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Lachrimæ Lyræ – Tears of Exile

Sokratis Sinopoulos, Lacheron, François Joubert-Caillet
65:37
Fuga Libera 753

Greek Lyra meets viol consort, Greek Lyra improvises with viol consort, Greek Lyra and viol consort tackle Dowland – and this curious CD is the result. I think the most successful tracks are those on which a viol drone supports improvisations by Sokratis Sinopoulis on his Greek Lyre. For me, the accounts of the Dowland Lachrimæ Pavanes and associated Galliards and Almands with the Greek Lyre forced into the role of a treble viol just sound a bit weird. I found myself speculating that I might have found them more persuasive if Sinopolous had felt free to improvise more freely as in the ‘Greek’ tracks, but this just underlies the complete implausibility of the project. In the programme note, François Joubert-Caillet makes various attempts to tie the Lyra repertoire and his viol consort’s together under the theme of exile, but is ultimately reduced to writing that British and Greek taverns were both places in which music was listened to attentively – wishful thinking at so many levels. The playing is never less than expressive, and for all I know there may be an audience out there which has been waiting for the Greek Lyra to enlist the support of viols to tackle Dowland – I don’t think I am among them.

D. James Ross

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Teatro Spirituale (Rome, c. 1610)

Alice Fouccroulle, Reinoud Van Mechelen, Inalto, Lambert Colson
72:15
Ricercar RIC399
Music by Anerio, Cavalieri, Cifra, Frescobaldi, de Macque, Marenzio, Quagliati & anon

This charming selection of spiritual songs from early 17th-century Rome is proposed by the performers as the sort of repertoire which would have graced the Oratory of St Philip Neri, founded in Rome in 1575, and which offered a daily diet of prayer, sermons and sacred music. The singing, particularly of Alice Foccroulle and Reinoud van Mechelen, in these performances is very fine indeed and very persuasive. Director Lambert Colson makes a good case for the variation in scoring for each stanza of the songs presented, which provides for a constantly varying kaleidoscope of textures. The five vocalists and four sackbut players, with Colson playing cornett and mute cornett, are augmented by the sounds of two lirones, theorbos and archlutes, harpsichord and the splendid 1509 Montefalco organ in San Francesco in Trevi. Unfortunately a printing error in my programme notes means that two whole pages are missing, driving a bit of a coach and horses through Colson’s interesting and informative notes. The Neri Oratory’s enormous popularity meant that the size of its ‘congregation’, the quality of the performers keen to play and sing there and the scope of the compositions were all on the increase in the early 17th century, and this is reflected in the opulence of the present recording. And notwithstanding the penitential tone of much of the music, it also captures the positive and optimistic atmosphere known to prevail at these gatherings. This is an involving and intriguing exploration of mainly unfamiliar repertoire, in many cases by unfamiliar composers, and underlines the wealth of repertoire associated with the Eternal City at this time.

D. James Ross

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Recording

Vivaldi: Musica sacra per alto

Delphine Galou A, Accademia Bizantina, directed by Ottavio Dantone
59:47
Naïve OP30569

As the massive Naïve Vivaldi edition starts to reach its later stages – this is volume 59 – it is inevitable that there will be issues that have the feel of tidying-up loose ends. This is one such, a collection of sacred works including two introdutioni, solo motets that lead to a Mass section or Vespers psalm, the Salve Regina, RV 618, a brief antiphon Regina coeli, RV 615 and the Vespers hymn Deus tuorum militum, RV 612. In addition there is the Violin Concerto in D for the Feast of the Assumption, RV 582, composed, like the rest of the programme with the exception of the hymn, for the Pietà. With the exception of the motet Filiae maestae Jerusalem, RV 638, a sombre masterpiece that formed an introduction to the Miserere, none are particularly well known, though all the vocal works were of course included in Robert King’s complete traversal of the sacred music for Hyperion.

