December 30th, 2006
3:28 pm
Archive for December, 2006
Anno 1630: Italian Works
Anno 1630
Lorenzo Ghielmi, Enrico Onofri, and Margret Köll peform early Italian baroque works, Anno 1630 (p) 2003 Winter and Winter.
I first reviewed this CD in June of 2004. Then, I had this to say:
It was some years ago, now, that I heard Mr. Ghielmi and Mr. Onofri present some of this repertoire at the Cleveland Museum of Art (Ohio). It was a free recital, and featured a new positif organ the museum had purchased. Seeing Onofri come out, and tie that silk scarf around his neck was a sight; it has remained, ever since, the most moving, and “best” concert I have ever witnessed. The musicians both transported me elsewhere; the quality of their playing incredible, and the music both interesting and affective.
So, now on the indie label Winter and Winter we get a taste of this repertoire, from “around” the year 1630. It’s an interesting way to group disparate pieces together… we get keyboard solos, single-voice numbers, violin sonatas, and even a harp solo. I had wanted to pick up this release after reading this weekend that Onofri has now shifted focus on singing. The opportunity to hear him as a vocal soloist plus on violin, might prove to be a special treat.
The recorded sound is excellent; however I think the “volume” is too high. With headphones, it’s giving the magnets next to my ears a run for their money; on the hi-fi, the volume was really loud. This is nice, but reduces the dynamic range and can introduce distortion. Onofri’s voice seemed to overvibrate in my listening salon until I fought my own lazyness to get up and turn the volume down. A small criticism, but then again, it’s also crystal-clear.
The packaging is also of special mention; I don’t want to know how expensive it was to package; special papers, fiber, and cut-outs make for a CD case you’ll cherish to enjoy and explore. It’s sad, however, that the CD contains no real liner-notes. You’re left to figure out the words (of the singing numbers) on your own, or else already be an expert in the Italian baroque.
If Fontana, Frescobaldi, Castello, and Monteverdi already line your CD shelves (as they do mine), you might take especial interest in this 74 minute release. It centers upon a historic organ, that quite frankly, has to be heard to be believed. For those who want to experience early tunings, this one shines, and really plays off both the benefits and characterization of different temperments.
Keller Quartet - Art of Fugue
It should be no secret that my favorite work by Bach is his ultimate composition, Die Kunst der Fuge, written-out contrapuntal fantasies in various complexities. What starts out as a simple phrase later gets turned into puzzles so fantastic that studying the score is necessary. Of course, with no score, the music still sounds to our ears like glistening spun sugar might look to our eyes.
It is also no secret that (in my opinion) the best recording of Bach’s Kunst is the one made in 1984 by Musica Antiqua, Köln. And it’s not that the best can’t be out-done, but this recording by the Keller-Quartett is not up to the same standard. But I nevertheless still enjoy listening to it.
Keller play the fugues as a string quartet. MAK played them as such, but also with movements with harpsichord. Bach never tells us, and I’m not sure Bach was done yet. He may, like with the Musical Offering, later have specified instruments. Or maybe not. That simply adds more drama to the work, the unknowns that we all wish we did–know.
Keller play the fugues with no string vibrato. Some say they are emulating baroque strings. I am not sure what their intent is, but I like this style of playing. Some have complained that the recording was too-closely miked, others, that the acoustic was too wet. I find no problem with the recording. If we hear people, it only adds a human dimension to a recording.
Bach Missae BWV 235, BWV 234
Collegium Vocale, Ghent record Bach Masses with Philippe Herreweghe, Virgin Veritas (p) 1990
There is a lot of mystery around Bach’s lesser-known Latin masses. Bach, known for his cantatas for use in Leipzig at St. Thomas’ are known, so why was Bach writing more conservative works? These were written around the same time as his more famous B-minor mass. The notes to this recording offers some insight, but no definite reasons.
This recording by the Collegium Vocale favors a large chorus over the orchestra. The recording was made in 1989, and was made in a favorable acoustic. While I would prefer a stronger presence of orchestra, it does maintain a warm sound. Soloists Mellon, Lesne, Pregardien, and Kooy offer good readings in the solo-sections of the gloria in each of the two masses.
