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Duni: Trio Sonatas Op. 1

Duni op. 1 trio sonatas CD cover

Duni Ensemble
48:20
Brilliant Classics 96023
+Contradanze 1m 3m 4 + Minuetto 2, Minuè no 18 and Minuetto

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Neapolitan by birth, Egidio Romualdo Duni spent time in the great musical centres of the 18th century, Milan, Rome and London, before moving to Holland for reasons of health and to study at Leiden University and to publish two important collections, his opus 1 Trio Sonatas and Minuetti e Contradanze in 17838/9. The six trio sonatas are all performed here, interspersed with a number of the minuets and contradances. Where Duni had stipulated that his sonatas were for the standard ensemble of two violins, cello and continuo, the DuniEnsemble take a refreshing approach to this Galante music by using flutes and recorders for the melodic lines and a bassoon for the cello, occasionally employing Baroque violin and cello for contrast. The continuo group includes a harpsichord, a mandolin, and Baroque guitar/theorbo. The overall sound is very pleasing and nicely varied, allowing this complete recording of Duni’s opus 1 to benefit from an engaging degree of textural variety. It is perhaps unfortunate that the booklet information as to ‘who does what on what’ is a bit of a mess, and that the translation into English of the otherwise interesting programme is a little garbled – worth spending a little more on the printed material to support what is an excellent recording. The motivations behind Duni’s movements around Europe remain mysterious – he seems to have enjoyed considerable success wherever he went – his opera ‘Demofoonte’, staged in London in 1737, featured no less a figure than the great castrato Farinelli in his retirement performance. That his move from London to Holland seems to have been the result of depression, for which he was seeking help from the famous Dr Boherave, may hint at his failure to settle and to enjoy his success – perhaps the dog-eat-dog musical world of early 18th-century London just didn’t suit him. There is no hint of any dark moods in his published music; is it not trite or superficial either, but rather imaginative and original. And the DuniEnsemble, applying considerable musicality and inventiveness to his music, bring it vividly to life for us.

D. James Ross

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Schubert: 3 sonatas (1816)

CD cover Schubert violin sonatas

Peter Sheppard Skærved violin, Julian Perkins square piano
58:38
(Divine Art) athene ath 23208

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This is part of an ongoing series by the violinist and historian Peter Sheppard Skærved devoted to historic violins. For this traversal of the three sonatas composed by Schubert in 1816, he is playing an instrument made in 1782 by the most renowned member of a German family of makers, Martin Leopold Widhalm. As heard here the instrument has a bright, at times rather thin upper range, but satisfyingly full and rounded middle and lower gamut. Sheppard Skærved plays the sonatas using an early Tourte bow (c.1770-1780). Julian Perkins, his pianist on this occasion, plays on a square piano built by Clementi and Co in 1812. While it stresses the domestic purposes for which the music was composed, there are times in more demanding passages where I felt the need for an instrument with greater body. However, as Perkin’s modestly points out in his notes, this is just one of many ways of playing these works.

Both players are understandably protective about the music which as their comprehensive notes makes clear they have thought about in considerable detail and value greatly. All three are indeed pleasing if to my mind hardly memorable works in which, as in the sonatas of Mozart, the piano is often the leader when it comes to presenting thematic material. The D-major is the slightest of the three, having only three movements as opposed to the four of the two minor-key sonatas. But its Andante has a charming little march-like theme, the kind of thing one might expect to accompany a child playing at soldiers. Both the A-minor and G-minor sonatas explore both the melancholy and restlessness one might expect, though to my mind not too profoundly and I have to admit to finding the Mozartian echoes that Sheppard Skærved identifies in the latter to be rather distant ones.

It is so manifestly obvious that much thought, care and affection has gone into this project that it makes it exceedingly hard to confess that I find the results to be in major respects unsatisfying. The principle problem is that Sheppard Skærved’s tone, at least as recorded here, is less than agreeable, especially in the upper range where it too often sounds acidic. Neither is his intonation always reliable and one victim is his frequent perfectly legitimate use of portamento (or portes de voix). In respects such as bowing and phrasing, the violin playing is certainly musical, and in unassertive passages where the music sits in a comfortable mid-range – the beguilingly ambiguous opening of the A-minor’s finale for example – the results can be pleasing. Julian Perkin’s contribution is stylish and technically excellent, although as suggested above I’d have preferred a rather less modest instrument; it would have given a more dramatic sound to, for example, some of the stormier passages in the opening Allegro moderato of D.385.

