Tag: Baroque

Andreas Gilger harpsichord
74:32
Genuin GEN 22768

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To begin with, I think I should highlight this comparatively rare opportunity to hear a 17th century-style harpsichord (a meticulous copy of a 1681 Vaudry at A400), as opposed to the c1750 Franco-Flemish monsters we often hear even in this earlier music. They are marvellous, of course, but here there is a delicate ‘edginess’ to this timbre which I rather liked. There’s plenty of colour, though, and we do hear it all.

In the booklet (in English and German) the artist gives an account of his background thinking, tells us about the instrument and recording venue but leaves us high and dry with regards to the music. Surely at least the less well-known Du Mont and Geoffroy need a bit of an intro? In this chronologically focussed survey they rub shoulders with D’Anglebert, Chambonnières and L Couperin – the world of the 17th century claveçinistes, both printed and manuscript sources, in a nutshell.

I very much enjoyed this playing, which is both thoughtful and sparkling, with careful management of the style brisé idiom, the ornaments, the brief contrapuntal passages and the dance-based structures. At this time these can still embrace a pavane (curiously familiar and harmonically arresting) and a galliarde, though not as a pair or even by the same composer.

But ma fin est mon commencement, as an earlier age had it. The instrument is the star.

David Hansell

Cristiano Gaudio harpsichord
71:00
encelade ECL2003

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This disc ostensibly recreates the reputed keyboard competition hosted by Cardinal Ottoboni in Rome in 1709 between Handel and Domenico Scarlatti, both 24 years of age at the time. Reportedly, Scarlatti won the harpsichord leg while Handel excelled on the organ. I say ostensibly, because we do not know what music either composer might have performed, and any reconstruction is at best very tentative: it is more than likely that both composers improvised their contributions to fit the occasion. Scarlatti’s sonatas are difficult to date and choosing ‘early’ ones is tricky. Gaudio gives us ten, including some not so often recorded, which between them certainly give a good indication of the sort of music which the composer might have improvised as a young man in Rome. They do show the composer’s Italian side, less influenced by Iberian music than much of his output.

When it comes to Handel, Gaudio relies firstly on the Suite in F HWV 427 which, as well as having been published by Walsh in 1720, survives in an earlier Neapolitan manscript and shows strong Italianate influence. He also includes four toccatas from a Bergamo manuscript, which seem very unlikely to have been by Handel at all. The track listings say ‘Georg Friedrich Händel, attr. William Babell’ but there is no discussion whatsoever, in the extensive liner notes, of the manscript or its complications. In a 2018 article in Early Music, Andrew Woolley convincingly showed that these toccatas are by Babell, while perhaps reflecting the close collaboration between him and Handel during the 1710s. The fact that they are most likely not by Handel does not entirely rule out their appropriateness to the purpose of this CD. The mixture of German and Italian characteristics actually make them plausible examples of the sort of music Handel might have improvised in Rome – not the Handel of the printed Suites, or his only authenticated Toccata (HWV 586), but earlier Handel. In any case they are good pieces and well worth recording. There is also the more solidly Handelian Chaconne HWV435 (though without the introductory two-line melody and bass from the early 1706 manuscript) and, as a bonus at the end, Gaudio’s own transcription of the opening Adagio from the Sonata for Violin HWV372 (though authorship of this piece, too, is disputed). The 24-year-old Gaudio’s playing is exciting and very clearly articulated, with a strong sense of forward propulsion. It is the approach of a young man, excited by the potential of the instrument and of the musical template and, as such, highly appropriate to this project. He plays on a Mietke copy by Bruce Kennedy and an Italian-style harpsichord by the same maker, mixing and matching between the composers on each instrument. Recording quality is excellent, with a generous acoustic and a bell-like quality to the sound. It is a worthwhile and highly satisfying recording which can be well recommended.

Noel O’Regan

Fernando De Luca harpsichord
14 CDs in a card box
Brilliant Classics 96131

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At the famous audition process to choose a new Cantor for Leipzig’s Thomaskirche in 1722-3 Christoph Graupner was second choice (after Telemann) but could not obtain leave from his employer at the court of Hesse-Darmstadt and so made way for J. S. Bach. In that context it is thought-provoking to listen through the nearly fifty partitas which make up almost all of Graupner’s surviving keyboard music, recorded here by Fernando De Luca. The only other pieces here are a single short Prelude and Fugue, and an Aria with one variation. Less than half of the Partitas were published during Graupner’s lifetime, the rest surviving in manuscript in Darmstadt. All are attractive works, rich with musical ideas, but ultimately going over the same ground again and again and tending to rely on repeating trusted formulae. They seem to illustrate Andrew McCredie’s comment in the New Grove article on the composer: ‘working on a modest scale, [Graupner] was regarded more for the originality of his ideas than for their working out’. It is as if Bach continued to churn out French Suites and almost nothing else. Might a move to Leipzig have meant a different outcome for Graupner? We will never know. He was certainly amazingly prolific in Darmstadt, with over fourteen hundred cantatas and lots of other works surviving. Like Telemann, musical ideas flowed freely from his fingers and pen. The most extended of his partitas are a set of twelve named after the months of the year, each with from six to ten movements, headed by Preludes which can take a variety of forms, and continuing with the usual standard dances and various galanterien. In other suites the Allemande fulfils something of the function of an opening prelude.

This 14-CD collection is a monumental enterprise for De Luca who seems to relish such challenges.  Together with Marco da Gregorio he runs a website ‘Sala del Cembalo del caro Sassone’ which contains a whole host of recordings of keyboard music by many different composers, all recorded by De Luca.  He is clearly used to big projects and able to learn music quickly. His playing is consistent and faithful to the score, though perhaps motivated more by a desire to leave a firmly mainstream account of the works than to let in any sense of playfulness or experimentation. Fast movements can be exciting, particularly some of the Gigues; slower movements can be a bit heavy-handed and would have benefitted from some more subtlety in execution at times, though there are some fine moments and a judicious use of ornamentation on repeats. He plays on two instruments: a copy of a Blanchet (1754) by C. Caponi and copy of a Christian Vater (1738) by F. Ciocca, both of which provide opportunities for variety of registration and are pleasingly recorded. There is only very slight information in the accompanying booklet – movement lists are only found on individual CD covers; a short essay deals only in generalities with nothing much on individual partitas. The numbering follows that of the Graupner Werkverzeichnis (GWV). (Incidentally, GWV online is a mine of information about the composer and his output, editions and performances of this works.) There is much to admire about this recording project, and it is certainly very useful to have all of Graupner’s authenticated keyboard music available in one place. Listeners will want to dip in and out, perhaps taking one partita at a time, admiring both Graupner’s and De Luca’s facility and being rewarded with some attractive music confidently delivered.

Noel O’Regan