Tag: Baroque

Gottfried von der Goltz violin, Annekatrin Beller cello, Torsten Johann harpsichord/positive organ, Tomas C. Boysen theorbo
Aparté AP21
66:01

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This is only the third time these finely crafted sonatas, reputedly Telemann’s first publication, have appeared on CD (Stephan Schardt got there first for MDG in 2014 and Valerio Losito followed on Brilliant Classics in 2017). Spearheaded by the impressive skills of Gottfried von der Goltz, you can sense the sheer artistic relish and appreciation for the neat progressions through the boldly contrasting movements which offer some vivacious artistic flourishes, as well as moments of great theatre and pathos. By this time, Telemann had written about 10 operas for Leipzig, and you can hear the wistful, lovelorn motifs in the slower movements lifted directly from the stage. This delightful set of six sonatas was dedicated to Prince Johann Ernst IV of Sachsen-Weimar (who sadly passed within a year of their publication), the foreword grandiloquently noting at the very bottom in French: At the author’s expense!

The truly wonderful continuo team here is allowed to star alongside the dominant violin part, and do all share the limelight at some stage. The use of a positive organ really hits the mark with a particular reverence and piety. These works flow between the two kinds of sonata style with a well-measured intensity and balance. The high-flying runs of semiquavers in the finales of Sonatas III and IV are a touch of free-flowing virtuosity. With a perfect feel for tempo and the desired application of Affekte, the ensemble navigates these cleverly conceived sonatas with intelligent application and balanced variation.

A very fine, well-balanced interpretation all round. We fervently hope they might decide tackle the long-languishing 1718 set, awaiting full premiere status, before too long!

David Bellinger

Duo Coloquintes (Alice Julien-Laferrière violin, Mathilde Vialle gamba)
54:18
Editions Seulétoile SEC01

This is an unusual recital – some might even rule it ‘out of order’ – but after initial doubts I enjoyed it. Essentially Duo Coloquintes (violin and viola da gamba) offer us the music that they imagine Louis Couperin might have written had he not played the harpsichord! So we have four of the suites arranged for the new forces, other music for both instruments solo and unaccompanied, and a final miscellaneous group by Couperin.

The arrangements are skilfully done, with just enough double-stopping to diminish any concerns about a ‘hole in the middle’, and the players perform with considerable finesse both as individuals and as a duo. All the ornamentation and inégalité feels very natural and the recorded sound too is well judged (domestic rather than ecclesiastical).

The booklet (French only) is an odd mixture of fantasy, fact and nice pictures. Just pour a glass of something, sit back and enjoy the music.

David Hansell

If you are inspired to follow David’s recommendation, you’ll have to track the disc down; my attempts failed after reaching the duo’s website

The Virtuoso Violin in the Court of Louis XV
Sonatas and Symphonies by Louis-Gabriel Guillemain
Alana Youssefian & Le Bien-Aimé
67:11
Avie Records AV2412

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This release came to me as a ‘reviewers’ package’ so it is not possible to provide the usual observations on the overall presentation and format. However, what I can say is that the supporting material I do have (in English only) is helpful and devoid of the ridiculous mistakes that have be-devilled many of the CD booklets I have seen recently.

The programme contrasts three of Guillemain’s virtuosic Op.1 sonatas with three of his more genteel and ingratiating ‘symphonies’ – works scored for a trio sonata ensemble and thus attractive to a domestic market as well as being playable with doubled parts by an orchestra. The composer was quite a colourful character, it seems: a virtuoso player, but ‘crippled’ by performance nerves; a lover of fine food, wine and furnishings; a high-earner; yet ultimately brought low by debt and alcoholism. He died from (probably self-inflicted) stab wounds.

This starry ensemble plays splendidly, though I do wonder whether the cello pizzicato is composer-requested or moments of performer whimsy. This rococo/galant idiom can sometimes seem a little banal but here it never does. The flashes of high-octane virtuosity in the sonatas help, of course, but overall the charm – a much under-rated virtue – of both music and performances holds the listener’s attention.

At a time when such charm is especially welcome, this disc has proved to be a congenial companion.

