Tag: Baroque

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Stradella: Complete Violin Sinfonias

Stradella: Complete Violin Sinfonias

Ensemble Giardino di Delizie, Ewa Anna Augustynowicz
125:31 (2 CDs in a single jewel case)
Brilliant Classics 96079

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This double CD set presents all 12 of Alessandro Stradella’s Violin Sinfonias and two of his Sinfonias a tre played by Ewa Anna Augustynowicz, who also directs a continuo ensemble of cello, archlute/guitar/theorbo and organ/harpsichord. In keeping with the music of a man who knew how to live dangerously, there is a wonderful almost improvisatory spontaneity about these performances, which incorporate inspired ornamentation. In the Sinfonias a tre, in effect trio sonatas, the archlute takes the second melodic voice while the organ plays continuo, an approach which works very well indeed. Instrumental music is only a very small part of Stradella’s output, but his confident writing for this chamber ensemble with its vividly wayward approach to harmonic progressions and mercurial changes of rhythm is wonderfully engaging, especially when played with such imaginative musicality as it is here. Augustynowicz plays a warm-toned and declamatory Baroque violin by the Ravenna maker, Marco Minnozzi.

D. James Ross

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Florish in the Key

Florish in the Key The solo violin in London 1650-1700

The solo violin London 1650-1700
Peter Sheppard Skæved
72:48
athene ath 23211

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This CD relies on several elements – firstly the activities of the 18th-century musical publishing magpie, John Walsh, who between 1700 and 1704 produced Preludes or Voluntarys – a Variety of Compositions by all the Greatest Masters in Europe. In a period in London which saw an insatiable appetite for music for the talented amateur to work away at on his own, which at the same time could open his mind to the wider potential of Europe, this collection enjoyed considerable success. Secondly, by borrowing from the best composers at the time, Walsh ensured that the quality never faltered. Thirdly, Peter Sheppard Skaerved’s imaginative accounts of the music on a wonderful 17th-century violin, the Charles II, at one point a feature of one of Charles II’s violin bands, using a little early baroque bow by Antonino Airente, are lovely airy readings, lightweight but eloquent. And fourthly, Skaerved’s comprehensive programme note evokes the period context of the music superbly. Finally, there is the choice of programme – after an engaging selection from the Walsh publication, Skaerved chooses to end the CD with a tribute to the great 17th-century violin virtuoso, Thomas Baltzar, on a wonderfully mellow 1629 Amati violin. A CD which could so easily have degenerated into the experience of the neighbour of an aspiring early 18th-century gentleman violinist constantly practising, turns out to be so much more – both a genuinely intriguing musical journey and a fascinating window opened on the world of the early violin.

D. James Ross

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Vivaldi: Cantatas for soprano 1

CD cover Vivaldi cantatas for soprano 1 Arianna Vendittelli

Arianna Vendittelli, Abchordis Ensemble, Andrea Buccarella
62:42
naïve OP7257

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It cannot be stressed too often just what an extraordinary project Naïve’s complete Vivaldi Edition is. With their striking, sometimes bizarre covers featuring models – this one a very 21st-century young woman adorned with a ruff and blossom in her tousled hair – each CD adds to a total of issues that with this addition devoted to soprano cantatas reaches volume 68.

By definition the Edition has introduced many new works to the catalogue, but Vivaldi’s 30-odd cantatas have in general been reasonably well represented on record and all six here (RV 650, 652, 669, 667, 660 and 665) are or have been previously available on CD. That is not to detract from the present issue, which, while not flawless, has a great deal to recommend it. Not the least of the appeal comes from the beguiling quality and personality of Arianna Vendittelli’s soprano, which heard at its best gives to these pastoral cantatas of love in its various guises an empathy and seductive warmth that is irresistible and frequently touching. Ornaments are neatly turned and passaggi negotiated with an agile ease, though I fear as so often it is necessary to report there is no convincingly articulated trill to be heard, though Vendittelli deserves credit for at least attempting this most elusive, but essential of decorations.  

