Tag: Chamber music

Der musikalische Garten
67:27
Coviello Classics COV91705

[dropcap]D[/dropcap]er musikalische Garten is an exciting young trio sonata line-up consisting of two violins, cello and harpsichord. For this recording, they have chosen a previously unrecorded set of 12 Concerti à 3 by Giuseppe Antonio Brescianello, which were perhaps written before he moved to Germany, where he worked for most of his professional career as a virtuoso violinist, composer and Kapellmeister to the court in Stuttgart. While each of the six works on this fine CD (there will be a second volume to complete the set) broadly follow the pattern of the sonata da chiesa, the booklet notes are correct in saying that the technical demands placed on the violinists justify the use of the term “concerti”. The present performers have no problems in producing neat, characterful renditions, and the no-nonsense continuo team provides a modest but stylish foundation for their exploits. Brescianello is equally at home writing tuneful slow movements as he is working out proper counterpoint; these are fine works that deserve to be better known – and the equally fine musicians of Der musikalische Garten are leading the way.

Brian Clark

Chamber music by Telemann
The Herschel Trio
75:40
Omnibus Classics CC5013
TWV 42: D6, d3, F4, g7, A3, a7, h4

dropcap]<[/dropcap]strong>his is a most beautifully presented CD, with notes by one of the top Telemann experts in the English-speaking world. The Herschel Trio clearly display their alert, intimate and articulate musicianship and the composer’s own prowess in the trio genre. These selected works well suit the ensemble’s sprightly, agile approach; only occasionally did the flute err on the decent side of stridency during a “deep listen” in the headphones! The trios in F major (TWV42: F5) and G minor (TWV42: g7) have been recorded about five and seven times each, strangely matching their classification numbers! The three works chosen from the Six Concerts et six suites (Hamburg 1734) perfectly match the eloquent abilities of the players. The 1734 set offers no less than five variations of instrumentation, which would again seem to espouse the composer’s oft cited adage: “Wer vielen nutzen kan, thut besser, als wer nur fuer wenige was schreibet; Nun dient, was leicht gesetzt, durchgehends jedermann” (“He who writes for the many, does a greater service than he who just writes for the few; thus music easier to play pleases one and all”, from his 1718 autobiography). I’m convinced there are some vocal lines hiding behind some of the movements of the 1734 set (Tempo giusto?). I’d keenly recommend this recording to all who aren’t aware of these works in their flexible musical guises, and others who might collect Telemann trios like rare postage stamps; if nothing else, I’d like to hear the ensemble tackle the remaining suitable works from the 1734 collection… a future project?

David Bellinger

Collegium 1704
107:21 (2 CDs in a card triptych)

[dropcap]R[/dropcap]arely have I been so excited to receive a recording and equally disappointed by it. Let me state from the outset that this has nothing to do with the quality of the performances; as I have written many times before (as a quotation in the booklet neatly illustrates), Collegium 1704 are among my favourite performers of Zelenka’s extraordinary music. There is just one feature of these versions that I found initially distracting, then irksome and finally my ear became so obsessed with it that I had to reject the disc from my player… I have never been a professional continuo player, but I did study the art as part of my degree and I remember quite clearly being told by more than one teacher that I should “stay out of the way” of the more important obbligato lines. Similarly, that part of the function of the realising instrument was to fill out the chords so that the otherwise unheard dissonances and their necessary resolution was a key driving factor behind baroque music. On this recording, neither of these approaches is taken; the registration of the instrument is such that it regularly tinkles around (by which I mean “improvises clever counter-melodies”) above or among the oboes, and some of the chords are so lavishly spread (or hidden in a wild flourish of scales and arpeggios) that the third is so delayed that whatever dissonance there might have been has long since evaporated (as is the instrument’s wont), and (while I’m on a roll) some of the delay is so noticeable that it actually slows progress rather than the reverse. It may also be the case that the miking and/or balance of the recording just was not right, but I would have expected the musicians to have had something to say about that at the editing stage. There are also odd moments in several movements where it has been decided that the we should freeze as if suddenly caught in the middle of a game of musical statues; quite apart from the fact that there is no explanation for this in either Zelenka’s autograph scores or the booklet notes, how could musicians of the time have known from their part when someone else’s music dictated such an action? I am all for finding new things to say about familiar music, if as a result we are excited as if hearing it for the first time, but (sorry!) this just annoyed me, too – when the writing is so expansive, the “novelty” soon outstays its welcome. This is, of course, fabulous music, and these are great musicians; on this occasion, I’m afraid I just didn’t like the final result.

