Categories
Recording

Music for a Prussian Salon

Boxwood & Brass
72:53
Resonus RES10177
Music by Baermann, Crusell, J. Stamitz & Tausch

[dropcap]C[/dropcap]omprising two clarinets, bassoon and two horns the period ensemble Boxwood & Brass does very much what it says on the tin. Exploring the music of Franz Tausch is a project which is long overdue. Tausch’s frighteningly virtuosic music for his own instrument, the clarinet, was often cited in books on the early clarinet, sometimes with a degree of skepticism as to whether it could ever actually have been played, and his seminal role as the teacher of the next generation of virtuosi: Heinrich Baermann, Bernard Crussell and possibly Spohr’s clarinettist, Johann Hermstedt. Taught clarinet by his clarinettist father Jacob at the court of Mannheim, Franz Tausch may have played the clarinet concerti of Johann and Karl Stamitz, and indeed it is chamber music by the former, his attractive Three Quartets  for clarinets and horns, which provides some of the context in this programme. The exquisite Adagio  from Heinrich Baermann’s clarinet quintet, ingeniously arranged for clarinets and horns, is also given a airing, while Crusell’s virtuosic Concert-Trio  for clarinet, horn and bassoon is also give a welcome performance.

Perhaps surprisingly in light of the fiery concertos he has left us, it turns out that Tausch’s chamber music is relatively tame, almost conventional, but with occasional unexpected twists of harmony confirming that this is very much ‘romantic’ music. The performances by Boxwood & Brass of this little-explored repertoire are beautifully prepared and executed, with a polished tone from both clarinettists and an authoritative and focused contribution from horns and bassoon. Perhaps reflecting their conceit of a salon recital, the acoustic is quite intimate, but undoubtedly highly appropriate for this charming repertoire. While this CD makes a valuable contribution to our wider understanding of an important aspect of the history of the clarinet, it also provides a very entertaining and rewarding listening experience for the general listener.

D. James Ross

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Categories
Recording

Tartini’s Violin

Sonatas for violin and b. c.
Črtomir Šiškovič violin, Luca Ferrini harpsichord & organ
50:29
Dynamic CDS 7744

[dropcap]A[/dropcap]lthough everyone thinks of Tartini as Italian, he was born in what is now geographically Slovenia, and this recording of four named sonatas is a collaboration between one musician from each of the two countries. They start with “Didone abbandonata” which, like the others, is in three movements (two are slow-fast-fast, the other two slow-fast-alternating). Then comes arguably the composer’s most famous piece, “Il Trillo del Diavolo”, followed by two less well-known pieces; a sonata in A entitled “Pastorale” (unique in the composer’s output in requiring the bottom two strings to be tuned a tone higher than usual, and accompanied on organ where Ferrari plays harpsichord in the others) and “Staggion bella” in B flat. My enjoyment of the recital was hampered by the sound quality – the acoustic lacked warmth, the violin was not really projecting into the space and the harpsichord lacks any resonance; the performances are fine, if they too slightly lack vitality – clean readings, but no real oomph.

Brian Clark

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