If only that were the whole story, but sadly it is not. In common with so many singers today Vendittelli exercises less than perfect control over her higher register, which is too often unevenly produced. This is particularly in evidence in the most ambitious and outstanding of these cantatas, ‘Sorge vermiglia in ciel, la bella Aurora’ RV 667. In four movements alternating recitative and aria, it is, as it not uncommon, the complaint of the lover whose affections are not returned but who will still remain faithful to the loved one, in this case Sylvia. The passion and fervour are barely contained and the cantata, which concludes with a full-blooded aria di furia was obviously written for an exceptional virtuoso castrato or soprano, with expansive often awkward vocal leaps in all four movements. The opening recitative allows Vendittelli to reveal impressive chest notes in the lower register, but in the aria ‘Nasce il sole’ the lack of control is cruelly revealed, with the difference in volume between the chest notes and upper head notes running counter to everything we know about the technical requirements of the day (cf. Tosi). Yet what is disappointing is that both here and elsewhere Vendittelli shows she has a lovely mezza voce perfectly capable of ‘touching’ (Tosi’s word) upper notes. There’s an especially noteworthy example in the final aria, ‘Vedrò con nero’ from the delightful lighter cantata ‘La farfalletta s’aggira al lume’, RV 660. Here the word ‘splendor’ is positively caressed on its final appearance with each repetition. I relish, too, the undulations of the B section of this aria, with their little hints of portamento.

The singer is given well-played continuo support by the members of the Abchordis Ensemble (here harpsichord or organ, cello, chittarone or archlute) and bassoon (in slighter RV 669 and 665), but it is not always tastefully judged. This applies particularly to movements where the plucked instrument is given full reign to make a tiresomely over-intrusive contribution, while the introduction to the opening aria of RV 660 sounds positively twee rather than capturing Vivaldi’s delightful evocation of flitting butterflies and meandering bees. Nonetheless, and as stressed above, Vendittelli brings to these cantatas much that is to be cherished and relished. For that reason the CD is welcomed as yet another valuable addition to the Vivaldi edition.    

Brian Robins

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Fantasia Bellissima

CD cover of Fantasia Bellissima Hofstötter

The Lviv lute tablature
Bernhard Hofstötter lute
41:51
TYXart TXA18115

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The city of Lviv, one of the main cultural centres in Ukraine, has had many names over the years, including the Polish Lwów, German Lemberg, and Russian Львов (Lvov). The University Library has in its possession a manuscript (UKR-LVu 1400/I) which contains music notated in French and Italian lute tablature. This manuscript, referred to by Bernhard Hofstötter as “The Lviv Lute Tablature”, is the source of the music for the present CD. Confusingly, in the CD liner notes Kateryna Schöning refers to the book as the “Cracow Lute Tablature”. An early owner of the book, Schwartz-An[drzej] Czarny, wrote in the manuscript that he was from Crakow, and gave the date 1555. The watermarks show that the paper was made not far from Crakow. A description of the lute music with incipts may be seen on line at  – Piotr Poz´niak (Cracow), ”The Kraków Lute Tablature: A Source Analysis”, Musica Iagellonica, (2004) ISSN 1233–9679. This manuscript is not the same as “The Cracow Lute-Book”, vol. 2 of Valentin Bakfark Opera Omnia, ed. Homolya István and Dániel Benkö, (Budapest: Editio Musica Budapest, 1979), which is a modern edition of a printed source: Valentin Bakfark, Tomus Primus (Crakow, 1565).

Bernhard Hofstötter claims that his recordings of pieces from the Lviv lute book are “World Premiere Recordings”. You could argue that Oleg Timofeyev beat him to it back in May 2011 with his recording, The Lviv Lute (Sono Luminus DSL-92134) recorded on 21st May 2011, with 19 pieces from the manuscript. However, Timofeyev’s recording is with his group Sarmatica, and the music has been arranged to be sung and played by various instruments. Hofstötter plays the music, albeit with some artistic licence, as it is in the manuscript, intabulated for solo lute, so I think his claim could be justified. He plays a 7-course lute after Vendelio Venere by Renatus Lechner, which is very bright in the treble (either that or the recording engineer makes it bright).

