early music review

Erich Höbarth violin, Aapo Häkkinen harpsichord
119:35 (2 SACDs)
Aeolus AE10236
BWV 1014–1019, 1021–1023

[dropcap]T[/dropcap]his is a fabulously recorded set – you can hear every detail of the music without the slightest hint of breathing or other incidental sounds. The balance between violin and harpsichord (huge dynamic range afforded by the variety of sounds available to Häkkinen notwithstanding!) is expertly managed. Bach’s lines are crystal clear throughout without the excessive bite that sometimes spoils recordings of Bach’s music for this combination. While Aapo Häkkinen explores every facet of his 1970 instrument (after Hass[note]He also uses a 2011 copy of Italian models for BWV 1021, 1022[/note]), I did not feel that Höbarth was as interested in varying his colour so much. Another difference of approach was evident in the Adagio of BWV1017 where the right hand keyboard part has triplets, the left hand has even quavers and the violin dotted quavers; while Häkkinen smooths these into triplets, Höbarth tucks his semiquavers in after the third of each group. This may be an interesting effect musically, but I fear it was not what Bach intended. While there is no denying that he is master of Bach’s notes, I was not entirely convinced by Höbarth’s ornamentation either. The thoroughly footnoted booklet essay only lightly touches on the possibility of BWV 1023 having been written for Pisendel, later the Dresden Konzertmeister. In summary, this set has a fine bonus by way of three other sonatas for violin and harpsichord (some may argue that BWV 2012 and 1023 need basso continuo – i. e., a sustaining string bass), and the harpsichord playing is impeccable, but I prefer the sounds made by various other violinists. Try for yourself, though!

Brian Clark

St Florian Sängerknaben, Ars Antiqua Austria, Gunar Letzbor
52:49
Pan Classics PC 10349
+Hugl: Organ works

[dropcap]W[/dropcap]hy do musicians have to make outrageous claims for lesser-known composers? Referring to Aufschnaiter as “the Catholic Bach” is not what I would consider helpful in trying to raise the public profile of a composer whose music need only be given air time to acquire his own fan base. Anyone who goes out and buys this CD, expecting to be amazed by fabulous music they cannot believe they have never heard before is likely to be disappointed; neither by the music, nor the performances, I hasten to add, as both are perfectly enjoyable and uplifting. The programme is built around of the first of two sets of Vespers psalms published as his op. 5 of 1709, four years after he succeeded Georg Muffat as Kapellmeister in Passau. I love the sense of big open space and the combination of trumpets and sackbutts with a small vocal group (as is Letzbor’s wont) with a finely balanced string ensemble. I really would prefer just to hear the music on its own merits – it has plenty and they are gloriously realised here!

Brian Clark

Telemann, Pisendel, Schaffrath, Reichenauer, [Dieupart, Brescianello]
Radio Antiqua
59:28
Ambronay AMY305

[dropcap]R[/dropcap]adio Antiqua seem to have created a niche market for themselves. Consisting of violin, bassoon (or recorder/voice flute) and continuo, the five-strong line-up can cover lots of bases. Here they have opted for 18th-century music, including three works for the core line-up, one work each for the two “soloists” (Pisendel’s devlish C minor violin sonata and a Dieupart suite in D played on voice flute), and a “concerto” by Antonin Reichenauer in which the cello is liberated from its continuo role.

The final work on the disc, another chamber concerto, this time by Giuseppe Antonio Brescianello, is by far the most taxing. It is interesting, though, how complementary the timbres of the violin and bassoon are – the central movement of the Brescianello sees them in close imitative dialogue very much in the style of Zelenka’s trios, and is such a delight I had to listen to it quite a few times! Could this be that elusive “perfect Christmas present” for your early music friend?

Brian Clark