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Recording

Bach: Concertos for One, Two and Three Violins

Portland Baroque Orchestra, Monica Huggett
75:06
Portland Baroque Media PB501
BWV1041-43, 1063, 1064R

[dropcap]T[/dropcap]his CD is a fabulous showcase for the depth of talent among the Portland Baroque Orchestra’s violin sections – as well as the artistic director, Monica Huggett, no fewer than four of them take solo lines; Carla Moore plays the A minor concerto (as well as the second lines of BWV1603 and 1064R), Rob Diggins the E major concerto (and the third line in BWV 1064R), Jolianne Einem plays the top line of the D minor double and the third line of BWV1063, and Adam LaMotte plays the lower part of BWV1043. The three well-known pieces are nicely played and placed centrally in the programme. The less well-known of the “reclaimed” concertos, the D minor BWV1063, whose outer move-ments in particular are full of extremely virtuosic passages, opens the disc and proceedings are brought to a close by the other work for three violins, BWV1064R, which the Portlanders perform without ripieno violins.

Brian Clark

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Recording

Agrippina

Ann Hallenberg S, Il Pomo d’Oro, Riccardo Minasi
74:34
deutsche harmonia mundi 88875053982
Arias by K. H. Graun, Handel, Legrenzi, Magni, Mattheson, Orlandini, Perti, Porpora, G. B. Sammartini & Telemann

This is a delectable disc.

Ann Hallenberg has a tremendous technique and a fine eye for unusual repertoire (her 2012 Hidden Handel disc with Alan Curtis is a particular personal favourite). This time we have an extremely clever selection of operatic arias written around the formidable characters of Agrippina and her eponymous sister and daughter, none of whom one would care to meet on a dark night in the Forum!

The music ranges from late 17th-century continuo accompanied Legrenzi to galant Graun – the second of whose arias, “Mi paventi il figlio indegno”, is a real show-stopper, with blazing brass and an absolutely breathtaking display of perfectly-even coloratura, as Agrippina heaps scorn on her unworthy son. Other highlights include some delicate bel canto from Porpora, and Sammartini’s dramatic “Deh, lasciami in pace” with its B-section closely following the text’s contrasting affects.

The centrepieces of the recording, however, both physically and musically, are the three Handel excerpts. Hearing them in this context, one is forcibly struck (as were the Venetian audiences of 1709) by their astonishing originality and dramatic power. “Pensieri”, with its jagged unison strings and keening solo oboe, still chills to the marrow – notice how its third and final refrain is condensed and concentrated as Agrippina makes up her mind. And who could resist the foot-tapping rhythm of “Ogni venti” or the catchy melody of “L’alma mia”?

Minasi and Il Pomo d’Oro provide splendidly spirited accompaniments, though a couple more upper strings would have been even better- they are sometimes a little outshone by the brass!

Alastair Harper

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Alastair added re: performance: “would have been 5 with more strings!”

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Recording

Rameau: Castor & Pollux

Colin Ainsworth Castor, Florian Sempey Pollux, Emmanuelle de Negri Télaire, Clémentine Margaine Phébé, Christian Immler Jupiter, Sabine Deveilhe Cléone, Philippe Talbot un athlète, Virgile Ancely le grand prêtre, Ensemble Pygmalion, Raphaël Pichon
139:31
harmonia mundi HMC 902212.13

[dropcap]A[/dropcap]s with Mozart, so with Rameau. When you’ve heard several operas (or even the same one several times) it’s easy to forget how brilliant they are. However, this recording offers a stimulus for renewed admiration by using the 1754 re-working of the 1737 original, apparently with the benefit of ‘recently discovered’ manuscript material. I must say that I do prefer this – shorn of the prologue, much recitative and with arguably a clearer and tauter storyline. And the music is sublime – noble, jaunty or outright jolly as required and sometimes spectacular: try the Athlete’s air (CD1 track 25). The booklet (Fr/Eng/Ger) offers an essay that explains the context of the 1754 version, a synopsis and full text/translation cued to the track list and the performance does not disappoint with both singers and players finding inspiration in Rameau’s genius. Yes, there’s occasionally an excess of vibrato or percussion but a non-reviewer might not even notice, such is the general sweep of the action, and the general standard, especially for a live recording, is remarkably good. I just wish it were a DVD of a staged performance. For that you need the Christophe Rousset account but be warned – the production will definitely not be to all tastes.