David Hansell

The Klagenfurt Manuscript
Peter Sheppard Skærved, Antonio Stradivari 1685
142:10 (2 CDs in a single jewel case)
athene ath 23206

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This series of CDs from athene each features a famous violin on which Peter Sheppard Skaerved plays appropriate repertoire, and the present double album features a 1685 Stradivari ‘violino piccolo’. The music seems to be a pet project of Skaerved’s, a manuscript from the mid-1680s of music for solo violin housed in the Landesmuseum Kärnten, Klagenfurt. Having worked with and performed the music for a number of years, Skaerved is able to talk with considerable authority about it in an extensive and intriguing programme note, and to speculate with a high degree of certainty as to its provenance. He is of the opinion that it is probably the work of one of the Benedictine nuns in the Convent of St Georgen am Längsee in Kärnten. The manuscript is notable for its extensive use of various scordatura permutations of tuning, and Skaerved speculates that his chosen Stradivari violin (from the collection in the Royal Northern School of Music in Manchester) was of smaller size not to play routinely higher (as in Bach first Brandenburg Concerto) but to be able to cope better with a variety of different scordature as in the present manuscript. His experience of playing this music on this violin has also suggested to him that the primary aim of the different scordature may not have been technical ease but the quest for different sonorities. Bearing in mind his speculation that this music is the work of a practising nun, we should also bear in mind the apparent religious significance of different tunings in the parallel work of Biber. As there is no attempt in the manuscript to group the mainly short dance movements into suites, Skaerved simply plays them in order, pointing out that with digital technology it is easy for a listener to construct their own suites if they wish! Perhaps unsurprisingly given its probable context, this is not amongst the showiest of this type of music for solo violin – this is probably music for the enjoyment of the player and possibly for a small select audience, in contrast to the music of the travelling violin virtuosi of this period, designed to stun and impress with its technical fireworks. Appropriately, Skareved’s Stradivari instrument produces a delicate if slightly shallow sound, but his intelligent readings and lyrical interpretations of these pieces make for rewarding listening.

D. James Ross

Plamena Nikitassova
56:59
Ricercar RIC412

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While at one point Bach’s music for solo violin was seen as a unique contribution to the violin repertoire, it is now recognised that it is part of a mainstream tradition probably begun in 1662 with the publication of a set of sonatas for solo violin by Johann Heinrich Schmelzer and rapidly imitated and developed by a host of 17th- and early 18th-century composers. It is clear from these 1696 works by Westhoff that the solo violin sonata was already in an advanced state of refinement, and he was able to contribute his natural sense of melody along with an aspiration towards polyphonic textures and chordal underpinning. From his base at the musically rich baroque court of Dresden, Westhoff ranged widely throughout Europe, earning plaudits for his virtuosity on the violin. He left very few works, some like the Sonatas of 1696 in a unique copy and that incomplete – the damaged sixth sonata is replaced on this recording with a work published in Paris ten years earlier. Plamina Nikitassova has made a considerable reputation for herself specialising in the violin music of the 17th century and has allowed two German treatises to inform her playing and bowing techniques, holding the violin ‘below her left breast’ and using the thumb to help tension the bow hairs. According to the detailed programme notes by Dr Peter Wollny, the clear instructions in these treatises pose challenges, the solutions to which have given Nikitassova new insights into the early baroque violin and its repertoire. The results are certainly very pleasing and convincing, and there is a freedom and lightness of tone in her playing which certainly suits this wonderfully spontaneous and imaginative music.

D. James Ross

Labirinti Armonici
60:43
Brilliant Classics 95966

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As a talented amateur like Marcello and Albinoni, Bonporti was able to afford himself a degree of creative freedom in his compositions. This is apparent in these imaginative and original trio sonatas, in which he gradually abandons the conventional concept of the sonata da chiesa and adopts a more ‘modern’ chamber style with elements of the concerto grosso contrast between ‘solo’ and ‘tutti’ episodes, which he would have observed in Corelli’s 1694 trio sonatas. It is also interesting to observe in the course of Bonporti’s op. 1 the gradual emancipation of the bass into a sort of basso concertato, participating more and more actively in the melodic interest. The printed part-books appeared in 1696, within two years of the Corelli, and the publication was probably aimed at a small circle of intellectuals in Trent who could appreciate the modernity and subtlety of Bonporti’s talent. Unfortunately, Bonporti’s family never seem to have appreciated his musical talents, and, as he died without children, he had no-one to pass his compositional skills on to. It is by sheer chance, though also a mark of their quality, that Bonporti’s op. 10 inventions for violin, cello and harpsichord or lute were mistakenly published as works by Bach, ensuring that some attention fell on him as a composer when the error was discovered. The present performances bring out the originality and charm of these early compositions of Bonporti, approaching his music with an engaging freshness and open-mindedness, which brings the music vividly to life.

D. James Ross