Tag: Baroque

Ibrahim Aziz, Masumi Yamamoto
77:26
First Hand Records FHR91

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This CD of music by Handel for viola da gamba and harpsichord presents the G-minor Sonata HWV 364b and a couple of contested works, which may be the work of the young Handel along with a series of arrangements, respectively of the A-major Violin Sonata and the Keyboard Suites HWV 448 and 437. As fillers, we have the Suite HWV 429 for solo harpsichord in a copy by Gottlieb Muffat and a Prélude from a gamba suite by Sainte-Colombe le fils. So, while the title may not strictly describe what is ‘in the tin’, the performers have been distinctly imaginative and enterprising in their choice of repertoire. The playing is beautiful, with some wonderfully poignant gamba sounds from Aziz, who also displays a deft virtuosity on the instrument, while Yamamoto provides an impressively responsive accompaniment. Particularly intriguing are the musicians’ solo slots. The very conservative piece, thoroughly in the French style, by Saint-Colombe le fils, could easily be by his father, Jean, who taught the legendary Marin Marais – this in spite of the fact that S-C le fils was working in London at the same time as Handel. The edition of Handel’s HWV 429 suite for harpsichord by Gottlieb Theofile Muffat, son of the more imminent Georg Muffat, is intriguingly revelatory of performance practice at the time. Gottlieb Muffat, also a keyboard composer in his own right, spent his whole life in Vienna, and it is fascinating to think of him bringing his version of the music of Handel to the Austrian public in the generation before Mozart would find an audience for his Handel adaptations. Did he feel that Handel’s music needed ‘adapted’ to suit the Viennese taste, or as a composer/player could he just not bear to keep his hands off this fine repertoire? Throughout his lifetime, Handel was dogged by breaches of what would now be called copyright, but this is something else entirely – more akin to an homage from an admiring fellow composer. This is a thought-provoking and musically very satisfying CD.

D. James Ross

[Wiebke] Weidanz, [Stefan] Temmingh
63:20
Accent ACC 24353

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This account of the six recorder sonatas by Handel, each one tastefully ‘set up’ by a short prelude, either a keyboard prelude by Handel or Purcell, an anonymous Fantaisie for solo recorder, or in one case an improvised flourish on recorder and keyboard, has many virtues. The playing of Stefan Temmingh on a trio of Bressan copy recorders by Ernst Meyer is flamboyant and imaginative, while the accompaniment of Wiebke Weidanz on a Taskin copy harpsichord by Matthias Griewisch is equally so. If the harpsichord is consistently recorded a little ‘closely’ and dominates the balance somewhat, this is quite possibly a reflection of the natural dynamics of both instruments, although some of the detail of the recorder playing in the lower register is lost. Temmingh is always keen to embellish, sometimes ornamenting the first playthrough of a section, sometimes improvising on even the opening statement, before departing even more radically into the realms of fantasy on the repeat. This will not be to everyone’s taste, but I found the approach on the whole engaging and entertaining, particularly as Weidanz was quick to reflect this exciting level of spontaneity in the keyboard accompaniment. There is certainly no denying the highly imaginative nature of this improvisation, which manages to sound both utterly compelling and completely convincing. The programme note is in the (for me) annoying form of a dialogue between the two performers, which is necessarily more about their approach to the music and its performance and recording than the historical/musicological background. However, we do learn that, as we might have suspected, Weidanz plays from the original figured bass, allowing her imagination to realise the keyboard part spontaneously in response to Temmingh’s account of the melody line. This is perhaps not the recording to buy for a no-nonsense account of Handel, but the playing is very impressive and thoroughly musical – and you can’t help feeling that this is the sort of approach the composer might have taken in performing his own music.

D. James Ross

Duo Dorado (Hazel Brooks violin, David Pollock harpsichord/organ)
78:00
Chandos Chaconne CHAN 0824

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Bohemian Gottfried Finger was just one of an army of European composers who made their way to the musical ferment of late 17th-century London, arriving in 1685 and leaving in a strop in 170,1 having come last in a musical competition! A composer of considerable talent and a catholic, Finger was snapped up by James II for his Catholic Chapel, but on the latter’s flight to the continent, Finger had to make his own way in the cut-throat world of freelance music-making. A British Library manuscript Add. 31466, a bumper collection of 66 violin sonatas, provides all of the sonatas recorded on this CD, which prove to be works in a fascinating range of styles and of limitless imagination – hard to reconcile this with the verdict on his ill-fated entry in the ‘Prize Musick’ which was deemed to be old-fashioned. It seems likely that Finger’s Catholicism and his foreign status probably weighed more heavily in his defeat than his perceived lack of talent. Hazel Brooks plays an 18th-century Viennese violin, which possesses an ideal glowing tone and crisp attack for Finger’s lyrical music, while David Pollock, playing a replica Ruttgers/Hemsch harpsichord and a continuo organ, provides a wonderfully sympathetic and responsive accompaniment. Brooks deftly ornaments the violin part, and clearly enjoys Finger’s spontaneous and often rather chromatically daring idiom. Finger was also a renowned trumpeter, and I have played a trio sonata by him for trumpet, violin and continuo on Baroque clarinet, becoming aware in the process that this was a composer with a distinctive musical voice who deserved further attention. The Duo Dorado are clearly of the same opinion, and this recording is a valuable advance in our awareness of his many musical virtues.

D. James Ross