David Hansell

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Recording

Christian Ernst Graf: Five String Quartets

Via Nova Quartett
61:13
cpo 777 865-2

[dropcap]T[/dropcap]here are five works on this CD; three are from the composer’s op. 17 set “à Deux Violons, Taille et Basse” and played with harpsichord continuo, and two quartets without opus number (though given numbers 4 in D and 6 in F), played as string quartets. The booklet notes (which are fine, though all the politcal background to the House of Orange got a little much for me) do not give a date for publication of op. 17, nor whether the “Basse” part has figured bass, which might justify the Via Nova’s choice to add harpsichord – I suppose the record company was responsible for the titling of the CD. (The bass part of his six flute quintets, op. 8, does include figures…)

Be that as it may, the playing on the disc is outstanding – the beautiful sound (especially from the first violinist in the very high passages) is unrivalled in any period instrument playing of this repertoire I have ever heard. The balance between the instruments is exemplary as is the way in which the recording engineer has faithfully captured the whole range of sound. On this evidence, Graf’s chamber music really deserves to be better known – listen to the last track on the disc to hear some really original ideas (unless you count Biber!) I don’t know how much of the final results is down to “good genes” – three members of the five-part quartet are from the same family! I look forward to hearing much more from them.

Brian Clark

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Recording

Cavalli: L’Ormindo

Sandrine Piau L’Armonia Martin Oro Ormindo Howard Crook Amida, Dominique Visse Nerillo, Magali Léger Sicle, Jean-François Lombard Erice, Stéphanie Révidat Erisbe, Karine Deshayes Mirinda, Jacques Bona Hariadeno, Benoit Arnould Osmano
131:10 (2 CDs)
Pan Classics PC 10330 (© 2006)

[dropcap]T[/dropcap]here is a dearth of recordings of L’Ormindo, only this version recorded in 2006 and the old Raymond Leppard Glyndebourne arrangement dating from 1967. Perhaps the success of the staging of the Royal Opera’s English language version under Christian Curnyn at the Globe has encouraged the publishers?

This is quite a stylish performance, recorded in Paris in 2006, and I believe released originally on Pan; downloads from this are still available and feature Sandrine Piau prominently on the sales pitch, who however only sings the much-ornamented Prologo as Harmonia. The continuo group including an organ, two harpsichords, just one chittarone, harp and guitar provide a varied texture in the narrative exchanges; and two violins, two violas da gamba and a violone form the five part ritornelli. The clefs for the middle parts in the score are alto and tenor, and Monteverdi normally calls for viole da brazzo: are gambas right here? Sometimes the score provides worked-out ritornelli in the arias, but occasionally I hear the strings ‘improvising’ with the singers – a euphemism for being written in to the score Leppard-style where there are some blank staves from time to time. This and a number of cuts make it hard to follow in the on-line facsimile available from the Biblioteca Marciana in Venice. The timing of the BBCs Globe broadcast runs to 180:15, while these two CDs last for 131:10. No details of the performing edition – how it was created, who edited it, what editorial principles were used, how decisions were made – are recorded in the liner notes, which are slender in the extreme and largely taken up with introducing the listener to the complex plot. There is nothing about the performers, or the circumstances of the recording in Paris in June 2006. As the only recording with any gesture towards HIP, this is disappointing.

Among the singers, Dominique Visse has the cameo part that suits his voice and the kind of camp stage presence he has created for himself. In Nerillo, Amida’s page, he exploits this to the full. The action however is dominated by the female roles of Erisbe and Sicle, both sung beautifully by Stéphanie Révidat and Magali Léger. These two soprano characters run the plot, and it is right that they should come across more strongly that their two male lovers, Ormindo and Amida. Ormindo really needs to be sung by an haute-contre, not an alto as here. But all the voices have a lyrical quality, and they have certainly got their minds and tongues round the occasionally fast-moving Italian, so I guess this is the fruit of a well-prepared staged version.

As the plot develops, we get some fine exchanges, and the laments and lovers’ partings as they drink what they believe to be poison are sung passionately yet clearly. The drama in this production – aided by some pruning – moves the music along at a good pace; only occasionally was I aware of some awkward changes of key, and some of the blank staves are filled – for example in Erisbe’s “Ah questo è l’imeneo” – with a questionable violin part.

But lovers of Cavalli and students of the beginnings of the Venetian opera house and its early productions will be glad of this performance, despite my reservations.
David Stancliffe

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Recording

Bach: Motets

Saint Thomas Choir of Men & Boys, Fifth Avenue, New York, John Scott
68:34
Resonus 10152
BWV [Anh.] 159, 225-230

[dropcap]T[/dropcap]hese performances were taped during sessions in May 2012, 2013 and 2014 with the same “men” (seven altos, ten tenors and eight basses) but a slightly different group of two dozen or so boys and three different organists, though the same cello and violone players. As a full-time church choir singing five services every week, and under the guidance of the former director of music at St Paul’s in London, they are a well-oiled machine which performs these masterpieces with self-assured gusto. The “chorale arias” are carefully shaped (one can almost hear the conductor’s hand waving in the air), much thought has gone into deciding which phrases should or should not be “sung through” (and ensuring that sufficient breath is reserved for the final long notes!) and the texts (and their meanings) come across clearly. There are very occasional technical imperfections – the devilish lines of some of the faster sections lack clarity, for example – but the overall impression is positive indeed. John Butt’s booklet essay is – of course – excellent.