The first and last track, “Tarzeto”, consists largely of variations over the ground IV, V, I, I. To create extra excitement Hofstötter starts strumming that chord sequence about half-way through, and speeds up towards the end. To some listeners, strumming may seem out of place for the lute, yet there are occasional examples in extant lute sources, e.g. Hans Newsidler’s “Gassen hawer” (1536). It’s a matter of taste, of course, but I would prefer not having Hofstötter’s extra excitement. I think the piece is fine as it is, and does not need turning into something resembling Gaspar Sanz’s well-known Canarios for baroque guitar. A facsimile of the music (ff. 31r-31v) may be seen on line in Piotr Poz´niak’s article cited above. There is no strumming notated in the manuscript. Hofstötter’s oft-repeated IV, V, I, I sequence actually comes only twice at the end of the piece in the manuscript, not numerous times at the beginning as he plays it. As notated, it’s a nice piece, rather like a calata by Dalza on a good day.

There are three fantasias by John Dowland in the Lviv manuscript. Track 2 is an upbeat interpretation of Fantasia no. 6 (Poulton & Lam). Hofstötter understandably looks for ways of making the music expressive – adding occasional ornaments (good), rolling chords, e.g. the second chord of bar 7 (effective in enhancing the following 7-6), easing off in bar 21 (nice, because it helps a change of mood), and bringing the music to an overdramatic stop in bar 23 (not nice, because it loses momentum). One thing I really do not like is the exaggerated séparé of four two-note chords in bars 3-4. It interrupts the flow (one of each séparé pair must by definition be out of time), and it obscures the two-part polyphony.

Hofstötter plays 19 pieces altogether. (There are twenty tracks, but Tarzeto appears twice.) Some are very short. Passo e mezo (track 11) lasts a mere 24 seconds, although it makes musical sense when followed in the next track by a matching Saltarello (52 seconds of which the last 12 seconds are silence before the next track starts). Scattered among the jolly dance pieces are some song intabulations – Claudin de Sermisy’s “Le content est riche”, Pierre Sandrin’s “Doulce memoire”, Jacquet de Berchem’s “O s’io potessi donna”, and Clément Jannequin’s “Or vien ça, vien”. Valentin Bakfark’s “Non dite mai” with its title looks like a song intabulation, but it is a galliard. A modern transcription may be found in vol. 3, pp. 51-2 of the Bakfark edition mentioned earlier.

There is much variety. Strumming returns in a setting of La rocha el fuso, but it is used sparingly – just for the fast repeated chords of one section. It is very effective, and I think appropriate here. Particularly pleasing is Hofstötter’s performance of Giovanni Pacoloni’s well-named Fantasia bellissima, which is used for the title of the CD. There is a slowly-paced rendition of Dalza’s Pavana alla Ferrarese – the tempo has to be slow if only to be able to fit in all the fast notes at cadences and elsewhere. From a later age comes Dowland’s Forlorn Hope Fancy (Poulton and Lam, no. 2) with its lugubrious descending chromatic motif. All in all, the Lviv lute tablature is an interesting source, not widely known even in the lute world. Hofstötter has done well to bring it to our attention with a lively and pleasing performance.