In sum, this is a CD that deserves the attention of anyone interested in historical instruments and an intelligent approach to playing them, but despite the integrity of the performances I’m afraid it is simply not possible to overlook technical flaws.

Brian Robins

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Il più bel fiore

Cover of digital download of lute music played by Luca Tarantino

Archlute music from the Doni manuscript
Luca Tarantino
64:38
CGS 003

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In his extensive liner notes Dinko Fabris describes the Doni manuscript as “one of the most important musical sources of the early seventeenth century.” He attributes most of the pieces (29) to Andrea Falconieri, 11 to Giuseppe Baglioni,  two to Giovanni Girolamo Kapsberger, one to Arcangelo Lori, and an incomplete piece to Pietro Paulo Melii. The pieces are typical of that time: gagliarde, correnti, toccate, fantasie and a few others.
 
(It took me quite a while to locate the music in my SPES facsimile because no page references are supplied with the CD, which is why I supply them here: Track 1: pp 24-5; 2: 78-9; 3: 10-1; 4: 63; 5: 84; 6: 74; 7: 76-7; 8: 110-1; 9: 94-6; 10:.99; 11: 22-3; 12: 27, 28-9, 30-1; 13: 70-2; 14: 6-7; 15: 90-2; 16: 103: 17: 14-5; 18: 54-5; 19: 100-1; 20: 44-5; 21: 19: 22: 20: 23: 104-5; 24: 66-7; 25: 50; 26: 109-110; 27: 4-5: 28: 88-9.)
 
Tarantino’s first track is Gagliarda by Andrea Falconieri (1585-1656). As would be expected, there are three minims per bar, but the composition seems more like a toccata, with big chords at the start, then running passages, and the sequential development of musical ideas, some of which can be predictable and tedious. Tarantino interprets the piece with sensitivity, building up to a flurry of fast cadential notes at the end. Closer in character to a gagliarda is Track 8, Gagliarda del Falconieri, which is enhanced by fast slurred notes, always descending; Tarantino’s lively interpretation is most pleasing. In Track 10, Corrente francese, there are places where I think he is too free with his rhythm, and we lose the feel of a corrente. Track 11 is untitled in the manuscript, but looks like another corrente. Tarantino’s speed seems to drag in the first two sections, but is most effective in the third section, which has interesting echo effects: each bar is played twice, first without, and then with, left-hand slurs. Tarantino plays the slurred notes quietly, producing a charming series of echoes, which explains why he calls the piece “Eco”. Track 20, Gagliarda, has some interesting changes of rhythm early on, but the last page consists of rather unimaginative sequences of descending quavers. Just towards the end, there is an unexpected b natural in the manuscript which Tarantino plays, but since it leads us to the final tonic chord of F major, there is perhaps a good case for changing it to b flat.
 
Two of the five toccate have the title Toccata del Tedesco, and it is reasonable to assume that this particular German is Giovanni Girolamo Kapsberger (c. 1580-1651). The first Toccata, Track 9, has much variety, with a stop-go two-part texture, now with fast runs, now with two voices exchanging ideas, now parallel tenths, and a great flourish with the final chord. The second, Track 15, is another fine piece, with interesting changes of mood. One expects some freedom of expression here, but there are places where I think Tarantino overdoes playing out of time. Kapsberger’s music is full of surprises, not least the first chord in the fourth bar of p. 92: after a chord of D dominant 7th one expects a chord of G, but instead we get an augmented chord with e flat.
 
Track 12, Passamezzi del Falconieri, consists of three variations on the passamezzo moderno. Tarantino’s rhythm, particularly for the first passamezzo which consists entirely of crotchets, is played unevenly giving a feeling of rushing and unease, and I would have preferred a slower, more restful interpretation. Not everything needs to be exciting. The third passamezzo is an attractive dialogue involving very high notes going up to f” at the tenth fret, and very low notes going down to C on the tenth course. More extreme contrasts appear in Track 25, Toccata del S. Arcangelo (p. 50), an extraordinary piece running up to top g” at the 12th fret and down to low A on the 13th course, and ending with a descending 3-octave scale. Tarantino plays the piece beautifully.
 
Track 13, Capriccio detto il gran Monarcha (pp. 70-2) by Pietro Paulo Melii (1579-?) differs from the version in Melii’s Quinto Libro (Venice, 1620), in having its own opening five bars, and duplicating only bar 55 to the end of the printed source. In the antepenultimate bar, Tarantino wisely plays semiquavers as in the printed source, but otherwise he plays the piece as it is in the manuscript.
 