Brian Clark

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DVD Recording

Biagio Marini & Antonio Vivaldi a Vicenza: Cantate e Sonate da camera

Giuseppina Bridelli, I Musicali Affetti, Fabio Missaggia
58:49
Tactus TC590004 (DVD)

[dropcap]T[/dropcap]his DVD not only features a recital of two alto cantatas by Vivaldi (Cessate omai cessate and Amor hai vinto) and four works for strings by Biagio Marini, but it also includes visuals of the fine palazzo in Vicenza where the recording was made. Both composers were associated with the city at various points in their careers; Marini as maestro in the cathedral, Vivaldi as composer of and violinist in the 1713 premiere of Ottone in Villa and his oratorio Il battaglia navale (the latter in a church 100 metres from the afore-mentioned palazzo!) Giuseppina Bridelli has a wide-ranging and agile voice, well suited to the dramatic nature of the texts and the technical demands of Vivaldi’s music; she does well not to be distracted by the camera, and the sound engineer does a great job of taming the expansive acoustic. The two violins and viola are joined by a continuo team consisting of cello, plucker and harpsichord. Missagia’s introduction to the location and the music (especially his passionate advocacy of Marini’s music – the group is named after his first publication) is very enjoyable and really enhances the experience.

Brian Clark

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Bach: Lutheran Masses I

Hana Blažíková, Joanne Lunn, Robin Blaze, Gerd Türk, Peter Kooij SScTTB, Bach Collegium Japan, Masaaki Suzuki
65:30
BIS-2081 SACD
BWV235-238, 240-242, Anh. 26

[dropcap]T[/dropcap]he interest for me in this well produced CD which has all the quality we expect from Suzuki’s forces is not only in the two Lutheran Masses, of which there are already a number of recordings like the recent one by the Sixteen or the earlier and matchless OVPP version by the Purcell Quartet (1999), but in the additional movements which have rarely been recorded – four settings of the Sanctus BWV 240, 241 (after Kerll), 238 and 237 – and the Kyrie in C minor based on Durante with the Christe in G minor BWV 242. These are presented as part of Suzuki’s mopping up operation, and have an interesting blend of scoring. They show Bach exploring styles of writing – some very dense vocally – which illuminate the way he developed the clarity of his mature style from the models which he reworked. On many occasions Bach must have used other composers material either straight or adapted in some way in his regular presentation of Sunday music. Some of this material shows him at work, and I’m grateful for these typically illuminating performances.

David Stancliffe

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Recording

Handel: Suites for Harpsichord volume 3

Gilbert Rowland
129:10 (2 CDs)
divine art DDA21225
HWV426, 440, 442, 445, 447, 448, 449, 451-3

[dropcap]T[/dropcap]hough renowned in his day as a keyboard virtuoso, Handel’s own music in this medium is relatively little known, and beyond the ‘Eight Great Suites’ of 1720, surprisingly seldom performed today. This double-disc release, (which I see from the notes is the third to appear) is thus doubly welcome. Gilbert Rowland has assembled a beguiling programme, ranging from the early suites in D minor (HWV 448) and G minor (HWV 453), via the first of the Great Suites (HWV 426), to the final ones in D minor (HWV 447) and G minor (HWV 452) written in 1739 as exercises for Princess Louisa, daughter of George II. Though all sharing the ‘suite’ title, the individual movements are wonderfully varied; in addition to the standard Allemandes, Courantes and Gigues, there are extended French Overtures, Sarabandes, Menuets, Airs and an astonishing Chaconne, with no fewer than 62 variations, to finish the recital. All posess the characteristic Handelian blend of melodic charm and harmonic substance.

Gilbert Rowland is a persuasive performer. His realisations of the chordal preludes are extremely convincing, and he decorates and varies reprises as the ‘Caro Sassone’ himself might have done. He plays a fine 2005 harpsichord by Andrew Wooderson, after Goermans (Paris 1750).

Alastair Harper

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Recording

Telemann: Trios & Quartets with transverse flute and viola da gamba

Bassorilievi
76:59
TWV42: c6, F5, g7, g15, a7, h4 & 43: C2, h3

[dropcap]I[/dropcap]t can surely be no coincidence that the vast majority of Telemann’s music for this combination survives in Darmstadt – there must have been players there who inspired the composer; further, there must be a reason why the most of them are in minor keys (five out of six!) The two quartets (both called concerto in the sources) add a bassoon to the mix. The booklet notes (a convoluted affair whose absolutely pitiful English translation is a hard going) suggest that the plaintive sounds of the gamba (here often coloured with the style of vibrato I associate with the French school) blend effortlessly with those of the flute, and on the evidence of this rather glorious recording I would have to agree. The continuo section includes theorbo, cello, violone and harpsichord and manages to create a rich backdrop for the “soloists” without ever sounding fussy or intrusive. In fact, this is among the nicest recital of this repertoire I have heard – and it claims (albeit with an “as far as we know” caveat) a world premiere of TWV42: F5.

Brian Clark

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