Matteis: False Consonances of Melancholy

Amandine Beyer and colleagues have recorded various ayres for the violin and continuo on Zig-Zag Territories by composer N. Matteis.

I’ve run across Matteis’ in small doses over the years, one or more of his dance movements appearing in compilations (such as those by Florilegium with Rachel Podger), but this is my first album dedicated to Matteis altogether. Despite his name (which looks French to my eyes), he was an Italian who found success in his career in England.

Ayres are good names for the pieces, all short by just a few minutes in length, organized loosely in mini suites. Having watched a promotional video that was made for this album, I learned violinist Beyer plays “off the shoulder,” to mimic the professed playing style by Matteis, who seemed to be a sort of virtuoso fiddler.

The ensemble assembled here has a richness about their sound, with Beyer standing in the front with a leading, affective virtuosity about her playing. These are therefore performers who like the music they’re playing, exploring the music’s emotional and affective depths.

While the length and severity of Matteis’ music may be unusual, the music nevertheless is engaging and sensitively performed–representing several diverse ranges of mood.

Warmly recommended.

Krieger: 12 trio sonatas

The obscure German composer, Johann Philipp Krieger, has been recorded in a series of 12 published trio sonatas (for 2 violins and b.c.) by Parnassi Musici.

I purchased the CD after reading about the ensemble from the Folding Harpsichord Blog, where Jack reviews their recording of works by Domenico Gallo.

Gallo’s music is not available currently in Mp3 format, but the later recording of works by Krieger are. Despite being a prolific composer (not unlike Bach), so many works by this composer have been lost.

The trio sonatas are written in a harmonic style not that foreign from Italian models, such as some of Corelli’s unpublished works. In terms of style, the works are rather conservative, with much of the writing keeping the two violins together in passages of thirds, save for when one starts a short contrapuntal exchange.

To my ears, the style of this composer isn’t terribly far either from some of the “Baltic” works in MAK’s recording musica baltica. The prevalent German style seems to tap, too, into the string ensemble works by Lübeck composers Buxtehude and Johann Pachelbel. In this comparison, Krieger is definitely following a more Italiante model, but at the same time, his writing is far less daring.

Which leaves us with performance questions for the players: what style should we adopt? Parnassi musici have a nice string sound, but I found two faults with their playing that prevent this disc from being truly a standout.

For one, they often adopt very strict tempi that appear to be super-aligned with a metronome. The Affekt of baroque music, to my ears, needs a more liberal interpretation when emphasizing the resolution of dissonance, when landing a delicious chord, or when you simply want to–to make the music more interesting. This isn’t to say they can’t–they can change tempo, but the only time it isn’t an abrupt change is at the tail-end of a movement where a natural ritard is called for.

The second criticism is related, but deals with their willingness to “lean” into some of the music, or to project more “feeling” into it. This is not to say they are emotionless players, but that Krieger’s plainess in his writing would only be enhanced by some more colorful interpretation.

To their credit, the ensemble takes on faster movements with aplomb and plenty of speed and technical ability.

In conclusion, an interesting release of a very unknown composer’s work, but one that likely hasn’t risen to well-known heights on the merit of his compositional abilities. The ensemble shines more than the music, but they could have helped it along with a more daring big-picture view of these works caught somewhere between an older German and emerging Italian style.

Locatelli: opus one concerti

Harmonia mundi is offering the Freiburg Baroque Orchestra’s rendition of Locatelli’s opus 1, led by Gottfried von der Goltz.

Included on the recording are 6 concerti grossi for strings. Seemingly this is “half” of the 12 works Locatelli first published. Instead of following a Venetian, Vivaldian-model, they seem to take more after a four- or five-movement Roman model, popularized by Corelli at the turn of the century. While the harmonic language references Corelli, the violin technique is more up-to-date with flourishes that extend what Corelli ever penned. Knowing Corelli was supposedly an avid improvisor, it is tough to say if Locatelli’s ornamentation wasn’t a good imitation.

Contrapuntal movements aren’t lost on Locatelli either, such as the vivace of the Christmas concerto, number 8. While Corelli is certainly referenced here, there are some references to other popular styles of the day. In the second concerto in C minor, Locatelli plays with stereophonic technique between two soloists in the violins. We can go far earlier than Corelli to find this, in the works by Gabrieli. The style is of course far more modern, especially in the areas of harmony.

