody gives way to quasi recitative, or to sequential passages that expand exploratively, uncertain of their final destination. This is perhaps nowhere better demonstrated than in the Kühnel sonata for gamba and continuo, where the whole range of the instrument is exploited. If Rie Kimura’s violin was in the spotlight last time, here she must share it with both her colleagues and all three (of course!) shine. As I posibly wrote at the end of my previous review of this group, I cannot wait to hear what they turn their hands to next – they make me smile.
John Mark Ainsley Alessandro, Sarah Fox Aminta, Ailish Tynan Elisa, Anna Devin Tamiri, Benjamin Hulett Agenore, Classical Opera, Ian Page
117:12 (2 CDs)
Signum SIGCD 433
[dropcap]I[/dropcap]t is fascinating how this early opera from Mozart’s Salzburg period already includes many of the elements which would come to full fruition in the later great operatic masterpieces of his maturity. In spite of the stylised context, Mozart makes a real attempt at musical characterisation, and the orchestration is varied with a generous range of instruments made available by the Salzburg Archiepiscopal purse.
Ian Page’s sizzling account of the overture prepares for the delights to come as the overture segues flawlessly into the opening aria for Sarah Fox’s Aminta. The effortless elegance of her singing is perfectly matched by Ailish Tynan’s Elisa, and indeed the small cast of five principals, including John Mark Ainsley, Benjamin Hulett and Anna Devin are all superb. While the singing, like the playing, sounds absolutely authentic, there is a pleasing sense of freedom and a palpable joy in the music. Hulett’s effortlessly lyrical account of Agenore’s aria “Per me rispondete” is a case in point, where he conveys the character’s mixed emotions but at the same time clearly enjoys Mozart’s exquisite melodic writing. Listening to this wonderful music so beautifully performed it is amazing to think of Mozart’s employers, who repeatedly failed to recognise the unique talent of the man who was supplying them with such sublime fare. The two CDs are accompanied by a packed booklet including the full libretto and English translation as well as a comprehensive programme note, incorporating the latest research on the opera.
Matthew Rose, Arcangelo, Jonathan Cohen
77:06
Hyperion CDA68078
Music by Martín y Soler, Mozart, Paisiello, Salieri & Sarti
[dropcap]T[/dropcap]he current enthusiasm among record companies for operatic recitals centred around a famous singer of the past is a welcome development. Not only does it make for greater contrast than the traditional composer recital, but it can also provide excellent clues as to the nature of some of the great voices of the past. Indeed, the examination of the music composed for a particular singer to determine voice type and range, etc., has itself become a musicological study. Here listeners, if so inclined, can play the game for themselves. So what can we learn from this CD about the great buffo bass Francesco Benucci, who was born about 1745 and is today best remembered as the creator of Mozart’s Figaro and Gugliemo in Così fan tutte ? Well, in keeping with the character of buffo roles one might suggest that Benucci’s talents lay in characterisation and flexibility rather than overt virtuosity. The obvious need to project text clearly necessarily results in a predominance of syllabic settings that cover no great range – ‘Se vuol ballare’, for instance covers a range from C to F1; we can gather from the climax of the cabaletta of that aria, too, that Benucci had a powerful voice capable to bring off an impressive climax, a quality also to be heard here in Gugliemo’s splendid showpiece ‘Rivolgete a lui’, an aria Mozart replaced in Così fan tutte because of its length. We cannot of course guess at the quality of Benucci’s voice, but it was especially valued in Vienna, where Benucci sang from 1783 until 1795, while a German critic wrote of its ‘beautiful, rounded quality’ while also praising his acting for its ‘propriety’ and lack of vulgarity.
In addition to the arias from Figaro, Così and Don Giovanni – in which Benucci sang the first Viennese Leporello in 1788 – we are also given arias from roles created by him in Vienna from Salieri’s La grotta di Trofonio (1785), Axur, re d’Ormus (1788) and Martín y Soler’s hugely successful Una cosa rara (1786). Giuseppe Sarti’s I contrattempi (Venice, 1778) is particularly interesting for being the first opera in which Benucci created a role. Here the characterful recitative and aria ‘Oime! che innanzi agli occhi – Pensa, che per morire’ finds his character Frasconia trying Papageno-like to pluck up courage to commit suicide. Also of note are extracts from the two Salieri operas: Trofonio’s mock ‘ombre’ scena ‘Ch’ite per l’aere’ is clearly a parody on Gluck’s Orfeo ed Euridice, complete with chorus of spirits, while ‘Idol vano’ offers a rare opportunity to hear a more serious aria composed for Benucci in the mezzo caraterre role of Axur, the greater degree of coloratura strikingly apparent in the context of other arias on the CD.
