Ronald Brautigam fortepiano, Die Kölner Akademie, Michael Alexander Willens
68:28
BIS-2074 SACD
Concertos 8, 11 & 13 (K246, 413 & 415)
[dropcap]I[/dropcap] think the biggest compliment I can pay to these performances is that I didn’t really notice them. I was just aware of Mozart’s genius in this genre – which the players present admirably with many a subtle nuance and the rich colours of a period orchestra (strings 44222). K413 and 415 are two of the three concertos which the composer said could be played with ‘merely a Quattro’ though here they get the full treatment. The piano (McNulty 2013 after Walter 1802) can be both lyrical and sparkling under the fingers of this master pianist and avoids the tendency one sometimes hears in fortepianos of sounding out of tune even when it isn’t. There’s a lot I could say, but just look at the stars – I seldom give 5 for anything.
Elizabeth Watts Soprano, Scottish Chamber Orchestra, directed by Christian Baldini
61″
Linn Records CKD460
Music from La clemenza di Tito, Così fan tutte, Don Giovanni, La finta giardiniera, Idomeneo & Le nozze di Figaro
Edited by Wolf-Dieter Seiffert.
G. Henle Verlag, 2015.
iv + 26pp, €7.00
[dropcap]T[/dropcap]his is not merely an offprint – it is a new edition. Mozart’s pages were split, and only the last page survived until a double leaf of the autograph was recently found in the National Széchényi Library in Budapest. Apart from the limited autograph sheets, the editor also found a copyist’s MS in Prague – an extensive report can be downloaded at www.henle.com. There are two early editions, in 1784 and what was called a fourth impression, though K331 was reset by three engravers.
I’ve compared the new edition with the Bärenreiter Collected Works, in this case quite late (1986). There is a difference in the first two bars: Bärenreiter has a slur for the first two of a group of three quavers, whereas Henle (referring to the 2015 edition) slurs all three. (I don’t edit Mozart, but the problem of slurring 6/8 or 12/8 rhythms in Handel, whose music I spend a lot of time editing, are often ambiguous.) Comments are helpfully noted on the musical pages as well as in the separate critical notes. The newly discovered four pages cover the end of the first movement and beginning of the second. (Why are the bar numbers not stated to show the exact beginnings and ends?) Could not the new pages have been printed at half-size on the two blank pages at the end? The Sonata itself is one of Mozart’s most popular works, and I expect that rival editions will appear.
Sarah Tynan, Jeremy Ovenden, Matthew Brook STB-Bar, Handel and Haydn Society, Harry Christophers director
98:15 (2 CDs)
Coro COR16135
[dropcap]I[/dropcap]n an era when creationism is generally regarded solely as the province of a few eccentrics, Haydn’s great oratorio is surely a deeply paradoxical work for both performer and listener. How does one approach it in today’s world, not only in the terms of the creation itself but also of a text that has Eve singing to her Adam, ‘Thy will is law to me’? Feminists shudder! One answer for performers, of course, is to take the work head on, submitting to the blazing genius and deep faith of its composer. That is fundamentally the approach taken in this live Boston performance from May 2015 given by the Handel and Haydn Society (H & H), America’s oldest surviving concert giving organization.
Like Christopher Hogwood (a predecessor as artistic director of the H & H) in his splendid L’Oiseau-Lyre recording, Harry Christophers has chosen to give the work in English, perfectly reasonable given that Haydn himself was keen to retain dual language versions of the work. Christophers’ decision is also thoroughly vindicated given that one of the major strengths of the performance is the manner in which it communicates the text so strongly. Both soloists and chorus employ excellent diction and a real sense of rhetorical understanding. The male soloists, the Uriel of tenor Jeremy Ovenden and bass Matthew Brook’s Raphael, are particularly outstanding in this respect, most especially in the magnificent descriptive accompanied recitatives that account for some of the work’s most unforgettable passages. Otherwise the contribution of the soloists is very good, if not perfect. All three voices, especially that of soprano Sarah Tynan (Uriel), employ an excess of vibrato.