The three movement concerto “a cinque” in F has the opening “tempesta di mare” feeling of several Vivaldi concertos, only to ultimately fall short in execution.

Locatelli was a forward-thinking, enterprising composer of the late Italian baroque. By his later concertos, he’s extending his compositional ideas further than his peers, and by his opus 3, he’s extending the reach of the violin’s gamut. His style by the end mimics that of Dall’Abaco and sounds almost somewhat classical.

But this well-performed collection by FBO is a glimpse into his start, where he evidently felt the requirement to build upon the shoulders of the giants. On paper, I’m not sure these concerti would have been too attractive to audiences of the time, but with the right soloists, they may have just been show pieces. There are a few places among the set where Locatelli sets off a few fireworks. Yet, it will take his pen a few more years to tap into the riches he’d be capable of with a lyric slow movement.

You Are, Variations

I’ve been listening to the album of two works by Steve Reich: You Are Wherever Your Thoughts Are, and his Cello Counterpoint.

Grant Gershon leads the Los Angeles Master Chorale and musicians. For scoring, Reich has used minimal strings, pianos, marimbas, and of course, voices. The composer says (from the interview, linked above) that he was after some of his earlier works in terms of getting back to the “fun” of composing, citing Desert Music and Tehillim as points of inspiration.

The reviews on Amazon are interesting: some are rather ebullient with five stars, other folks don’t like this release. It seems hot or cold, not unlike people’s reaction to Reich in general. Of all the music I play, my partner can’t really stand “Reich.” “Oh that stuff, I don’t like it… how can you listen to it?”

I find Reich’s music hypnotic and modern, it’s sound in motion. Like Ravel’s Bolero, it grows over time, and the music in some ways is less predicable than Bolero, yet, it’s far more texturally-interesting. The juxtaposition of the percussive sounds is an intoxicating sound, one that I explored myself in a work scored for ten pianos. Like Reich, I turned to digital technologies to make my piece. In the You Are variations, Reich takes away the use of taped loops or sequencers and makes an “acoustic” piece that is only aided by amplification of the individual voices.

I bought the recording for the ultimate work: Cello Counterpoint. I had a hunch, but no real confirmation, that I heard this piece “live.” At one of the NECC conferences I attended (Atlanta, perhaps), they opened one general session with a live cellist playing music. She was playing against a moving backdrop, which was apropos for Reich’s music. It was wonderful, delicious music. To this day, I can’t tell you if this was the piece, but I would wager in favor of it being it. The cellist plays against recorded tracks of him or herself.

Like You Are, Reich’s music presents performance challenges. While the music may sound mechanical or meditative, there’s a skill to playing those patterns. I can’t say that I see the textual references realized in Reich’s work here… but I found the interview telling in some of his thoughts. For me, the music speaks to me well enough without interpreting the text. It’s pure texture to me, in much the same way Tehillim was. Since buying this album as a digital download, I don’t even have the liner notes with the texts available to me as I listen.

Some folks would call foul here, noting the importance of the text towards understanding a piece of music. While I cannot disagree, I also would posit that a lot can be enjoyed from music without the text. I grew up during the 1980s listening to pop music which I more often than not missed the words completely… they were sounds amid one or two recognizable sounds, here or there. You could say I didn’t sing along terribly much. And that’s how I hear Reich’s music.

You Are’s biggest asset perhaps is its palatable length. It doesn’t go overboard in terms of length. There are four main sections before we get, on the album, the 11-minute cello piece.

There’s much to like here if you’re a fan of Steve Reich. This album might also be a great introduction. For the novice to his music, I might proffer letting the sound wash over you first. Upon repeated listenings, you’ll notice the complexity of how the textures and patterns “fit” together (or do not). It’s this interweaving detail that reveals Reich’s music like a tapestry, one that reveals itself to you over time, with patience and our joy and capacity to hear.

Pierre Hantaï performs Bach’s Le Clavier bien tempéré

Bach wrote two collections of keyboard pieces around the same construction: prelude and fugue, in each key, major and minor. He seemed to choose this design not only to show off his invention, but also to challenge the tuning system of the time to accommodate his chromatic ascent up the scale(s).