It is the two introdutioni, both designed to precede settings of the Miserere (of which there are no extant examples by Vivaldi) sung at Tenebrae in Holy Week, which form the substance of the disc. RV 638 is an especially striking work with a text concerned with the events of the Crucifixion’s ninth hour, with outer accompagnati, one of moving intensity, the other a powerfully dramatic episode depicting ‘shattered rocks’ and the renting of the veil of the Temple, framing a delicate, pain-soaked aria. The performance, as throughout the programme, is outstanding. In the aria Galou, who I continue to think of as an alto, rather than the contralto label Naïve use, sings with fluent ease and evenly produced tonal beauty across the range, displaying real insight and sensitivity for the text, while shaping the cantabile line with the utmost musicality. In the da capo her discreet embellishments are finely turned, while her husband Ottavio Dantone provides admirably well-judged and finely balanced support. In the accompagnati both find the drama inherent in the highly potent text.

Like RV 638, Non in pratis, RV 641 was also written as an introduction to the Misere and also has a text related to the Crucifixion, though the opening plain recitative seems to draw its inspiration from the Song of Songs. Here an accompagnato and extended aria are framed by plain recitatives, the final one being directly addressed to the suffering Christ as a plea for mercy. Again the aria conveys a mood of infinite sorrow, the double string orchestra effectively used to imitate cascades tumbling over each other, perhaps an illustration of the text’s ‘torrent of blood’. In the B section the winding upper strings unsupported by bass convey a sense of being lost in mystery, the playing of Accademia Bizantina absolutely lovely, the singing of Galou profoundly touching. None of the other vocal works match the motets. The hymn is a brief, simple setting for alto and tenor (Alessandro Giangrande) in which Vivaldi set the three odd verses, the even ones of which would have been sung in plainchant. Given that the disc is quite short measure it would have been agreeable to have those to form a contrast.

The finely judged gradual crescendo at the start of the Salve Regina could well be used as a fine example of the care that Dantone brings to all he does, while the long, languid melismas of the opening aria are again beautifully shaped by Galou, whose veiled tone is most effective. Again, ‘Ad te suspiramus’ (iii) turns the focus on the sheer beauty and contrasts of tonal colour of Galou’s singing, while the second and fourth section bring a sense of heightened urgency. The final vocal work, Regina coeli is sung by Giangrande, here ostensibly as an alto, though the awkward break in the voice only emphasises the fact that he is naturally a tenor, rather than a countertenor.

The Violin Concerto in D is a fine work in three movements calling for considerable virtuosity from the soloist, which it here gets from Alessandro Tampieri, whose playing of the florid passage work in the opening Allegro and the capriccio section of the final movement is outstanding. Perhaps more impressive still is the sense of hazy poetic mystery he brings to the central Grave, with its high lying line unsupported by bass and only minimal touches of accompaniment. This is a highly rewarding addition to a unique series, particularly valuable for the two motets.

Brian Robins

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Recording

Diderot: The Paris and London Albums

The Paris Album
Ensemble Diderot
65:13
ADX 13717

The London Album
Ensemble Diderot
66:10
ADX 13718

Many readers will own and still enjoy the three London Baroque recordings from ca. 2005 that explored the development of the trio sonata in England, France and Germany. They ranged widely (the English repertoire went back to Gibbons), an approach which these new releases (a Dresden-themed disc is already available) complement by focussing on the later 17th century. There is only one repertoire overlap with LB – Rebel’s Tombeau de Monsieur de Lully–- and four world premiere recordings are claimed on each disc, all of them strong pieces. Keller’s Ciaconna in G major in the London programme particularly impressed me, not least because of its unusual bass line which naturally broadens the harmonic potential of the work.

That same disc also includes three sonatas by Purcell, all very fine but also already much-recorded. Was there no other suitable repertoire of quality? It’s hard to believe that, for example, Draghi’s excellent work was just a flash in the pan. The Paris programme resists the pull of the biggest name (just one sonata by François Couperin) but does give us two pieces by Brossard (whom we perhaps think of as a man who wrote words rather than notes) which are consistently engaging, especially when the bass viol is liberated from its continuo role to become an obbligato voice in the tenor register, a device also used by Blow in London.