Christophers’ slow tempo for Raphael’s opening recitative immediately leads Brook into displaying a wide, continuous vibrato, but thereafter he settles down to keep it under greater control, though his tone has at times a tendency to insecurity. But overall this is a fine interpretation, frequently displaying great authority and considerable nobility in the early numbers of Part 2. Ovenden, too, excels in bringing a strong sense of character to recits, ‘In rosy mantle’ making an especially striking impression after the exquisitely lovely opening of Part 3, the three flutes evoking the tranquility of bright, Elysian dawn. Tynan copes impressively with fioritura of ‘On mighty pens’ and generally with embellishments (she even sports a trill), but the voice tends to stridency in the upper register and I suspect she might be happier with later repertoire. The treatment of ornaments is not always convincing and fermatas lack the expected cadential flourishes.
If the choral singing by a sizeable force lacks the ultimate in finish and finesse, it certainly makes up for it in verve and commitment, the climaxes of the big choral numbers often spine-tingling in intensity. But the real hero here is the orchestra, which throughout responds to Christophers’ insightful, penetrating and ever sensitively phrased direction with playing of superlative quality in every department. There are really far too many examples to which attention might be drawn, but I will just mention the beautifully judged introduction to ‘On mighty pens’, the prominent wind parts exquisitely balanced, the strings’ dotted quavers and semi-quavers delightfully pointed. Vocal shortcomings perhaps keep this version from the top of the pile, but there is so much here to enjoy, indeed relish.
John Mark Ainsley Alessandro, Sarah Fox Aminta, Ailish Tynan Elisa, Anna Devin Tamiri, Benjamin Hulett Agenore, Classical Opera, Ian Page
117:12 (2 CDs)
Signum SIGCD 433
[dropcap]I[/dropcap]t is fascinating how this early opera from Mozart’s Salzburg period already includes many of the elements which would come to full fruition in the later great operatic masterpieces of his maturity. In spite of the stylised context, Mozart makes a real attempt at musical characterisation, and the orchestration is varied with a generous range of instruments made available by the Salzburg Archiepiscopal purse.
Ian Page’s sizzling account of the overture prepares for the delights to come as the overture segues flawlessly into the opening aria for Sarah Fox’s Aminta. The effortless elegance of her singing is perfectly matched by Ailish Tynan’s Elisa, and indeed the small cast of five principals, including John Mark Ainsley, Benjamin Hulett and Anna Devin are all superb. While the singing, like the playing, sounds absolutely authentic, there is a pleasing sense of freedom and a palpable joy in the music. Hulett’s effortlessly lyrical account of Agenore’s aria “Per me rispondete” is a case in point, where he conveys the character’s mixed emotions but at the same time clearly enjoys Mozart’s exquisite melodic writing. Listening to this wonderful music so beautifully performed it is amazing to think of Mozart’s employers, who repeatedly failed to recognise the unique talent of the man who was supplying them with such sublime fare. The two CDs are accompanied by a packed booklet including the full libretto and English translation as well as a comprehensive programme note, incorporating the latest research on the opera.
Matthew Rose, Arcangelo, Jonathan Cohen
77:06
Hyperion CDA68078
Music by Martín y Soler, Mozart, Paisiello, Salieri & Sarti
[dropcap]T[/dropcap]he current enthusiasm among record companies for operatic recitals centred around a famous singer of the past is a welcome development. Not only does it make for greater contrast than the traditional composer recital, but it can also provide excellent clues as to the nature of some of the great voices of the past. Indeed, the examination of the music composed for a particular singer to determine voice type and range, etc., has itself become a musicological study. Here listeners, if so inclined, can play the game for themselves. So what can we learn from this CD about the great buffo bass Francesco Benucci, who was born about 1745 and is today best remembered as the creator of Mozart’s Figaro and Gugliemo in Così fan tutte ? Well, in keeping with the character of buffo roles one might suggest that Benucci’s talents lay in characterisation and flexibility rather than overt virtuosity. The obvious need to project text clearly necessarily results in a predominance of syllabic settings that cover no great range – ‘Se vuol ballare’, for instance covers a range from C to F1; we can gather from the climax of the cabaletta of that aria, too, that Benucci had a powerful voice capable to bring off an impressive climax, a quality also to be heard here in Gugliemo’s splendid showpiece ‘Rivolgete a lui’, an aria Mozart replaced in Così fan tutte because of its length. We cannot of course guess at the quality of Benucci’s voice, but it was especially valued in Vienna, where Benucci sang from 1783 until 1795, while a German critic wrote of its ‘beautiful, rounded quality’ while also praising his acting for its ‘propriety’ and lack of vulgarity.