They are respectfully called The Well-Tempered Clavier, and today we refer to the first collection as “book one,” and you guessed it, the second as “book two.” Some of the preludes resemble the light 2-part inventions, not to mention a few of the fugues. However, the music in these collections is a couple steps more complex and (consequently) richer.

The collection has stayed in the “repertoire” or canon since Bach’s time, being celebrated by such famous composer/pianists as Beethoven and Chopin. Like much of Bach’s music, these pieces are rich and compact, frugal perhaps, but also enduring.

It’s been several years now since harpsichordist Pierre Hantaï recorded the WTC 1 on Mirare. Enthusiasts of this music today have many choices, this being a popular piece. I have enjoyed this on both piano and harpsichord, with one favorite being the piano rendition by Frederich Gulda. Hantaï is not nearly as eclectic a performer as the late Mr. Gulda nor Mr. Glenn Gould. Come to think of it, I have never heard such eclectic interpretations on the harpsichord.

What makes Hantaï’s recording a winner is a combination of factors. First, just as the sound of a piano can differ, harpsichords too have different sound qualities. This is a delicious instrument, sounding practically like a strong clavichord at times, with that richness. It’s almost got a quality we could say was “fruity.” Second, the sound recording is first rate, clear as a bell, even if we might occasionally hear Hantaï breath.

His performance is also not mono-stylstic (i.e., it’s not all fast, or all cautiously slow). He takes each piece on its own, giving it a choice of tempo and pulse that always seems spot-on. Sometimes it’s easy to miss the extra notes peppered-in as ornaments, but they’re there. He will pause at times to make a gesture, but more often than not, he can hold a regular beat, just shy of sounding like a machine. Doing so here is a mark of virtuosity.

Hantaï has plenty of experience with ensemble music and meeting the challenges of Bach’s solo keyboard works. This recording shows off his talents with this material. That said, I sometimes preferred my more mannered recordings when I want to dip my toe into some WTC. This is not a criticism however, it’s more commentary on my own preferences. His role here is to authentically produce this work of Bach within the sound world germane to Bach. Over emphasizing something, applying extreme rubato, or adding to the text like some pianists can do would be against Hantaï’s mantra here. He is wise to stay clear of these temptations, the opportunities great in a work of such depth amid a seemingly simple context.

To recap: sensible interpretation with a delicious-sounding harpsichord. Enough tracks show off Hantaï’s finger dexterity and sense of adventure. As a counterpoint, Hanaï is also sensitive to the character of each piece so that each one isn’t just finger fireworks. This may be a recording you choose to listen to in smaller chunks or in small tasty bites. Coupled with other recordings, this will likely add value (and satisfaction) towards your enjoyment of the first installment of Bach’s Well-Tempered Clavier.

To date, I have not see a Volume 2 published.

Jean-Marie Leclair: Sonatas

La Tempesta (Patrick Bismuth) records the fourth book of sonatas by Leclair. As I wrote earlier, I’m a fan of Leclair’s style and the richness, too, of some of his works. While my reception to the CD by John Holloway was fair, I have a far more enthusiastic reaction to that of Mr. Bismuth.

First, this recording was difficult to procure. I had to purchase it in France. It’s a 3-CD set, actually, and is well-recorded. There’s a very distinct separation of the channels, with the violin on the right. Both Bismuth and his ensemble (but especially him) are not just playing the music: they’re living it through an interpretation that both highlights the virtuosity of the music and the emotional depth within. A lot of music doesn’t exactly ooze emotion, you have to find it. You project, pull, and highlight those elements which especially speak to the listener. Much like the gestures we use in voice, the simple combination of soloist against continuo requires the performers to sometimes independently, but also sometimes collectively infuse their “reaction” of the music. It comes, perhaps, with practice… knowing what the lines and harmony are doing, or what’s coming up, and how to project that. Bismuth is doing an excellent job in this recording finding what makes each movement special.

One of his more expressive gestures is the use (or absence) of vibrato. It plays deeply into his “sound,” but can also add a dramatic richness to his timbre. His instrument I feel is thin sounding (on account of the strings) but has a very nice sound. At times, when vibrato is applied, it’s sweet; other times it’s penetrating and rustic. It’s weakest in the lower register, but sings and sparkles with the higher notes.