Stewart McCoy

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Eccles: Semele

CD cover Eccles Semele Academy of Ancient Music Cambridge Handel Opera Julian Perkins

Anna Dennis, Héloïse Bernard, Aoife Miskelly, Helen Charlston, Bethany Horak-Hallett, Rory Carver, James Rhoads, William Wallace, Jonathan Brown, Richard Burkhard, Jolyon Loy, Graem Broadbent, Christopher Forster, Academy of Ancient Music, Cambridge Handel Opera, Julian Perkins
121:27 (2 CDs in a triptych in a folder with a hardback booklet)
AAM012

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John Eccles has been the victim of historical bad timing. Following immediately after Purcell, on whose operatic writing he built very directly, his operas, and Semele specifically, were utterly overshadowed by the arrival in London of Handel. Handel’s own Semele served specifically to eclipse Eccles’s, which had to wait until the 1960s to receive its first performance. By this time the manuscript was incomplete, but it soon became apparent that this was one of the great ‘what-ifs’ of English music. Had Eccles’ Semele, setting a libretto by Congreve no less, been performed in the early 18th century, and earned him the accolades they both deserved, might truly English opera (in English and in the English tradition established so promisingly by Purcell and Blow) have survived to compete with Handel’s Italianate offerings? It is fascinating to hear the degree to which Congreve and Eccles choose the truly tragic route through the familiar myth, while Handel takes a generally more lightweight approach. Eccles Semele has been recorded before, but the present Cambridge Early Music package, with its extensive collection of related essays and a line-up of superb soloists from the Cambridge Handel Opera and the ever-excellent Academy of Ancient Music truly puts Eccles’ opera on the map. The dramatically powerful and musically persuasive performance is directed by Julian Perkins, who at the opposite end of the scale has delighted audiences up and down the country with his clavichord playing, here conducts with considerable authority. There are few Baroque performers who have not dabbled in the music of John Eccles – perhaps sometimes even initially due to his novelty name – and been impressed with his musicality, but his Semele demonstrates an altogether more impressive level of inspiration and musicality. My one slight reservation about this otherwise exemplary issue is that the one or two ensemble items sound a little too ‘close’ and vocally competitive. Otherwise, I think you can tell that these are young singers who are used to staging the opera of this period, and if the Eccles hasn’t yet made it to the Cambridge boards, the sense of unfolding drama is palpable on these two intense and engaging CDs.

D. James Ross

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Purcell: Birthday Odes of Queen Mary

CD cover Purcell Birthday Odes of Queen Mary Robert King

The King’s Consort, Robert King
77:10
VIVAT 122

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There are few ensembles more familiar with the music of Henry Purcell than the King’s Consort under the direction of Robert King. After establishing the link back to pioneering performances by David Munrow, featuring James Bowman, in which King sang as a boy, he alludes to how musicology has provided us with an ever clearer picture of just how this music would have been performed in Purcell’s own day. The smaller instrumental and vocal forces are evident on this beautiful recording – two each of sopranos, altos, tenors and basses cover the solos, duets and the chorus parts, while two each of violins, violas and bass violins along with two oboes, recorders and trumpets with a continuo group of harpsichord/organ and theorbo make up the orchestral component. The Odes featured are Arise, my Muse (1690), Love’s Goddess sure was blind (1692) and Celebrate this Festival (1693) – in fact, the numbering of the items in which the trumpets participate is wrong in the programme list – for 2 read 3 and for 3 read 1.) However, in all honesty, this is the only tiny flaw in an otherwise exemplary package. As usual, King has assembled a first-rate line-up of specialist singers, and the singing of all eight is an utter delight. Exquisite phrasing is complemented with deft and utterly idiomatic ornamentation in every case, while the choruses are given equally detailed treatment, and the instruments in turn complement this with their own superlative level of musicianship. As a result, the often frankly silly libretti can be overlooked in the light of such stunning music-making. We even have time for an ‘in joke’ in the mock rage with which the ground bass of May her blest example in Love’s Goddess sure was blind is presented here, alluding to the story of a piqued Purcell using the tune Cold and Raw after the Queen had previously preferred it to his own music. The choice of a pair of recorders for Sweetness of Nature in Love’s Goddess sure was blind for which the instrumentation in the imperfect source is ambiguous, is inspired, but then when I went back to Munrow’s 1976 recording, this was his solution too. The many vocal and instrumental highlights in this recording are too many to enumerate – suffice it to say, I loved this CD, and can hardly imagine more convincing performances of these three lovely pieces.