While this is church music, I felt certain tracks could have used more “push” for tempo. The most successful tracks for soloists are those for alto, Lesne. His voice seems to soar in the recording space, making for a beautiful sound. Yet, more detail from the orchestra would have been welcome, and more push and pull with time.
Perhaps it was the time period of the recording that makes the presentation come across as “just-so” tidy and perfect. The dynamics in soloists like Lesne could be equally played-out by instrumental soloists. I’m suggesting Herreweghe needed to treat the orchestral melodies like sung ones.
In a few spots, the violins playing in unison aren’t quite all in agreement of pitch.
This recording presents some of Bach’s better writing in the unfamiliar guise of a Lutheran Latin mass setting. There is much to admire here, but not without a few reservations. Bringing the orchestra more forward in the recording, and pushing tempo in places would have made it all the more rewarding.
Antonio Vivaldi: Recorder Concertos
Dan Laurin and the Bach Collegium Japan record Vivaldi, BIS CD-865.
When I picked up this CD in Ann Arbor at Schoolkids Records some time ago, I had no idea who Dan Laurin was. But I did know the reputation of the Bach Collegium under Masaaki Suzuki, and picked it up for $13. It ended up being a nice appraisal of Vivaldi concertos for flute, with one per part backup by a very small Bach Collegium.
The gold standard was included, which for me is RV 108, the fiesty concerto in A minor for recorder and strings. Excellent renditions already exist on disc from Musica Antiqua Köln and Il Giardino Armonico. Was this one comparable, or better?
In this particular concerto, Suzuki comes forward as in so many other tracks, but here on organ. Laurin keeps up amid a wet acoustic. He’s more adventurous in the slow movements with ornamentation. The orchestra, however, is a bit relaxed. This is not to say they can’t play quickly, but rather, they play second role, and do so carefully and safely. Whereas in a recording by Sebastien Marq and Ensemble Mattheus the whole ensemble is on the edge of their seats, here, it is more just Suzuki and at times, Laurin puts his best foot forward. And the rest of the recording is much the same way.
Legrenzi et al.: Invenzioni e Stravaganze
Europa Galante record early-Italian string music.
While the Italians had the solo sonata, I believe, perhaps the Austrian-Germans had the upper-hand on string ensemble music? I find the likes of Falconieri, Legrenzi, Uccellini, and Marini interesting, but ultimately not as satisfying as Schmelzer, Biber, and Muffat.
What we do get in this recording is a lively account of some famous and not-so-famous works by early Italian masters. Take for instance, the Uccellini “Gran Battalia,” which is chock-full of texture, but lacking in serious variation with harmony. Or, the Mazzaferrata work, full of invention, but lacking a greater vision for the entire work. Vitali’s work on the disc is full of drama, but as we listen on, I’m bothered by Europa Galante’s sound on this recording.
In other words, stylish playing, but a poor recorded sound. It’s a bit too distant, yet dry.
They also perform Marini’s famous Passacaglio, op. 22. While this piece can be drawn-out, I felt Biondi and company perhaps rushed the beginning section. I think it has been better-done elsewhere. Yet, while this criticism is small, praise is due by bringing such a diverse set of work together and recording it with as much care as EG do.
Not Biondi’s strongest release, for sure, but a valuable collection of early works.
Rariora et Marginalia
The Rare Fruits Council under Manfredo Kraemer perform baroque violin sonatas on Astrée.
Rustic, dark, rich, like a caramel sauce, or an exotic, wild mushroom soup. This recording combines sonatas by Bertali, Böddecker, Muffat, Westhoff, and Bovicelli. While some works are simply better than others (my favorites the Muffat and the Bertali Chiacona), they each have their own unique sound world on to themselves, indeed, rare pieces that have been typically pushed out to the “margins.”
The recorded sound is good. As ever, I admire the sound of Kraemer’s Techler violin, and there are some really sonically-low notes in this recording. Get to the end of track 1, and brace yourself. It will wake up the neighbors, for sure.
It should go without saying that each gem the Rare Fruits Council puts out on record should be eaten-up like guilt-free candy. Warmly recommended to fans of the baroque violin.