I do applaud the ensemble’s straightforward approach to instrumentation – the two violins on the upper parts and just a harpsichord for the continuo realisation. The bass line enjoys the finesse of a gamba in the French programme and bass violin/cello in London but would an appearance by the gamba and perhaps a chamber organ in that programme have been appropriate? The actual playing is terrific – fantastic ensemble even at high speed and excellent tuning. There are a few flourishes from the harpsichord which felt a bit 18th century but that won’t stop me splashing the stars, not least because the booklet notes are for once decently written, decently translated and useful!

David Hansell

[Editorial note: In the early days of the online version of EMR, we allocated stars to recordings so that reviewers could be clearer about where they had found virtue and where they had found it wanting. (It also gave lazy readers a quick and easy way to decide if they wanted to buy it or not!) David rarely gave five stars in any category to any recording; for these two, he awarded the full quota across the board, so while he didn’t explicitly say so, I think you could say these two disc really excited him.]

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Festive masses from Lambach Abbey

St. Florian Sängerknaben, Ars Antiqua Austria, Gunar Letzbor
66:31
Accent ACC 24358

There are obscure composers and then there are the likes of Benjamin Ludwig Ramhaufski and Joseph Balhasar Hochreither! The latter was born halfway through the lifetime of the former and, mostly on account of the prominent trumpet parts, there is not much to distinguish their music; indeed, on a blind listening, I defy even a seasoned lover of 17th-century music not to assume it’s either Schmelzer or Biber… Such is the quality of the polyphony and the lyrical ease of the melodies. Combining boy’s voices with those of six men works very well and the instrumentalists clearly enjoy the chamber music feel. Gunar Letzbor’s quest for “true sound” typically gives a dry edginess to his recordings, but here the rather warmer acoustic allows the sound to blossom a little without detracting from the detail. I have enjoyed having this CD in the car for the past few weeks – it is bright and uplifting, and I highly recommend it.

Brian Clark

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Recording

Er heißet Wunderbar!

Barokkanerne, directed by Alfredo Bernardini
67:38
LAWO LWC1169

This is a beautiful CD combining cantatas by three of the candidates for the vacant Thomascantorate with a concerto by a fourth. The one-to-a-part singing lifts the music by Fasch and Graupner to a whole new level when compared to performances by choirs who have hitherto been the only ones to champion the repertoire, especially with four such skilled singers in fine voice and instrumental partners whose lightness of touch elevates the sound even more. Cecilia Bernardini’s rendition of Telemann’s little-played Concerto in E minor with two obbligato oboes is very impressive – I swear she must use olive oil on her bow rather than resin, so even and effortless do the pyrotechnics for both hands sound (rather like a swan, serenely gliding by frantically paddling out of sight!) “Schwingt freudig euch empor” is one of my favourite Bach cantatas and this performance is right up there amongst the best I have heard.

All the more frustrating therefore to read “For who has heard of Graupner, or of Fasch, and do we in hindsight really take the nimble multi-arted Telemann all that seriously?” in the booklet notes. Such opinions are fine, but actually printing them in a booklet like this undermines years and years of work to restore these composers’ reputations even to public notice at all. And even if the note writer doesn’t have much respect, Herr Bach most certainly did, so perhaps there’s a lesson to be learned there.

And then there is “The [Fasch] cantata’s brevity (perhaps a world record here) may suggest that the performances in Zerbst were not a significant part of the service”… First, the piece in question survives in a secondary source so who is to know what had happened to it in transmission? Secondly, a letter Fasch wrote in 1752 reveals that he had been told that music was taking up too much of the services so he had to halve the length of the figural music – and in those days you did as you were told. Besides, on a major church feast, the service also included a Missa brevis with Credo, so pretty much the equivalent of three cantatas in one sitting. Not to mention a Te Deum with “unter Paucken und Trompeten”. A little knowledge is, indeed, a dangerous thing – maybe someone who actually knows about the music might be asked to contribute their next booklet essay.