There is much to enjoy and admire in Tarantino’s playing, but unfortunately he has been let down by the recording engineers. I suspect the microphone was placed too close to the archlute, which results in a rather echoey sound with a sharp edge to it, similar to the sound you hear when your ear is right up against the instrument. It exaggerates the squeaks you get when moving the left-hand fingers along the strings, e.g. for the change of position after bar 6 of Track 27, Gagliarda detta La Lunara [recte Leonara]. A percussive sound is heard as the right-hand fingers strike the strings, particularly noticeable in Track 14, Volta, and Track 20, Gagliarda, where the clatter of finger noise is very much in evidence. If only the microphone had been placed further away. One of the delights of the archlute is the rich sound of the long bass strings, but in the present recording the low notes are often too quiet, drowned out by the louder treble notes. Again, I suspect the recording engineer is to blame, turning up the treble volume too much.
 
Stewart McCoy

 

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Recording

Routes du café

Cantatas by bernier and Bach on the theme of coffee's arrival in Europe CD cover

Ensemble Masques, Olivier Fortin
71:39
Alpha Classics Alpha 543
Music by Bach, Bernier, Locke, Marais & Nâyi Osman Dede (+Tanburi Cemil Bey & Kathleen Kajioka)

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This clever CD charts the spread of coffee through Europe, starting with the original cafés in Turkey and then finding music associated with its arrival in France, England and Germany. The famous coffee cantata by Bach finds an equally witty contemporary French counterpart in the cantata Le Caffe by Nicolas Bernier, while France is also represented by the viol piece Saille du caffé by Marin Marais. In London Matthew Locke’s Consort of Fower Parts, we have the sort of music he and Pepys might well have played together when they met in the Turk’s Head coffee house around 1660. The rest of the music is Turkish traditional music played either by a Turkish instrument ensemble or by Kathleen Kajioka on the violin to the accompaniment of Turkish percussion. The Bernier with its obbligato flute part is charming, while the Bach, also with obbligato flute, is very effectively dramatised by the three singers. Soprano Hana Blažíková sounds a little taken by surprise by some of the more eccentric musical phrases in the Bernier and doesn’t sound entirely comfortable in the higher passages in the Bach, but the two men help to keep things on the rails. The mixing of Baroque music and the traditional music of the east doesn’t always work, but here I feel it does so very well. In particular, Kathleen Kajioka’s violin Taksim and Wahda sound very much like the sot of music that might have been played in the cosmopolitan London coffee houses of yore!

D. James Ross

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Oratorio by Perti on French music label CD cover

Maria Cristina Kiehr Anne de Bretagne, Lucile Richardot Louise d’Angoulème, Valerio Contaldo Charles VIII, Stephan MacLeod St Francis de Paola, Concerto Soave, Jean-Marc Aymes
75:30
Lanvellec Editions LE00002

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Such is the embarrassing abundance of gifted Italian composers in the 17th and 18th centuries that the likes of Giacomo Antonio Perti, a composer of operas and oratorios, could be completely forgotten until virtually our own times. Boasting probably the longest career in the history of music, he began composing in 1678 at the age of 17 and was still composing when he died in 1756 at the age of 95! The musicologist Franco Lora has been able to ascribe this anonymous and rather curious oratorio to Perti on the basis of circumstances, style and sheer quality. Three of the four vocal parts are French Royals and the fourth is St Francis, and the music is democratically divided between all four with each receiving the same number of recitatives and arias. Surprisingly each half concludes with a duet, seemingly a convention which allowed the audience to prepare their exit! The piece demonstrates Perti’s inventive sense of melody and skill with his voices and orchestral forces. For me, the highlight of the casting is the presence of alto Lucile Richardot, whose lovely full contralto voice and innate musicality I noticed immediately before consulting the cast list. Unfortunately, the singing is not uniformly of this superlative standard – the two men are fine, but soprano Maria Cristina Kiehr sounds a little uninspired and vocally lazy by comparison. Perti’s reputation is slowly returning in the light of performances of his work, and if this piece is by him, it further enhances the reputation of a man much admired as a composer and teacher in his own very long lifetime. A star pupil of Celano, in turn the star pupil of Carissimi and in turn the teacher of Torelli and Padre Martini, he occupies a pivotal position in the development of Italian music, and like Clementi a century later, his sheer longevity and constantly evolving style ensured that he was extensively influential. 