So how does British bass-baritone Matthew Rose fare with the ‘Benucci test’? Rather well, actually. The voice can certainly be described as having a ‘beautiful, rounded’ quality and it is evenly produced across its range, with an admirable lack of intrusive vibrato. Rose also brings a sense of character to the roles he is portraying (never easy in a recital) – I particularly like the sense of malicious fun intimated in Leporello’s ‘catalogue’ aria (let’s not forget there is more than an element of his master in the servant’s make-up) – and there is certainly a sense of propriety in not concluding ‘Se vuol ballare’ an octave higher than written. I feel Benucci would have probably been more precise with his ornaments (the single trill Rose attempts is a half-hearted effort) and would probably have sung more of them. Mention also needs to be made of the admirable cameo appearances of sopranos Katherine Watson (as Dorabella) and Anna Devin (as Zerlina). Rose is admirably supported throughout by a rather larger Arcangelo than we usually hear. The wind and brass departments boast some of London’s best period instrument players, who relish the opportunities given them by Mozart’s wind writing. Jonathan Cohen’s direction is notable not only for the sympathetic support given to Rose, but the spirited, acutely observed performances of the overtures to Figaro, Don Giovanni and Paisiello’s hugely successful Il re Teodoro in Venezia (Vienna, 1784), from which it might have been appropriate to hear an aria. Still, with a playing time of 77 minutes one can hardly complain about what is not on a disc that achieves the rare distinction of being both of great interest and thoroughly entertaining.
Chansons populaires du 19ème siècle
La Clique des Lunaisiens, Arnaud Marzorati
67:03
Paraty 615223
[dropcap]P[/dropcap]ierre-François Lacenaire (1803-36) became something of a cult figure when, on trial for multiple crimes, he endeavoured to project himself as a campaigner for social justice. This recording is as much a Façade/Pierrot Lunaire style quasi-theatrical entertainment as it is a purely musical experience: I’d love to see it, but it made a rather odd listen. His writings are part sung to popular tunes of the day and part read/declaimed and are placed in the context of other pieces he knew or referred to. It doesn’t really fit our usual parameters so I have not awarded any stars, but I’d really recommend it to anyone with even a passing interest in this period of French cultural history. David Hansell
[dropcap]I[/dropcap] first got to know these pieces intimately at unversity, where they were a “set work” in my first year at St Andrews University. Latterly I had been re-acquainted with them, often playing them with my much-missed friend, Selene Mills, at her home in Cambridge. I fear we never sounded anything like this! Is there anyone active today more immersed in Purcell’s musical world that Robert King and his King’s Consort colleagues?
Two young violinists and an experienced continuo team combine perfectly to produce a CD of rare beauty and endless reward; where some seek to draw attention to the architecture of Purcell’s complex contrapuntal writing or irregular phrases with sharp accents and dramatic changes in dynamic, these performances are more subtle and more relaxed than any I have ever heard. The music unfolds in an organic way, the counterpoint, the rather awkward sounding melodies and harmonic piquancy readily audible but not hightlighted artificially. Robert King’s ever thoughtful booklet note not only gives all the background you could ever need to the set’s genesis, he also provides a work-by-work guide in which (thank goodness, for once!) readable English – and presumably French and German, too – rules. Like the diamonds on the packaging, this release is every bit the precious gem. Do not miss it!
Motets from the Hiller Collection
Sächsisches Vocalensemble, Matthias Jung
70:25
Carus 83.269
[dropcap]A[/dropcap]ny recording featuring the Sächsisches Vocalensemble and/or Matthias Jung is always worth hearing. Seven of the 17 tracks on this recording of motets from his printed anthology of a cappella motets are world premiere recordings (three of them by Hiller, including his arrangement of Jacob Handl’s famous “Ecce quomodo moritur justus”). Composers represented included such important figures as Homilius, Carl Heinrich Graun and Rolle, but also lesser-known composers as Penzel, Reinhold and Fehre.
In truth, in listening I was definitely unaware of any sudden shift in standard! It certainly helps that the singing is exquisite, and Jung ensures that he makes the most he can from the material in front of him. Here I think micro-management pays dividends with absolute unanimity of delivery throughout – a glorious choral sound like this does not come easily. Choirs looking for new repertoire will be glad to hear that the music is available from Carus, too.