In addition to the arias from Figaro, Così and Don Giovanni – in which Benucci sang the first Viennese Leporello in 1788 – we are also given arias from roles created by him in Vienna from Salieri’s La grotta di Trofonio (1785), Axur, re d’Ormus (1788) and Martín y Soler’s hugely successful Una cosa rara (1786). Giuseppe Sarti’s I contrattempi (Venice, 1778) is particularly interesting for being the first opera in which Benucci created a role. Here the characterful recitative and aria ‘Oime! che innanzi agli occhi – Pensa, che per morire’ finds his character Frasconia trying Papageno-like to pluck up courage to commit suicide. Also of note are extracts from the two Salieri operas: Trofonio’s mock ‘ombre’ scena ‘Ch’ite per l’aere’ is clearly a parody on Gluck’s Orfeo ed Euridice, complete with chorus of spirits, while ‘Idol vano’ offers a rare opportunity to hear a more serious aria composed for Benucci in the mezzo caraterre role of Axur, the greater degree of coloratura strikingly apparent in the context of other arias on the CD.
So how does British bass-baritone Matthew Rose fare with the ‘Benucci test’? Rather well, actually. The voice can certainly be described as having a ‘beautiful, rounded’ quality and it is evenly produced across its range, with an admirable lack of intrusive vibrato. Rose also brings a sense of character to the roles he is portraying (never easy in a recital) – I particularly like the sense of malicious fun intimated in Leporello’s ‘catalogue’ aria (let’s not forget there is more than an element of his master in the servant’s make-up) – and there is certainly a sense of propriety in not concluding ‘Se vuol ballare’ an octave higher than written. I feel Benucci would have probably been more precise with his ornaments (the single trill Rose attempts is a half-hearted effort) and would probably have sung more of them. Mention also needs to be made of the admirable cameo appearances of sopranos Katherine Watson (as Dorabella) and Anna Devin (as Zerlina). Rose is admirably supported throughout by a rather larger Arcangelo than we usually hear. The wind and brass departments boast some of London’s best period instrument players, who relish the opportunities given them by Mozart’s wind writing. Jonathan Cohen’s direction is notable not only for the sympathetic support given to Rose, but the spirited, acutely observed performances of the overtures to Figaro, Don Giovanni and Paisiello’s hugely successful Il re Teodoro in Venezia (Vienna, 1784), from which it might have been appropriate to hear an aria. Still, with a playing time of 77 minutes one can hardly complain about what is not on a disc that achieves the rare distinction of being both of great interest and thoroughly entertaining.
University of Rochester Press, 2015. xii + 402pp.
Boydell & Brewer, £65.00.
[dropcap]R[/dropcap]auzzini (1746-1810) was born in Camerino (or Camerano), about 40 miles south of Ancona and roughly west of Assissi, half-way across the peninsula. He accepted castration when eleven. He studied with famous singers and his dramatic career began in Rome in 1764. He was not extremely powerful, but he had subtle skills and he often wrote his own music. He performed in major theatres from 1765 in Rome, Venice, Munich and Vienna and was the leading “man” in Mozart’s Lucio Silla (Milan, 1773). Mozart also wrote Exsultate, jubilate for him.
