Virginia Black piano
62:42
For her performance on modern piano of music by Rameau, Virginia Black carefully chooses some of the most characterful pieces from the composer’s 1724 and 1728 collections. She plays with energy and
D. James Ross
Virginia Black piano
62:42
For her performance on modern piano of music by Rameau, Virginia Black carefully chooses some of the most characterful pieces from the composer’s 1724 and 1728 collections. She plays with energy and
D. James Ross
Sounds from the Court of James I
The English Cornett & Sackbut Ensemble
59:50
Music by
For this CD by
D. James Ross
Cappella Musicale di San Giacomo Maggiore in Bologna, Roberto Cascio
129:44 (2 CDs in a single jewel case)
Tactus TC650790
Each of these two CDs is devoted to a specific publication by Ippolito Ghezzi, an Augustinian Friar active in and around Siena at the end of the 17th and the beginning of the 18th century. His Salmi a 2 Voci are unexceptional Baroque fare, given rather routine performances by these Italian singers – a succession of solo voices seem to a greater or lesser extent a bit ‘slap-dash’ about intonation, and have a range of vibrato which at its broadest can be off-putting. You may be prepared to put up with these shortcomings in pursuit of music by a nowadays practically unknown composer, but (on extended listening) they do get annoying and the virtues of Ghezzi’s music seem to fade. The second CD features Ghezzi’s Dialogi Sagri dating from 1708 almost a decade after the
D. James Ross
The Rose Ensemble
76:17
Rose00012
Let me begin by paraphrasing the final two sentences of the programme note for this charming CD of anonymous sacred music from 17th-century Malta ‘How could the composers of these pieces not be known? How is it possible that these pieces haven’t been performed in hundreds of years?’ It is perhaps unsurprising that the music in Malta’s great religious establishments in Mdina run by the wealthy Knights of St John should be of a superlative standard, clearly influenced by musical developments in Venice, Rome and other Mediterranean centres of excellence, but the question of who composed it and why we should have no hint as to their identity is more puzzling. Surely there must at least be lists somewhere of performers and people who help prominent church posts – or perhaps not. The excellent American Rose Ensemble under the direction of Jordan Sramek provide simply radiant performances of this long-neglected repertoire, with superb vocalists singing equally effectively as soloists and in consort, while ably supported by a small but beautifully effective instrumental ensemble. The rich acoustic of St Mary’s Catholic Church, New Trier, Minnesota is used to perfect effect, giving this multitextured music a lovely glow vividly captured by sound engineer Peter Nothnagel. I cannot praise too much this excellent project, researched and brought to
D. James Ross
Wayward Sisters
59:16
J. S. Bach, Brade, Corbetta, Corelli, Fontana, Geminiani, B. Marini, Matteis, Schmelzer, Schop & de Selma y Salaverde
This CD is something of a whistle-stop tour of 17th- and 18th-century European chamber music. The composers represented are not all the most obvious – Bach, Corelli, Marini Schmelzer, Matteis, Brade, Geminiani all feature but so do Giovanni Batista Fontana, Bartolomé de Selma v Salaverde and Francesco Corbetta. The ensemble, Wayward Sisters, comprises a violinist, recorder player, cellist and a theorbist/lutanist, and they play the music with an intimate awareness of Baroque performance practice and with considerable musicality and virtuosity. This is fortunate as a rather ‘off the wall’ programme note suggests very little understanding of the music’s context – in it, theorbist John Lenti opines ‘Pre-enlightenment western culture was weird’. Is he punning wittily on the group’s name? Elsewhere the statement that the name derives from ‘Henry Purcell’s vivid conjuring of Shakespeare’s witches’ (?) suggests not… The group acknowledges support through
D. James Ross
Notturna, Christopher Palameta
59:32
deutsche
Music by J. G. Graun, Janitsch
In the retrospective painting by Adolph von Menzel, Frederick the Great of Prussia is shown as flute soloist with an orchestra led by CPE Bach and being listened to by a number of Bach’s musical colleagues. In the audience may well have been Johann Gottlieb Janitsch, Johann Gottfried Krause and Johann
D. James Ross
Labirinti Armonici
58:01
Brilliant Classics 95718
The first nine of the ten trio sonatas that make up Francesco Antonio Bonporti’s op. 2 consist of four dance-based movements, while the final sonata is a Ciaccona in G. Superficially they resemble Corelli’s sonate da camera, but there is a greater degree of contrapuntal complexity (the imitations come thicker and faster, for example) and Bonporti has a wider harmonic palette. Labirinti Armonici opt to perform the sonatas out of order; that of the printed set forms no pattern, so this seems sensible. The playing is generally of a high order – there is an occasional lack of ensemble in some of the quick triplet passages, but the overall effect is of a highly professional group at home with the repertoire. So little of Bonporti’s works have been recorded to the highest standards; let us hope this is a start of a revival!
Brian Clark
Rémy Baudet violin, Jaap ter Linden cello, Mike Fentross theorbo & guitar, Pieter-Jan Belder harpsichord
119:53 (2 CDs in a single jewel case)
Brilliant Classics 95597
As I have written in these pages so many times in the past, recordings of such important repertoire really need to have something new to say about the music as well as the performers; oftentimes, this results in some hot-shot young fiddler taking the 12 sonatas by the scruff of the neck and decorating the living daylights out of them – the overall effect, of course, is that Corelli is lost in a whirlwind of notes and artificial conceits ranging from subito pianissimo to triple fortissimo just for sheer dramatic effect.
Quite to the contrary, this set (which features two “blasts from the past” in
If – for some strange reason – you don’t already have a set of these pieces, buy this one. Even if you have, buy this one – at Brilliant’s amazingly low prices, this will be something against which to measure your favourite!
Brian Clark
Romina Basso mezzo soprano, Il Dolce Conforto directed by Franziska Fleischanderl
62:16
Christophorus CHR 77426
Martini, Perotti, Girolamo Rossi, Ubaldi & Ugolino
But for a
D. James Ross
Vincent Lhermet accordion, Marianne Muller viola da gamba
62:26
harmonia
Transcriptions of Bull, Dowland, East, Gibbons & Hume, etc.
A review of this CD of music by 17th-century masters Tobias Hume, John Dowland, Orlando Gibbons, Michael East
D. James Ross