Brian Clark

Tempesta di Mare Philadelphia Baroque Orchestra & Chamber Players, Gwyn Roberts, Richard Stone directors, Emlyn Ngai concertmaster
67:28
Chandos Chaconne CHAN 0820

[dropcap]R[/dropcap]egular readers will know that I am a great fan of Janitsch’s chamber music, and as much a Tempesta di Mare groupie; that’s hardly surprising, given that they have devoted time, energy and magic into recording three marvellous CDs of Fasch’s orchestral music. For this present project, they chose four of Janitsch’s “signature dishes” – quartets for a variety of instruments – and then threw in a total gem, an “Ouverture grosso” for two orchestras! As I’ve written many times before, Janitsch’s quartets are masterclasses in the art of writing for three melody instruments; it doesn’t even seem to matter which colour choices he makes, each voice is showcased in its best light, with equal share of the melodic material and clever (and subtle) use of micromanaged rhythmic patterns that can look intimidating on the page (he is not afraid of septuplets… or obscure keys for that matter!) but which are so convincing in performance. The two orchestras in the final work are coloured slightly differently; one has flutes while the other has oboes. I remember being slightly underwhelmed by Janitsch’s sinfonias when I heard them for the first time, so I wondered if it was simply a case of not being able to write for orchestras, but that was clearly not the case; this is a wonder, with the material being thrown back and forth between the two lightly scored ensembles (orchestra 1 plays one-to-a-part while the upper strings in orchestra 2 are fuller), with proper counterpoint (complete with pedal points and stretto, for those who like to know such things), and a wealth of ideas that drive the music energetically forwards. I rarely highlight individual performances on this sort of disc, but one very definite stand out feature of this disc was the viola playing – in the G minor quartet, in particular, Karina Schmitz and Daniela Lisa Pierson are outstanding.

Brian Clark

4 Times Baroque
60:35
deutsche harmonia mundi 19075818232
Music by Corelli, Handel, Merula, Prowo, Sammartini & Vivaldi

[dropcap]4[/dropcap] Times Baroque are four extremely photogenic young lads with talent oozing from every pore; they are captivating in live performance and I am more than happy to report that their flair and panache carry over into the recording studio. Being one of those recorder, violin, cello and keyboard line-ups, some of the repertoire has had to be arranged to suit, but is none the worse for that. Slightly surprising is the choice to allocate the Follia variations from the end of Corelli’s op. 5 set of violin sonatas to Jan Nigge on recorder. Yet, as I say, only the most pedantic of dogmatists could fail to be impressed by his engaging performance. They are clearly very familiar with the music; the decorations of the D minor sonata now attributed to Pierre Prowo (though I’m still very convinced that it is Telemann!) could only be pulled off by an ensemble who has the music flowing through their blood. Elsewhere violinist Jonas Zschenderlein impresses in his Croelli sonata, Karl Simko gets a rare moment in the limelight in the second movement of Vivaldi’s RV100, and harpsichordist Alexander von Heißen (who is equally impressive as a soloist) provides an accompaniment that is perfectly judged to provide harmonic support and, where required, rhythmic drive, without ever protruding as seems to be something of a current fad elsewhere. I hope to hear more of these guys soon.