Rauzzini arrived in London on 19 September 1774 and his first performance in Armida, a pasticcio, was first heard on 8 November. He was not well, two performances were cancelled, and his second appearance was on 19 November. He did his best. When cured, his singing was fine, though if he had a high note, he ran up with short notes to the top and descended to a final note. In Piramo e Tisbe (1775) he was probably the first castrato to sing in one of his own operas in London: there were also performances in Vienna, Brunswick and Bologna. The information concerning the Overture is confusing, with paragraphs on pp. 37 & 38 and footnotes 40, 42 & 43. The list of operas (Appendix B, pp. 354-6) includes the European ones, but it omits the later L’eroe (1782), Creusa (1783), Alina (1784) & La Vestale (1787), even if they are pastiches – though they are listed in the index with the other Rauzzini operas; La sorpressa (1779) is not on the list and indexed under “vocal music”. It is odd that Rauzzini’s Operatic Roles (Appendix B) omit five titles, even if they are not complete works by him.
Rauzzini settled in London, but made many visits to Bath. Its social and artistic life began with Beau Nash early in the 18th century. At first the regular musicians were natives. Chilcot published 12 English Songs around 1744 – well worth buying (Kings Music/Early Music Company), and the Linleys – father and six sons. William Herschel was an astronomer and an organist, Henry Harrington was a physician and a glee composer. J. C. Smith Jnr moved to Bath along with Handel’s manuscripts. His concert programmes in Bath from 1786-1810 are listed in Appendix A, filling pp. 287-353 with the titles grouped compactly in two paragraphs each for the first and second half. I was surprised to see Handel’s Funeral Anthem, presumably for Queen Caroline, which was probably performed to mark the 50th anniversary of her death. The Dec. 6 1786 performance was performed as at Westminster Abbey “by Desire”. The Bath lists of performers are similar to those in London, and Rauzzini retained his activity there, though his reputation declined, particularly with problems with another singer. I suspect that his performances in Bath were more relaxing.
Rauzzini was happiest in performing and later composing the standard Italian opera practice. He wasn’t full-blooded, and was probably best at more gentle roles, and he managed fairly well in his composition. The chance of operatic revivals are slim – perhaps Piramo e Tisbe is the most likely to spread now. It is, though, difficult to value a composer of whom I have never heard a note – and I don’t think that over the 20 years of Early Music Review I can remember any reviews, in which I proof-read every note, and my much longer The Gramophone, though I don’t have to proof-read it!
The preface is a survey of the social problem for castrati: despite being men in nearly every respect, they can’t mix with men or women without great care.
Clifford Bartlett
I’ve taken from Paul Rice the list of instrumental and small-scale vocal music, and it would be well worth making it available. His published music is certainly competent, but I’d rather see the quartets in proper scores. It would be useful if the whole set were published, with separate parts added.
Rauzzini published 8 sets of instrumental music published by Welcker:
op.1. Six favourite Sonatas for the Piano forte or Harpsichord. With an Accompaniment for a Violin 1777. [The Welcker parts was in score with the piano, but a later French edition had a separate violin part.]
op. 2. Six Quartettos for two Violins, a Tenor and Bass. 1778.
op. 3. The Favourite songs, Rondeaus, DUETTS & CHORUS, in the OPERA LE ALI D’AMORE 1778. [Full score]
op. 4. La Partenza: a Cantata composed by Sigr.: Venanzio and Sung by Him and Miss Storace at the Opera House 1778.
op. 5. Twelve Italian duettinos, for two voices with a thorough bass. 1778.
op. 6. Six Quartettos for the Piano Forte or Harpsichord with Accompaniments for two Violins and a Bass. 1781
op. 7. A Second Set of Six Quartettos for two Violins, a Tenor and Bass. [1780]
op. 8. Six Sonatas for the Piano Forte or harpsichord. With an Accompanyment for a Violin. [1781]
Then followed:
op.9. Six Favorite Italian Canzonets, with an Accompanyment for the pianoforte. Blundell [1781]
op. 10 & 11 unknown.
op. 12. Three Grand Duets; for two performers. Beardmore & Birchall, 1783.
op. 13. Four Favourite Italian Duets for a Voice… also, four Easy Airs. R. Birchall [1784]
op. 14. Six Italian Canzonets, with an Accompanyment for the Piano Forte. J.Bland [1785]
op. 15. Three Sonatas and a Duet for the Harpsichord or Piano-Forte with an Accompanyment for the Violin Ad Libitum. Birchall and Andrews [1786], reissued by Goulding & Co c.1800.
