Tag: Chamber music

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 cpo CD by Salzburger Hofmusik with 18th-century music chiefly by Telemann featuring Salterio, which I actually bought for the contribution from chalumeaux and Baroque clarinet, I would have been as unaware as I guess most people are of the 18th-century vogue for the instrument. This programme includes delightful instrumental music by Fulgenzio Perotti, Florido Ubaldi and Vito Ugolino featuring the instrument as well as two works for solo alto by Giovanni Battista Martini and Girolamo Rossi which feature salterio in the accompanying ensemble. In Martini’s fine Motetto, due to the prominence of the solo voice, the salterio is initially just part of the accompanying texture, although presently in a couple of items it steps out of the shadows to take a more prominently solistic role alongside the vocalist. In Rossi’s Lezione Quarta, by contrast, the salterio plays a much more fundamental role. The hand-plucked strings of the salterio have a delightful tinkling quality, which allows it to contrast with the harpsichord when the two are playing together, and imbues music it participates in with an elegant and charming timbre. Although I have little to compare it with, Franziska Fleischanderl’s playing is beautifully effective and effortlessly elegant, while Romina Basso’s solo singing and the playing of the ensemble Il Dolce Conforto are both models of musicality and expressiveness. This whole unsuspected repertoire definitely deserves more general attention, and the musicians here have done us a great service in bringing it to a wider.

D. James Ross

Camerata Köln
133:51 (2 CDs in a jewel case)
cpo 555 038-2
Suites opp. 4, 5, & 6

I gave warm welcomes to the first two releases of Camerata Köln’s series and I am delighted to say that this is more of the same. The music is delightful and the various scorings (flute + bc, two ‘trebles’ without bass, flute solo, recorder solo, recorder +bc, two gambas, and gamba + bc) keep the ear engaged even when the two discs are played straight through. Other aspects of the performance contribute to this as well, of course. The low pitch (390) produces rich sonorities, the playing is infallibly stylish and the general approach to performance practice is exploratory yet restrained. Thus the ‘recorder’ music is produced by transposing a flute original up a minor third and the ‘gamba’ sonata is a flute original down a perfect fourth. No Baroque musician would have taken exception to this: the transpositions simply involve reading the music in a different clef and imagining a new key signature. The booklet (German/English) is concise but still manages to tell us what we need to know about composer, music and performances. Overall, a most enjoyable package, though I would have welcomed full details of the instruments.

David Hansell

Bologna Baroque (Antonio Mostacci violoncello piccolo a 5 corde, Antonello Manzo violoncello, Paolo Potì clavicembalo)
56:31
Tactus TC 692202

If – like me – you had never heard of Vandini, please do not feel ashamed; although he was one of the leading cellists of his day (as these six sonatas amply prove) and a close friend and colleague of Tartini (to the extent of the latter living with him after the loss of his wife until his own death in 1770), he remains something of a footnote in musical history books. Which is common territory for Tactus, of course – their valiant crusade to rescue the music of their countrymen and women goes on apace, and this is certainly one of their true successes. Bologna Baroque give excellent performances of five three-movement sonatas and a solitary two-movement work. They were not intended as a set and only one of them seems to be dated (1717, so the composer would have been in his mid 20s); only one is in a minor key. They are all, however, lyrical and technically demanding in equal measure. I listened to the performances initially not realising that Mostacci used a violoncello piccolo and was very impressed by the playing in high registers; the additional top string in no way undermines his achievements, though! The continuo accompaniment is just that, and (in my humble opinion!) just as it should be; I’m growing ever wearier of harpsichordists who go out of their way to draw attention to themselves rather than to enhance the music the composer wrote. But I refuse to end on a negative note – well done, Bologna Baroque! Well done, Tactus!

Brian Clark

Antoinette Lohmann violin, Furor Musicus
72:11
Globe GLO 5271

The booklet (English only) offers what may well be the fullest biography of the composer (1721-99) yet published. It is very interesting, to say the least, as is the music, most of which is here recorded for the first time. The composer was born in Rotterdam; perhaps had some contact with Locatelli in Amsterdam; definitely studied with Tartini; was based in London in the 1750s; succeeded Charles Burney, no less, as organist of St Margaret’s, King’s Lynn in 1760; and finallymoved to Cambridge where he continued to be active as a concert violinist whileholding various organist posts. His music very much reflects the mid-centuryItalian style with no real sign of emerging classicism: his English audiences,still besotted with Corelli and Handel, must have loved it.

As did I, even if the final Hornpipe has a whiff of the Proms about it! There are considerable technical challenges in the violin writing, all safely surmounted, and the continuo team offers consistent and unfussy support. Recommended as something new, different and worthwhile.

The CD is a limited edition (1000 copies).