D. James Ross

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Bach: The Art of Fugue

CD cover Filippo Gorini Bach The Art of Fugue

Filippo Gorini piano
97:11 (2 CDs in a card triptych)
Alpha 755

It is a little odd to find this series of performances of Bach played on the modern grand piano by a succession of young players on the Alpha label, the home of impeccable historically informed (occasionally controversially so) performances. For my full views on Bach on the modern piano, please see my recent review of Bach: The Well-tempered Clavier Book 1, played on the piano by Aaron Pilsan also on Alpha. I won’t rehearse old arguments here, except to point out again that The Art of Fugue constitutes something of an exception to my HIP preference for period instruments. This enigmatic collection, as far as we can understand conceived by its composer as truly abstract music for the appreciation of connoisseurs and not tied in his mind to any particular instrument, transcends its time. As a result, it is played in our times on a variety of instruments and by different ensembles and still has the power to mesmerise. Thus too, these beautifully understated accounts on two CDs by Filippo Gorini beguile and charm in equal measure. I almost found myself admiring Gorini’s ability to bring out individual lines in the texture, something which Bach could not have done on any of the keyboard instruments of his time, but which a small chamber ensemble most certainly could and would have done – and which of course the eye, and the mind’s ear, of the educated connoisseur would also naturally have accomplished. If you like your Bach on modern piano, this surely must be the sort of performance you would want – wonderfully free from pianistic effects, elegantly understated and technically perfect.

D. James Ross

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Con arte e maestria

CD cover Con arte e maestria Oliver Webber

Virtuoso violin ornamentation from the dawn of the Italian Baroque
Monteverdi String Band In Focus, Oliver Webber, Steven Devine
78:45
resonus RES10282

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It has become apparent that Italian music composed towards the end of the 16th century and in the early part of the 17th century was almost invariably intended to be lavishly ornamented in performance. Tantalisingly, but also mercifully for players aiming for historically informed performances of this repertoire, some composers and players occasionally wrote out the divisions they were clearly using all the time, while a number of theoreticians wrote treatises with examples of ornamentation. One such, the Selva di varii passagii by Francesco Rognoni, gives us the heading for this CD as the title ends con arte e maestria. The violinist Oliver Webber and keyboard player Steven Devine, individually and together, apply these treatises to a variety of appropriate pieces, as well as performing versions of works which have survived in ornamented forms. In addition, Webber supplies a couple of improvised showpieces ‘in the style of Bassano and Monteverdi’ – there can be little doubt that once the early violin virtuosi had mastered the art of ornamentation, in a sense recreating the original works, they would have been emboldened also to improvise more freely in the style of the time, as we know for a fact all the great keyboard masters did. I still remember my astonishment at leafing as a student through Ganassi’s Fontegara, a guide to ornamentation from the earlier 16th century, with its blizzards of scales and other written-out ornaments, including trills in thirds and fourths – who does those? While we can never be absolutely sure how performances sounded in the historical past, Webber and Devine have done an excellent job of thinking themselves back into the role of early Baroque virtuosi, and their performances of this repertoire, encrusted with ornamentation, is musically convincing and thrilling. The nearest parallel to this ‘living art’ of ornamentation must be the aleatoric nature of some jazz idioms, but of course the difference is that we can hear how the latter worked in performance. Webber and Devine apply their consummate technical skills and flawless musical instincts to bring this vital performance technique vividly back to life – and with considerable ‘art and mastery’. 