Brian Clark

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Recording

J. S. Bach: Sonatas for Viola [da Gamba] and Harpsichord

Antoine Tamestit viola & Masato Suzuki harpsichord
Arrangements of BWV 1027-9, and BWV 5iii

Peter Wollny writes the liner notes to these arrangements for viola and harpsichord to make the case for rearranging gamba music for the viola, Bach’s known preferred instrument for ensemble playing. But, apart from the obvious similarities in tessitura and the fun to be had playing the gamba parts on the viola if that is your instrument, there are not many convincing arguments. We can indeed imagine JSB picking up his viola and playing one of these pieces to improve his children’s keyboard skills, but . . . 

One of the casualties of these kinds of arrangement which is perhaps most obvious in the G major BWV 1027 sonata is that the tones of the viola are so luscious that the right hand of the harpsichord – recorded rather more reticently – doesn’t really stand a chance against the viola. This is not a true marriage of equal tones, as it is on a thinner-toned viola da gamba, nor does Tamestit on the ‘Mahler’ Stradivarius of 1672 he was loaned for this recording really display much HIP awareness. It isn’t just the rubati and the fulsome tone: it’s those little give-away tricks like swelling through long notes and giving us a concernedly subservient tone for the ‘less important’ counter-subjects.

The tenor aria BWV 5iii is one of the few that is likely to have a viola obligato; though no instrument is specified the part is written in the alto clef. But however much this is a true trio sonata, the right hand of the harpsichord only becomes a true partner for a few bars at the start of the middle section from bar 69 onwards.

They are both fine players, but not well matched here. They play at A=415, but there is no information on matters like temperament. Viola players may be glad to hear these plausible arrangements, but many listeners will think that Bach’s music is best served by his chosen scoring.

David Stancliffe

 

 

 

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Recording

Schütz: Resurrection of Christ, Ostermotetten

La Petite Bande, Sigiswald Kuijken
57:00
Accent ACC 24355

Nine singers, three viol players, an organ and Kuijken, playing both violin and violone, combine to produce a splendid CD of Schütz’s Easter music. As well as the substantial Easter story (SWV 50) there is the early dialogue (SWV 443) and three other pieces that provide more motet-like settings.

By contrast with later conventions, the narrative in SWV 50 is sung against a web of viols which sustain – and occasionally improvise – chords; the effect in Kuijken’s austere but beautiful performance is not unlike a lirone. The hieratic nature of this modal declamation with its repeated and formulaic cadences contrasts with the character parts in the drama, which are almost always sung by duets or sometime trios. Cleopas alone sings with a single line, and one duet is scored with a single voice and a violin. This use of pairs of voices, with their dramatic imitative writing, chromatic harmonies and colourful characterisation bridges the distance between the Italianate world of Monteverdi’s and Grandi’s duet writing and the chamber music of the court at Dresden and Schütz’s own Kleine geistliche Konzerte. 

In chamber music of this style, all depends on the quality of the voices and the intensity of the musicians’ commitment. Both are of the highest quality here. There are no overblown gestures vocally, and no attempts to make the music sound grander with unnecessary doubling or additional instrumental parts. The voices are beautifully balanced and the tenors range from the low to the very haute-contre, blending perfectly. And the convention of using a pair of equal voices to represent the Vox Christi as well as other characters has that magical surprise-factor that two singers give when they join to represent the voice of God in Benjamin Britten’s Abraham and Isaac. The two singers in SWV 443 singing ‘Maria’ or ‘Rabbuni’ produce the same effect. Per contra, the singers in Ich bin die Auferstehung (SWV 464) and Ich weiss dass mein Erlöser lebt (SWV 393) look forward to Johann Michael Bach and the German tradition in the last quarter of the 17th century. What a great deal, geographically as well as temporally, Schütz spanned.