Baroque by Candlelight
The Chamber Music Society of Central Virginia presented a concert on December 12, 2006 at the Second Presbyterian Church, Richmond. Performers included Amanda Balestrieri, James Wilson, Carsten Schmidt, Mary Boodell, and Theresa Salomon on original instruments.
The program included DeFesch’s Sonata in A minor for cello and harpsichord, a Pastorale ad libitum attributed to Antonio Vivaldi, and de Monteclair’s Pan et Syrinx, a cantata for voice and instruments.
I enjoyed Wilson’s playing on cello. Many know him as a member of the Shanghai Quartet, that was centered at the University of Richmond. His playing style was spirited and confident, and his baroque style was pretty good. He was accompanied by my favorite musician of the evening, harpsichordist Schmidt, who played with such enthusiasm, emotion, and fervor. It is exciting to see someone really “get into” the music, and I think, ultimately have fun.
Our singer was Ms. Balestrieri, who did an excellent job at French diction. At times her power out-did the instruments, but for the most part, she was an affective singer with above-average Baroque technique. Weaker performances came from the flute and violin.
After the intermission, and a short re-tuning, the duo of Wilson and Schmidt returned with violinist Ms. Salomon to perform Biber’s first Mystery Sonata. What a gem! A favorite!
I felt the entire ensemble rushed the work, despite the fun I had listening to it. Drama and gravitas is lost when everything is just rushed through. I felt the group hadn’t adequately studied the work. Salomon seemed more in her element on this work, but her violin had an especially wirey, thin tone that sometimes lost itself to squeaks.
The next major work was La Lucrezia, an Italian cantata by Handel. This work was technically and musically richer than the earlier French work. It was also far too virtuosic for Ms. Balestrieri to perform confidently. At one point she became lost in a muddle of fast notes, and the look on her face told us “she was trying to relax and get the notes out,” but the result would have afforded a scolding from a voice coach.
Sorry–she did a great job, but it was lacking in the fastest parts. I’ve heard better Italian diction, too. But the continuo team of cello and harpsichord did an admirable job.
Perhaps one of the most fitting works was the finale: Telemann’s Concerto, his Paris Quartet in D in three movements. Here, our flute was more confident (and in better tune), and the continuo support was excellent. Only in a few sections did the violin player look taxed.
In all, it was an admirable concert, especially so for an ensemble that doesn’t normally perform together. The diversity of music was robust, and the highlights many.
Geminiani: Concerti Grossi
AAM/Manze on Harmonia Mundi
This release from the Academy of Ancient Music can during a ripe relationship between violinist Manze, harpsichordist Egarr, and saw releases of Handel violin sonatas, the Handel concerti grossi, among other “standards” in the baroque repertoire. Why record what already was available? They were having success in concerts, and their contributions added to a growing appetite and awareness for modern-day perfection coupled with more insight into Baroque historical performance.
Why not? There is more than Bach.
What’s interesting about this release is the range of abilities of the ensemble. Long-time listeners of the AAM (let’s stretch back to their recording of the Bach Brandenburg Concerti, or their Mozart collection), know them as a careful group, hardly known for passion. Concerto 12 in this release, a re-write of Corelli’s La Folia for violin and continuo, was a preview of what we’d get later with Manze alone with Egarr in the Corelli op.5. Incredible. When this concerto is done, most of the AAM was left in sweat, some ladies’ hair with pins that had come out, and once the microphones had stopped recording, someone was rubbing their wrists.
Manze had managed to inject some real energy and passion into the AAM. Much like he has been able to do of late with the English Concert. What, again is so interesting, is that we can choose another concerto, let’s say the D-minor Concerto #6, and while the tempos are all appropriately brisk, the energy is there, but passion not so much.
Included on the release are two sonatas: one, a Geminiani-doctored Corelli sonata (#9 from op. 5) with cello as the only continuo. I enjoyed the texture and the performance both, where Manze is paired with David Watkin.
The second sonata is a Geminiani original, from his op.5, no. 2.