D. James Ross

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Recording

Haydn: Organ Concertos

Haydn Organ Concertos Quinn Gent Arcangelo Cohen Chandos CD cover

Iain Quinn organ, Sophie Gent violin, Arcangelo, Jonathan Cohen
69:41
Chandos CHAN 20118

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These works date mainly from early in Haydn’s career and were probably written for performance at Esterházy. The modest demands on the organ, just manuals not pedals, mean that the works are all eminently playable on the harpsichord or fortepiano, although the pieces recorded here sound nicely at home on the organ. Particularly charming is a concerto Hob. XVIII:6 for violin, organ and strings in which the two soloists share the spotlight very equally. As the programme note suggests the plausible total of six concertos for organ by Haydn, it is odd that while we have three recorded here, a fourth is available for download – surely we were looking at a potential double album with all the concerti? Arcangelo play modern instruments, although the strings are gut-strung and the bowing and phrasing are of the period. Although this music is very affable, as with much early Haydn I’m afraid I find it rather bland and notwithstanding fine playing from the soloists and the ensemble I found myself drifting off. Lovers of Haydn’s music will warm to this more than I did, and it does fill a useful gap for me in my appreciation of the composer’s early output.

D. James Ross

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Makaris: Wisps in the dell

Makaris Classical arrangements of Scots and Irish folksongs CD cover

Classical era arrangements of traditional Celtic folk songs
67:54
New Focus Recordings FCR916

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This delightful CD offers a selection of Scottish and Irish folksongs in arrangements by classical composers. As part of the vogue in things Celtic which followed the Jacobite rising and the Ossian craze, a number of enterprising publishers in London secured the services of leading continental composers to ‘set’ mainly Scottish folk songs. In this process of ‘setting’, the angular modality of the melodies was generally ironed out, while the texts often had to be ‘civilised’ too – this would seem to us to water down the original appeal of the traditional music and powerfully raw folk texts, but this was the price of capturing the attention of the large amateur market which would make this enterprise viable. The settings by Haydn and Beethoven are relatively familiar, but the Makaris have spread their net wide and trawled in settings by Schubert, Pleyel, Hummel, Neukomm, Weber, Kuhlau, Kozeluch and Clementi. They take a free approach to the realisation of these settings, both from the point of view of instrumentation and elaboration of melodies and counter-melodies. In some accounts, a heavy fortepiano backbeat sounds a little bit of an indulgence, but elsewhere their approach definitely enhances their material. Vocalist Fiona Gillespie opts for a distinctly folky voice production, but her delightfully pure voice and subtle ornamentation represent a winning combination. Knowing many of these original folksongs, it is fascinating to hear the fingerprints of the better-known composers on their settings. Particularly striking is Beethoven’s uncompromising approach – his publisher worried that the settings would be beyond the amateurs he was targeting, but Beethoven refused to compromise! Equally charming are settings by Hummel and Weber, who fresh from the triumph of his ‘Freischütz’ is thoroughly imbued with folk melody. In a delightful touch, the band have commissioned their bass player to add to the repertoire with his own setting of ‘The Bonnie House o’ Airlie’ which takes this 18th- and 19th-century tradition firmly into the 21st century!

D. James Ross

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Schubert: Lebensstürme

Lebensstürme Schubert music for piano four-hands

Music for piano four-hands
DUO PLEYEL (Alexandra Nepomnyashchaya, Richard Egarr)
77:11
Linn Records CKD 593

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As with most other mediums in which he worked, Schubert left a large legacy of music for piano four-hands, extending as it does to some sixty works. Largely little known today, most were composed for domestic use at the ‘Schubertiads’ hosted by the composer’s Viennese friends. The present selection includes two works dating from 1818, the Rondo in D, D. 608 and the Sonata in B flat, D. 617 along with three from 1828, the year of his death: the Rondo in A, D. 951; the so-called ‘Lebensstürme’ Allegro in A minor, D. 947; and his undoubted masterpiece in the form, the Fantasie in F minor, D. 940. They are performed by the Duo Pleyel (Alexandra Nepomnyashchaya and Richard Egarr) on a beautiful Pleyel fortepiano of 1848, an instrument capable of a range extending from the massive quasi-orchestral sonorities at times asked from it in D. 947 and D. 940 to pearl-like pianissimo cascades descending from high in the treble register, D. 951, in particular, providing exquisite examples. Above all, it demonstrates across the range a variety of colour and nuance not possible to achieve on a modern piano

In the course of a brief but interesting note, Egarr quotes Schubert as claiming that there is ‘no such thing as happy music’, a highly romantic concept that the 21-year-old composer himself contradicted to a considerable extent in D. 608 and D. 617. The Rondo is founded on a perky theme with the character of a German Dance and if there are later disturbed interludes, it is the warm, poetic glow of the final episode that lingers more in the mind. Likewise, the B-flat Sonata opens with an innocuous flowing theme, played here with beguiling, unaffected charm, even if the modulations of the development do wander through unsettled, briefly stormy territory. The main theme of the central Andante con moto occupies sad, ambiguous territory temporarily assuaged by the lovely lyrical secondary idea, while the animated Allegretto offers up the opportunity for Duo Pleyel to demonstrate virtuosity with their fleet and agile fingerwork.