The texts are in German, English and French, and so is the characteristic note by Kuijken. There are no details of the instruments, pitch or temperament, but otherwise this CD is a model of clarity, quality and collaborative musicianship.

David Stancliffe

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Telemann: Oratorium zur Einweihung der neuen St.Michaelis-kirche 1762

Oratorio for the dedication of the new St.Michael’s Chruch 1762
Rahel Maas, Marian Dijkhuizen, Julian Podger, Klaus Mertens, Mauro Borgioni SmSTBB, Kölner Akademie, Michael Alexander Willens.
71:40
cpo 555 214-2

How fortunate we are to encounter another jewel in the CPO crown! To be able to hear a rather special oratorio following events from Hamburg’s eventful past. This music would probably be on a secret wish list, alone for its splendid panoply of instruments (two corps of three trumpets and drums, plus horns, flutes, oboes etc..), deployed with great inventiveness and impressive musico-pictorial flair; applied too with an ability that belies, defies even, the composer’s advanced age of 81! Added to this are the honed qualities of processional solemnity, religious reflections, and great topographical importance.

Within this fine late work, we find an inspired mind and agile quill wielded with considerable effect. This dedicatory music of just over one hour was placed within a whole series of prayers and readings lasting nearly four! The work in two parts, is split by a stunning instrumental chorale (Track 15) for six trumpets. This special oratorio was written by Joachim Johann Daniel Zimmermann, archdeacon of St.Caherine’s, someone with whom Telemann had already collaborated on several occasions, most notably the John Passion of 1745 (TVWV5:30). The background events to this special piece actually go back 12 years earlier, to the 10th March 1750, when – during a freak, violent storm – the original church was struck by ferocious lightening, hail, snow and rain, the latter seen as particular divine leniency, or possible redemption, dampening the flames, but not preventing the serious destruction of the church. This duality of mixed emotions is caught in the restorative, post-disaster aria (Track 11) “Thus grace and mercy were united” after the vividly portrayed horrors through tracks 7-10. With the wonderful aria (Track 13) the once scattered “flock” returns to the old place of worship. The lengthy (over five minutes) chorale at track 16, is to be sung by one and all of the congregation! This inclusivity is echoed in the finely measured aria (Track 18), “The Amen of your people resounds to your first, in the place consecrated by it!” The resounding “Es schallet” perfectly captured here. Track 20 captures a sense of what this all meant to the faithful Hamburgers to see their beloved and famous (iconic) St. Michaelis Church rise from the ashes and those double-edged lightening strikes; “Shall no adornment be spared…that makes your Hamburg glorious” (again)? In the quite lengthy recitative (Track 21), we hear of the monumental efforts to help bring about the re-building, and also perfectly reflected in the aria (Track 23) expounding the “Tempel” built by love, a labour of love, one could say? The music here has a really delightful, disarming effect, set in supreme contrast to the almost apocalyptic scenes heard before. The superb closing sequence starts with the magnificent aria (Track 27) with some lingering fearfulness of what happened to the previous building, yet exudes a proud sense of steadfastness until the End of days. The final two-verse chorale is adorned with judiciously applied trumpets and drums.

This is, in short, a really top-notch interpretation with Klaus Mertens and all, adding to our understanding of Telemann’s highly productive Hamburg years, through his amazing protean and prismatic musical imagination, tempered by the religious inspirations and impulses of the texts. O how lucky are we to turn a singular musical event into a multiple listening experience at the flick of a switch! Vintage late Telemann to be drunk in!

Just a final remarks:

1. Just the odd little slips in English translation, syntax goes astray (Aria Track 3), “Flock” (Track 13), semantics in line 4 (Aria 20).

2.No mention is given of the horn players? Unless there’s a missing “Horns” for the last named pair of the six trumpeters: Ute Rotkirch, Jaroslav Roucek?