Brian Clark

Gillian Keith soprano, Florilegium
78:00
Channel Classics CCS35117
HWV202-210, 386b, 398 + Concerto a Quattro in d

[dropcap]H[/dropcap]andel set nine of Brockes’s German aria texts to music for soprano, unspecified instrument and continuo; for their recording, Florilegium choose flute (Ashley Solomon) and violin (Bojan Cicic) supported by cello and continuo. They are divided here into three groups of three, each preceded by an instrumental piece (op. 5/3 in E minor, op. 2/1 in B minor and the HWV-less Concerto a Quattro in D minor with obbligato cello). I regret to say that, while the instrumental playing is fine and much of the singing similarly pleasant, there are things that I found rather disagreeable, primary amongst them Gillian Keith’s tendency (especially in the upper reaches of her voice and even more so in some of the, to my ears at least, unexpectedly awkward decorations and cadenzas) to be rather shrill. I am puzzled why “one of Britain’s most outstanding period instrumental ensembles” would seriously suggest that the unspecified obbligato instrument would change for the B section of a Da Capo aria; I had a ridiculous image in my mind of a be-wigged flautist bowing deeply as his violin-playing colleague took over, and then the reverse occurring a few moments later. If there is a technical reason that the middle part of an aria doesn’t particularly suit the flute, then the most likely scenario is that Handel didn’t ever imagine it being played on that instrument at all. In fact, this resonated with something I’ve long believed of the many incarnations of Florilegium, namely their apparent lack of curiosity for new repertoire; I understand that attracting a concert audience relies on strategic planning – far more people will come to a concert of Handel than a hotchpotch of even fabulous pieces by lesser-known composers, but when you have done all the hard work and established an international reputation, CD recordings are surely the way to introduce your loyal fan base to the wealth of first-rate music written for your line-up – how about some Quantz? Or Janitsch – his quartets are increasingly well known, but few people have even looked at his trios…

Brian Clark

Elysium Ensemble (Greg Dikmans flute, Lucinda Moon violin)
59:13
resonus RES10207
TWV 40:7, 13, 20, 118-123

[dropcap]T[/dropcap]he two instruments found on this recording were among those Telemann instinctively took up in his pre-teen days without any formal knowledge of music; what heights he would later reach. After some biographical details, the CD booklet rightly settles on Quantz, for in this composer’s Solfeggi  over 30 works are found including these “Melodic Canons” (TWV40:118-123) which were published during his sojourn in Paris, also known as his VI Sonates en Duo, for Flutes, Violins, or Gambas. Usually, we hear these on two violins, yet they have also previously been recorded on two flutes, and a combination of flute and oboe; here we have violin and flute taking on the canonic lines. With the flute used here, a copy of a Quantz instrument (c.1740) with two keys, we encounter the lower pitch (A= 392/400, so-called Tief-Kammerton) which does affect the brightness of these works, and slower tempi than usual are applied, resulting in elegant, measured readings. The chosen Fantasias for flute  (Nos. 6 and 12 in D minor and G minor respectively) again expose us to this lower, darker pitch. Perhaps the fine, nimble violinist could have had another Fantasia to close the disc? At just under an hour, the recording offers an alternative route through these neatly crafted pieces. Though not new to our ears, they take a novel approach; a pleasant recap.

David Bellinger

Wolfram Schurig flauto, Johannes Hämmerle cembalo
55:30
fra bernardo fb 1711192

[dropcap]O[/dropcap]ne of the many Corelli students to grace the first half of the 18th century, Giovanni Battista Somis was a virtuoso violinist and a composer. Much praised for his expressive playing and an influential advocate of the violin, Somis was obviously also an accomplished composer with a distinctive voice. He composed mainly for his own instrument, and the present sonatas are selected from his opp. 3 and 4, published in 1725 and 1726, for violin solo with cello or harpsichord. They are performed here by Wolfram Schurig on a variety of sizes of recorder, and while it seems unlikely that Somis would have too enthusiastic about this liberty taken with his music – he wrote a Sinfonia for flauto, and clearly would have written more if he had wanted to – these performances work very well indeed. Schurig’s easy virtuosity on the recorder and Hämmerle’s wonderfully supportive harpsichord playing are a delight to listen to, and while we miss the double-stopping demanded in some of the pieces (and also the wonderful bow control for which Somis was widely admired), these performances are very persuasive indeed. While Schurig’s programme note is mostly devoted to largely spurious arguments for performing Somis’ violin music on recorders, it does make the relevant point that, of all the Corelli pupils, Somis is the one who most quickly and completely stepped out of his master’s shadow to produce music of genuine individuality and charm. I would have liked to have heard more about Somis’ long career, and am frankly baffled by the CD’s title and the cover illustration, a 1932 snap of Claudette Colbert!

D. James Ross