David Hansell

Guillermo Penalver baroque flute, María Alejandro Saturno viola da gamba, Tony Millán harpsichord
137:46 (2 CDs in a jewel case)
Brilliant Classics 95511

Hotteterre’s 1708 publication of flute music was just the second such collection to see the light of day, preceded only by La Barre’s Op.4 and, of course, a basically fine recording is to be welcomed. I especially applaud the decision to decide on a continuo team (in this case harpsichord and gamba) and stick to it: this music is quite strong enough not to need over-dressing with fussy changes of instrumentation. Yet, ultimately I found myself unsettled, frustrated and disappointed by the listening experience because, to my ears it is not quite the right sound. The harpsichord is a Taskin copy – a generation too late for music of 1708, the pitch (415) is too high and the flute itself is a Palanca copy rather than an Hotteterre-style three-piece. But the playing is stylish and affectionate and I’m sure that many will love every note. The booklet is in English only.

David Hansell

Scaramuccia
62:19
Snakewood SCD201801
Works by Albinoni, Fanfani, Montanari, Valentini and Pisendel/Vivaldi

In the 17th and 18th centuries if you were a musician wanting to keep up with the latest musical trends your social networking involved rather more than going to your computer or smart phone. It meant a physical trip to the musical centre of the world: Italy. It is, of course, what Handel and many others did. Among their number was the violinist Johann Georg Pisendel of the Dresden Court Orchestra, whose trip to Italy took place in 1717 as one of a number court musicians (including Zelenka) accompanying the opera-mad Prince-Elector of Saxony. During a trip that took in Venice, Rome and Florence, Pisendel, already one of the greatest violinists of the age, made contact with many leading musical figures. Principal among them were Albinoni and Vivaldi (with whom Pisendel established a lasting friendship) in Venice, Antonio Montanari (another great violinist, who became the successor to Corelli as leader of the famous Rome orchestra) and Giuseppe Valentini in Rome, and Giuseppe Maria Fanfani in Florence.

All the above are represented on this fascinating CD of sonatas for violin and continuo in which Scaramuccia chart Pisendel’s Italian journey, the works chosen either having a direct or close relationship with the German virtuoso. Thus Albinoni’s four-movement Sonata in Bb not only bears a dedication to Pisendel, but, as Scaramuccia’s violinist Lupiáñez points out in his scholarly notes, also includes unusual features such as triple-stopping that suggest that Albinoni may well have composed the sonata with Pisendel’s virtuosity in mind. Most fascinating of all in this respect is Vivaldi’s Sonata in G, RV 25. Also dedicated to ‘Maestro Pisendel’, Vivaldi left the slow movement for his new friend to fill in, which he did with a lovely serene Grave movement for violin and harpsichord (rather than continuo). This hugely entertaining sonata opens with a bucolic Allegro and includes a number of dances, ending with a Menuetto with variations left open to improvisation, here splendidly fulfilled by Scaramuccia.

It is this sense of the performers being constantly engaged with making music a spontaneous act that makes these performances so rewarding and engaging. There is throughout an evocation of a world of fantasy and bizzarie that feels absolutely right for music intended to dazzle the hearer. Listen for example to Valentini’s Sonata in A (dedicated to Montanari), composed more in the style of a suite. Here a free, extravagant, arabesque-laden opening Preludio, is succeeded by an Allemanda founded on odd glissando-like gestures, a gentle cantabileLargo for the violinist over a rippling arpeggiated accompaniment, a good-humoured Giga and a vigorous concluding Minué more redolent of countryside than court. Quite apart from the captivating inventiveness of the performances, they are technically outstanding and balanced with rare sensitivity. The odd small intonation problem apart, Lupiáñez proves himself master not only of the more virtuosic demands of the music but of also producing a warm, expressive cantabile, while he receives splendid support from Inés Salinas (cello) and Patricia Vintém (harpsichord).

Brian Robins

The Bach Players
67:27
Coviello Classics COV 81915

Jacquet de la Guerre has become well-known to us as a composer of harpsichord music but this recording of six trio and solo sonatas by The Bach Players is a real revelation. These works were not published – Graham Sadler in the liner notes suggests that they came ahead of any French market for such pieces – but were lent by the composer to Sébastien Brossard, whose copies survive. Four are trio sonatas and two are for solo violin and continuo. The latter have a conventional division into movements but the trio sonatas are through-composed, with short sections of contrasting texture and melody. All are highly inventive melodically, with rich harmony and a liking for parallel thirds and sixths. Italian influence is clear, but Jacquet de la Guerre has made her own very distinctive synthesis with the French style. The group’s beautifully rich sound has been excellently captured with close miking by the recording engineers of Coviello, using the resonant acoustic of St. Michael’s Church Highgate. There is a wonderful unity of purpose among the four players which extends to Silas Wollston’s sensitive playing on the harpsichord of quasi-improvisatory preludes and a tocade, leading directly into four of the sonatas. This is highly accomplished music, played with love and great attention to detail on this recording. Do listen to it.

Noel O’Regan