3.Would have liked a touch more brightness in the recorded tone.

4.Booklet notes by Prof. Wolgang Hirschmann are studious and insightful.

David Bellinger

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Vivaldi: Arie e cantate per contralto

Delphine Galou contralto
Accademia Bizantina, directed by Ottavio Dantone
57:47
Naïve OP30584

Three secular cantatas and eight opera arias, mostly either replacements or from incomplete operas, feature on this splendidly performed but musically uneven recital that is one of two new additions to Naïve’s massive Vivaldi Edition. Much the most satisfying is Cessate, omai cessate (RV 684), a late cantata for alto and strings dating from 1734-5. Superbly dramatic, it opens with an extended highly wrought accompanied recitative structured in three parts, the central one forming a contrasting arioso. The opening aria also brings contrast between barely suppressed unhappiness and the outburst of angst at ‘Ah, sempre più spietata’ (Ah, ever more merciless). The following recitative, a dark night of the soul, is given articulation in a final ‘ombra’-type aria of driving, febrile intensity. It is music that begs for performers able to do justice to its histrionic demands. Here it finds them. Since becoming husband and wife Delphine Galou and Ottavio Dantone have benefited mutually and immeasurably, the singer from her husband’s insistence on the importance of textural communication, while the once rather tense Dantone has noticeably relaxed. The results they achieve in Cessate are electrifyingly symbiotic, every word, every bar speaking of a unity of purpose that projects a profound musical and emotional experience. Listen, for example, in the first aria, to the way already mentioned contrast is handled, Galou’s ‘Ah’, expressive of volumes of pain, the fierce string chords a metaphorical blow to the solar plexus. In the second aria Galou’s inflexion on the words ‘Dorilla, l’ingrata, morire potrò’ (my italics) sear themselves into the mind, as does the wonderfully rounded chest note on the words ‘vendetta faro’ at the conclusion of the B section. This is the pastoral chamber cantata at its most potent and highly developed. A word of praise, too, for the stylish da capo decoration which always remains embellishment rather than the re-writing of the vocal line that too often passes as ornamentation

I’ve concentrated on Cessate to an unusual degree simply because nothing else on the CD comes close to matching it. That is no fault of the performers, who are indeed to be congratulated on making as much as possible of the two occasional cantatas (RV 685 & 686) composed during the period spent in Mantua in the service of the imperial governor, Prince Philip of Hesse-Darmstadt (1718-20). Both are crumbs from Vivaldi’s table, notable for little more than the presence of braying horns in RV 686, symbolic of aristocratic hunting – and obsequious ceremonial.

The notes are by no means of the scholarly standard expected from this series, especially as regards the opera arias. We should have been told that La Candace, composed for Mantua in 1720, is a lost work of which only 11 arias survive, three of which are given here. The most winning is ‘Caro pupille’, charming as to both music and text, and here sung by Galou with affectionate fervour. It is also inaccurate to term Damira’s aria from La verità in cimento (Venice, 1720) ‘positive and reassuring’, since it is neither, being a comic aria with asides of insincere mockery. I assume it was an inserted aria, since although the note-writer informs us it comes from act 2, scene 3, it was not included in the Vivaldi Edition complete recording of La verità. And if you wonder about the unfamiliar Tieteberga (Venice, 1717), it too is now lost, the sole remaining fragment being the indifferent replacement aria recorded here.

In the context of my near-unbounded enthusiasm, a couple of minor caveats must be recorded. Although far less aggravating than at one time, Dantone is not beyond irritating mannerisms, the worst of them the mannered slowing up at cadences. His penchant for fussy continuo and intrusive theorbo twiddles remains annoying. Galou’s formidable technical arsenal would be near complete, were she to develop a proper trill. However, make no mistake – these splendidly performed and vividly communicative performances are streets ahead of what we all too often encounter in this kind of repertoire

Brian Robins