Tag: Vocal music

Voces Suaves, Jörg-Andreas Bötticher
69:57
deutsche harmonia mundi 1 90758 49752 5
Music by Franck, Haussmann, Palestrina & Schein

[dropcap]M[/dropcap]y first encounter with the Swiss-based vocal ensemble Voces Suaves came when they took part in the valuable eeemerging project. I thought at the time that they appeared more advanced, more mature than some of their competitors, being very impressed with their singing of madrigals by Giaches de Wert and Monteverdi (see the report of the 2014 Ambronay Festival on this site). Here they turn their attention to German repertoire of the time of Monteverdi, with results that are in many ways equally as impressive, if not completely satisfying.

The majority of the CD is devoted to settings from the Song of Songs by Melchior Franck (Geistliche Gesäng…, 1608) and extracts from two of Johann Schein’s publications, Musica boscareccia  of 1621/1628 and Diletti pastorali  (1624). Both the Schein collections are settings of German translations from the two most famous collections of early Baroque pastoral poetry, Tasso’s Aminta  and Guarini’s Il pastor fido. Stylistically the works of the two composers are very different, Franck’s more solid, chordal or largely syllabic settings contrasting markedly with those of Schein, which are 5-part continuo madrigals much along the lines of Monteverdi’s late madrigalian writing. The real gems here to my mind are the three madrigals from the 1624 collection, exquisitely turned works embracing warmly expressive Italianate lyricism. Listen, for example, to the exquisite ‘O Amarilli zart’, a paradigm of intense longing. Anyone seeking a larger collection of these lovely settings might try tracking down a 1989 recording by Cantus Cölln, also on DHM.

But all this music is well worthy of attention. If the ‘Song of Songs’ settings eschew the overt eroticism some find in the poetry in favour of the religious conceit of viewing them in the context of Christ the bridegroom, they work well on their own terms, with a rhetorical power similar to – if not quite the equal of – that we find in the works of Schütz. In addition to the vocal works the CD includes several short instrumental pieces, including, appropriately, transcriptions of two extracts from Palestrina’s ‘Canticum canticorum’.

The performances display many of the qualities I noted back in 2014, the voices well blended, finely tuned and often producing sound of great beauty. What I would have liked here is rather more attention paid to the texts and the interpretation of them, diction not always being as precise as would be desirable. In sum, there is a danger at times of a degree of blandness. But overall the CD is well worth investigating. The note is excellent, but it would have been helpful to have been given details of the performing forces involved on each track.

Brian Robins

Amanda Forsythe, Emőke Baráth, Colin Balzer, Christian Immler SSTBar, Boston Early Music Festival Chamber Ensemble, Paul O’Dette, Stephen Stubbs
71:02
cpo 555 135-2

[dropcap]F[/dropcap]rom the very first notes it is clear that everyone involved in this recital means business and knows exactly what they’re doing. BEMF have previously (2011) brought Steffani’s opera Niobe, Regina di Tebe  to life. Now they complement this with a varied exploration of his chamber duets. As the notes observe, these show the influence of both French and Italian composers as a result of the composer’s studies and travels and in their time influenced Handel, who ‘borrowed’ ideas from them for his own compositions in the same genre.

All four singers are most accomplished as soloists and no less skilful in ensemble, however they are paired. Every time I thought I’d heard what would be my favourite track another came along and trumped it, or so I thought until the cycle began again! Questions have to be asked – and the performers ask them – as to whether or not Steffani would have deployed as rich a continuo palette as is heard here. In particular, I wonder if individual cantatas would have had a ‘you play this and I’ll come in here’ approach, but what is done in these performances is beautifully seamless and tasteful.

The notes (Eng/Ger) are informative and extensive and the Italian texts are translated into the same languages. Don’t write off Steffani as another composer who fell into a ‘black hole’ between Monteverdi and Vivaldi. Get this disc and meet your “Composer of the Month”.

David Hansell

Les arts florissants, Paul Agnew
208:27 (3 CDs in a card box)
harmonia mundi HMX 2903777.79
CD1: Selections from books 1-3; CD2: ditto Books 4-6; CD3: ditto Books 7 & 8

[dropcap]T[/dropcap]his is a robustly packaged bringing-together of LAF’s three CDs of madrigals sampling Books 1-8. Individual discs have strong cardboard sleeves, there is a chunky booklet including thoughtful and comprehensive essays (Eng/Fre) with sung Italian texts and translations (also Eng/Fre), and the outer box is more solid than many. Vocal and instrumental ensembles are directed by Paul Agnew.

In recent years Italian groups have given us passionate, word-driven performances of this repertoire. I think that these LAF performances find a way to balance those series of micro-dramas with a sense of the bigger picture. I’m not saying that this is how to do it. With such amazing music there can be no one way. But this is a fine tribute to a great composer that will not disappoint, even if it sometimes irritates. Why on earth are there recorders in Chiome d’oro (Book 7)?

Brian Clark

Chantal Santon Jeffrey, Anne Magouët, Benoit Arnould SSB, Les Ombres, Margaux Blanchard, Sylvain Sartre
62:00
Mirare MIR 358

[dropcap]I[/dropcap]’m not unsympathetic to these singers’ desire to explore the drama and passion of Couperin’s remarkable Leçons, but as soloists they are too heavy in tone with too much vibrato for my taste. In duet they sing more gently but much of the delicate filigree ornamentation is still very laboured. I enjoyed the shorter, much less familiar items that complete the programme rather more (one first recording here) and was rather surprised that they rate scarcely a mention in the notes. And quite what a brief movement from an organ mass is doing in the middle of the programme I have no idea. I’m afraid that on several counts this is a case of ‘should have done better’, though the singing of bass Benoit Arnould is consistently of a high standard.

David Hansell