D. James Ross

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Ich schlief, da träumte mir

Anne Marie Dragosits Ich schlief, da träumte ich

Anne Marie Dragosits harpsichrod
65:00
encelade ECL 2002

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This imaginative programme of movements associated with sleep and night-time in general from the late Baroque period features a wonderful harpsichord by Christian Zell and the equally impressive playing of Anne Marie Dragosits. Some purists may object to her extraction of individual movements from larger works by these German composers, but in reality many of these are pieces which are rarely played in their entirety anyway, and I found myself more intrigued by their shared and contrasting moods and idioms than by their lack of musical context. If sometimes the mood is slightly ‘souped up’ by Dragosits’ occasionally mannered presentation and changes of stops in mid-piece, I found myself less critical of this than you might expect, and by contrast I was engaged by the range of timbres she found in her remarkable instrument. Also, we shouldn’t underestimate the avant garde nature of some of this music from the late Baroque, a period when keyboard composers particularly were experimenting with unexpected harmonic progressions and melodic lines – perhaps they too were keen to emphasise these features in their performances. It was curious to find the constituent materials of the harpsichord – ‘diverse wood and metal, ivory, tortoise-shell’ (both mercifully long dead) – listed in the notes, but as the several illustrations in the booklet reveal this is a stunningly handsome instrument to look at as well as to listen to.

D. James Ross

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Lully’s followers in Germany

Lully's followers in Germany

El Gran Teatro del Mundo
68:24
Ambronay AMY314

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At first glance it may seem odd to have a Telemann ouverture-suite alongside works by the first-wave of lullists in germanic lands, but this is a perfect lesson in musicology, where the date that a work was copied does not imply its actual date of inception. This particular suite (TWV55: Es4) belongs to a small handful to have been transmitted through keyboard settings, some just a few movements (TWV55: E1 and E2) that long pre-date the copied versions; here we know that Bach’s eldest brother, Johann Christoph made a complete keyboard copy in the “Andreas Bach book” c.1708-12. Thus, the original may be from Telemann’s student days in Leipzig (1701-5) or when he was in the employ of count Erdmann von Promnitz at Sorau (1705-8). Compilations of Lully’s works first began to appear in 1682, when Jean Philippe Heus published two collections called: Ouvertures avec tous les airs, extracts from Cadmus et Hermione and Persée.

These works were the creative catalyst for the succession of germanic Lullistes to begin to capture the livel y“theatrical style” and place it into their own compositions; Kusser, Erlebach, Fischer, Fux, Muffat, Aufschnaiter and Steffani did just that. The early Telemann suite fits into this timeline just behind the first-wave of composers. Muffat studied under Lully for six years, and absorbed a great deal from source. This was at the very beginning of the vibrant cosmopolitan blend in music known as vermischter Geschmach or Gouts Réunis (“Mixed Taste”).

The disc opens with a fairly well known G-minor sonata (concerto grosso) from Muffat’s “Armonico tributo”, given a rather playful interpretation with fewer strings than we may have been accustomed to hearing, yet with attractive additions of oboe and recorder and an actively strumming theorbo to bolster the basso continuo section. The overall effect is much slighter, and the graves aren’t in any way onerous or overbearing.

Next the splendid Suite no1 in C from Fischer’s Journal du printemps (1695), again a lovely flowing, dulcet interpretation which makes for very clear melodic lines, especially in the unfolding final chaconne. Following on, another later Muffat work Nobilis Juventus from his 1698 Florilegium Secundum which does have a certain theatrical flair, well captured by the ensemble’s delicate tones.

Closing with the (nine-movement!) Telemann suite, originally for strings, we can hear the neat interplay of French, Italian and Polish elements from an early date. The Entree is a direct adoption from French opera, often employed for scenic changes. The menuets are wonderfully done here, before a far-too-ponderous, introspective reading of the loure (twice as long as the version on Carus 83.337!) followed by a vibrant italianate gigue, and a fine set of the bourrees. Next, a playful, neatly done polonaise and cheekily inserted “prelude” (Not original, not needed!) before the Aria, which I again felt was in too slow to be fully emotive. Lastly – in vivid contrast – the blithesome passepieds.

All are played with a polished delicatesse and relish, just waning in the latter slower movements of the final suite, yet overall capturing the essence of the emergent “mixed taste” with cosmopolitan flair.

David Bellinger