The main theme of the A-major Rondo, too, offers up a mood of contented innocence, perhaps redolent of one of the happier early songs in Die Schöne Müllerin, though the first episode moves to fantasia-like uncertainly. The magnificent ‘Lebensstürme’ (the storms of life) movement, cast in sonata form, displays both instrument and performers at their grandest, the big, immensely impressive sonority matched by playing of magisterial authority. The magnificent Fantasie opens with one of those heaven-sent Schubertian melodies that occupies a fragile place between nostalgic, sad reminiscence and the Elysian fields. Thereafter the work becomes an epic, twenty minutes of continuous music that veers from dance to chords as fierce and jagged as bleak mountain peaks, from playful shimmering scalic showers to a contrapuntal development of the opening theme as uncompromising as anything Bach wrote.

It should already be apparent from the above that the performances are richly rewarding. Technically near-flawless – I noticed tiny moments of blurring of texture – with a judicious choice of tempo and highly sensitive to the wide emotional range, they can be recommended without reservation. And if you don’t know the music, especially the late works, then it is high time you made its acquaintance!

Brian Robins

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The Food of Love

The Baltimore Consort perform music related to Shakespeare

Songs, Dances and Fancies for Shakespeare
The Baltimore Consort
68:04
Sono luminus DSL 92234

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It really is quite surprising that no music contemporary with Shakespeare’s plays which can be directly associated with them has survived, but this has not prevented musicians from compiling programmes based on music from the playwright’s lifetime which ‘relate’ to his plays or from just after his lifetime which reference the plays. There are some old friends here, played with imagination and sensitivity by the Baltimore Consort. They are at their most convincing when creatively riffing on some of the more traditional related material, but I found the same shortcomings as with another recent CD by the revived Baltimore Consort. Compared to the wonderful spontaneity of the vintage Baltimore recordings, the tempi here seem a bit ponderous, the ‘riffing’ a little contrived. Sadly, this may just come down to the change in personnel, and the departure of a couple of truly remarkable musicians. Even in ‘the golden days’, the group’s account of vocal music seemed its Achilles heel, and this still seems to be the case. Soprano Danielle Svonavec has a pleasantly pure voice and ornaments delicately and idiomatically, but there is something mannered and laboured about her pronunciation and presentation of the texts which makes the songs sound a little twee. I can’t help feeling that in my eyes these new Baltimore recordings suffer largely from comparison with the group’s own remarkable back-catalogue, which is possibly a little unfair, and it could be that listeners coming fresh to these recordings will be perfectly happy and, indeed, charmed by the group’s undoubted affinity with and creative approach to this repertoire. The playing and singing are technically impeccable and the recording admirably vivid.

D. James Ross

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Haydn : String Quartets opp 71 & 74

London Haydn Quartet play opp 71 and 74 complete

The London Haydn Quartet
155:52 (2 CDs)
hyperion CDA 68230

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Haydn’s opp 71 and 74 sets of string quartets were composed in Vienna in 1793 between his two London visits, and with London performances very much in mind. It is not too fanciful to speculate that the earlier London performances of some of Haydn’s op 64 quartets, the first time the composer had witnessed his quartets being presented to large audiences, may have influenced the style of the two later sets of quartets, which may sometimes seem to sacrifice intimacy in favour of a more public musicality, with boldly declamatory melodies and occasional flamboyant gestures. The London Haydn Quartet’s choice of acoustic, the relatively intimate ambience of Potton Hall, may seem to be at odds with this, and (to begin with) I found the relatively cramped sound a little off-putting. The Quartet’s superlative playing soon helped to overcome this, and the smaller bloom allows the listener to focus on their impeccable technical prowess, warm tone and perfect balance. Playing period instruments, the Quartet has also returned to the original 1796 publications of both sets, but more importantly, like their fellow period-instrument quartet the Quatuor Mosaïques, their freshness of approach allows us to experience this music as if it was new. The group was founded in 2000 with the specific aim of exploring the chamber music of Haydn on period instruments, and this delightful and packed double CD set provides wonderfully eloquent accounts of some of Haydn’s most satisfying string quartets.

D.James Ross