Motets from the Hiller Collection
Sächsisches Vocalensemble, Matthias Jung
70:25
Carus 83.269
[dropcap]A[/dropcap]ny recording featuring the Sächsisches Vocalensemble and/or Matthias Jung is always worth hearing. Seven of the 17 tracks on this recording of motets from his printed anthology of a cappella motets are world premiere recordings (three of them by Hiller, including his arrangement of Jacob Handl’s famous “Ecce quomodo moritur justus”). Composers represented included such important figures as Homilius, Carl Heinrich Graun and Rolle, but also lesser-known composers as Penzel, Reinhold and Fehre.
In truth, in listening I was definitely unaware of any sudden shift in standard! It certainly helps that the singing is exquisite, and Jung ensures that he makes the most he can from the material in front of him. Here I think micro-management pays dividends with absolute unanimity of delivery throughout – a glorious choral sound like this does not come easily. Choirs looking for new repertoire will be glad to hear that the music is available from Carus, too.
The great castrato of the Napoleonic aria
Ann Hallenberg, Stile Galante, Stefano Aresi
71:45
Glossa GCD 923505
Music by Bianchi, Cherubini, Cimarosa, Mayr, Myslive&chacek;ek, Pugnani, Sarti & Zingarelli
[dropcap]A[/dropcap]nother winner from the excellent Ann Hallenberg. Luigi Marchesi (1754-1829) was described by contemporaries as “the infinity and personification of the castratos”, and “the very best of his kind”. (He also achieved fame by refusing to sing before Napoleon, following the latter’s victorious entry into Milan in 1796.) Many descriptions of his superb singing survive, along with a number of written-out examples of his astonishing improvised ornamentation; these are the inspiration for this remarkable disc, which sets out to recreate his long-lost art.
Ann Hallenberg already has a number of extremely interesting and thoughtfully planned recordings to her name, and this is no exception. She gives us a breathtaking display of vocal fireworks – long perfectly-even semiquaver runs, spot-on arpeggios, and precisely tuned huge leaps – but with the added scholarly spice of them being either written-out or inspired by Marchesi himself. There is even an example of the once-famed Marchesi “rocket”, an exhilarating upward run in semitones over two octaves! Remarkably, despite all the pyrotechnics, the overall impression is of intense dramatic urgency and emotional aptness, as indeed Marchesi’s contemporary audiences agreed.
There are many highlights. Try the dazzling Cimarosa ‘Superbo di me stesso’ (track 9) for a good overall example, or the lovely slow Cherubini ‘Quanto e fiero il mio tormento’ (track 6) with its many cadenzas and electrifying allegro conclusion. The extended scena from Zingarelli’s ‘Pirro’ (track 11) is especially fine, with the added bonus of Francesca Cassinari’s lovely soprano.
Stile Galante supply superbly energetic orchestral support, with some particularly lovely string and woodwind solos (e. g., the glorious bassoon obbligato at the opening of Pugnani’s ‘Misero pargoletto’, track 7). Stefano Aresi, as well as sparkling overall direction, supplies exemplary and scholarly sleeve notes.
Much of the music is, as far as I am aware, new to disc, giving us a fascinating snapshot of operatic music and performance practice in the late 18th and early 19th centuries.
Thirteen Strings Chamber Orchestra, Kevin Mallon
69:45
Naxos 8.573323
[dropcap]N[/dropcap]axos have produced the other sets of the Mannheim composer Franz Ignaz Beck’s collection of youthful symphonies op. 1, 3 and 4, so this recording I think must complete the major part of his symphonic output. All in three movements, the works are harmonically advanced for their time (published in 1760 after Beck’s move to Marseilles) and are well worth exploring – far removed from the mundane work of many of the minor continental figures of the period. Most of the movements are for strings alone, though horns poke their noses in on rare occasions. Kevin Mallon produces some neat, stylish playing from his Canadian chamber band Thirteen Strings. A good, honest performance of some interesting music. Naxos’ usual “economy class” booklet contains an informative essay on the music.