If you like Corelli, this release is 90% him. It’s his opus 5 sonatas for violin turned into concerti grossi. In some places, Geminiani does well to dress up Corelli’s textures, and in others, you realize he’s left a lot alone (solo violin playing with continuo). I prefer Corelli’s op. 5 alone, and especially so, Manze’s recording with Egarr. But this is nonetheless a very finely done project nevertheless, and earns my recommendation.
Dave Holland: Prime Directive
(p) 1999 ECM
I love this album. It was my second with Dave Holland leading his own group. Since then, I have picked up most of the rest of their work. Baroque? No. But in my exploration of jazz, this group is one of my favorites: drums, bass, vibraphone, trombone, and sax. A tight group with some real winners.
Like… Prime Directive, the opening track. And Juggler’s Parade. Until their “Live at Birdland” album came out, this was my favorite release from DHQ.
I highly recommend this album. They play in top form, and the album is a great representation of the ensemble. I am upset I didn’t get to see them live in their tour this fall.
Messy Stuff
Your anxious host, the venerable Fan of Biber, invites you to our companion site, MessyCuisine, where you can once again visit for restaurant reviews, and soon, more episodes of the Messy Chef.
Bon appétit!
Handel: Op. 4 Organ Concertos
Simon Preston plays historic organs with Pinnock’s English Concert on Handel’s Op. 4 Organ Concertos.
This is an oldie for me… an early unit in my collection. Has it ever been reviewed by me? Likely not. It was recorded in a historical instrument museum instead of the typical studio, and the sound quality has always suffered because of it. The ultimate concerto from the set, a harp concerto, has a completely different flavor, regarding the recording. It’s also a rather forward-sounding work (more like Haydn, perhaps?) and is a nice contrast to an heavily-tempered organ that Preston is forced to play.
Did I kill it?
This morning I logged-in to view statistics for the site since I last changed it to the new “biberfan noir” theme here. My nice little graph of hits diminished to nothing… 0 visits for 5 days, and counting.
Seemingly, by pulling away food and personal writing from the site, I killed off any need to visit. You all hate musique baroque?
That was my conclusion. But that isn’t necessarily the case. Seems that I forgot to include Google Analytics code in the new templates. All fixed. Now, if it stays at zero, I’ll know I made a horrible mistake.
What else is new? Holidays and book writing can suck up time. I had hoped to start my new food/messy chef site this weekend. We’ll see. Yesterday when I got back from a conference, I felt exhausted. Too little sleep. I slept until 10 AM this morning.
When the food site with Richmond, VA-based Restaurant reviews goes live, I will announce it here on biberfan.org. I hope to enlist the help of family members over the holiday with transferring some old, yet valid reviews to the new site.
Manze - Biber Mystery Sonatas
Andrew Manze and Richard Egarr perform Biber’s Rosary Sonatas for violin and continuo, on Harmonia Mundi.
In October of 2004, I first reviewed this collection, in a comparison to other sets of Biber’s 15 Rosenkranz Sonaten for violin.
Beznosiuk and Manze take different approaches to their recordings. While the first uses a variety of violins and continuo groupings (theorbo, bowed bass, harpsichord and organ), Manze uses one single violin and a single keyboard player (Richard Egarr) on harpsichord or organ. One track brings in bowed bass (sonata 12). Typically, performers use different instruments due to the requirements in these sonatas of re-tuning in the instruments in odd and curious ways. In sonata #13, “Decent of the Holy Spirit,” Manze’s violin sound is veiled and muted. Manze’s choice to use one instrument is an interesting one, for we get to hear, as closely as possible, the sound change the scordatura inflicts upon the instrument. As a bonus, Manze speaks and demonstrates the mistuning of strings in the ultimate track in his set.
Manze’s reading is clearly superior, if for nothing else, the sound quality of the recording. His sound isn’t as distant as Holloway’s, but he’s also not “inside my head” like the Beznosiuk recording is. While Manze’s reading of Sonata 13 is a bit slow for my taste, what’s most remarkable is the non-Manze type sound he has. I could probably pick-out Manze’s sound (on his Gagliano violin) any day of the week, but playing here on an earlier Amati instrument, we almost suspect there’s a different violinist behind the instrument.