A variety of continuo is used, usually with a combination of instruments, including cello, bass lute, and organ. As with many collections like this, I like the variety of continuo. All together this is a strong set, full of many ideas penned by Leclair. You probably wouldn’t want to listen to the entire collection from cover to cover, on account to the stylistic similarities and the strength of the dramatic performances. Under La Tempesta, you long to savor each work on its own.

I should add that one sonata is performed on flute. Leclair listed it as an alternate soloists.

This collection, perhaps than others collectively by Leclair, speaks to his strengths as a composer-violinist. The performers here match the call with variety of expressive means that excite the listener and showcase the music’s appeal with a variety of invention and showy virtuosity.

Recommended to all fans of baroque violin repertoire.

Holloway – Jean Marie Leclair

John Holloway performs sonatas for violin by Jean-Marie Leclair with Lars Ulrik Mortensen and Jaap ter Linden.

I’ve become a fan of late of the music of Leclair, a French composer most famous for being murdered. His music took on a rather continental style. He published a number of sonatas for his instrument, the violin, plus a number of violin concertos, some of which, are quite challenging.

This is the sixth installment by Holloway on ECM New Series, one he has steadfastly done with Lars Ulrik Mortensen. He previously had Mr. Mortensen perform on harpsichord simultaneously with his wife on organ. If memory serves correct, this is the second album since she passed; the last one of Veracini was also with the same continuo team.

A reviewer on Amazon described Holloway’s tone as “smoky,” and that term somehow fits. (Describing the tone of a violin requires quite an exercise in creativity, not unlike trying to describe the flavors one encounters in a glass of wine.) I never thought his violin’s sound was his best trait.

There are moments of spirit in this recording, such as track 18, an allegro movement from the B-flat sonata.

As usual, Holloway plays with excellent intonation and then my usual criticisms creep in: at times the tempi are not quite energetic enough–you get the sense that the tempo chosen is good, but not perfect… great for rehearsing, but in a live performance, folks might just push it a little further? Tracks like #19, from the same B-flat sonata, just fall flat, short of boring. Neither performer in the 3-man ensemble takes the liberty to adjust dynamics terribly much, and I simply don’t read a terribly deep emotional deposit in the performance.

A better example of what the trio is capable of is in track #10, an allegro from the sonata in A major. Dynamic shading is “in the house,” and the tempo is lock-on appropriate. It isn’t Leclair’s best writing, but it’s well played.

I have found the readings of Leclair sonatas by François Fernandez and Patrick Bismuth are ultimately more musically satisfying. Where I didn’t care for the overly “wet” acoustic in Holloway’s solo Bach, the recording this time around is far more complimentary to the musicians. I’d simply love the recording more if it had a darkness at appropriate moments, one which Andrew Manze managed to find in his reading of Frenchman Jean-Féry Rebel. If you’ve been a fan of the other Holloway recordings on ECM (or elsewhere before his association with the label), you might just then like this recording.

I’d start first with the others mentioned. Like the Veracini album before it, this one simply comes up a tad short on energy and spirit in all the right places.

John Holloway on the Sonatas and Partitas

It was ambitious of ECM to release both John Holloway and Gideon Kramer recording Bach’s sonatas and partitas for solo violin within months of one another.

Kramer’s recording ended up being a favorite of mine. Sheer power, but in an emotionally appropriate way.

Holloway plays in far more airy acoustic than Kramer, and you have to be careful about how you record solo violin. I always felt Huggett’s recording on Virgin was too close. And Holloway’s? Likely too distant. Kramer’s is about right.

Despite what it does the recording, I imagine Holloway had some fun with the acoustic when playing, It amplifies his violin’s sound, and it makes the space between notes ever so connected, no matter his articulation. Intonation is true.

I don’t particularly like the sound of Holloway’s violin. Not because it’s bad sounding, it just takes some time to enter his sound world. The upper register can be slightly strident, the bottom lean, but he has full control of the instrument. My only gripe with the interpretation, then, is with the famous Chaconne. It starts out far too academic for me. I’d rather have a little more of Holloway in the reading.

Holloway’s reading isn’t likely the one you have to have, if you were on a desert island. I think Gideon Kramer’s rendition on ECM beats this one out for both the sound quality of the violin and also for interpretation and also for recorded sound. But Kramer’s a modern violinist; Holloway follows baroque performance practice.

What it does offer is a very gifted violinist’s read of Bach’s (and the world’s) violin masterpieces. It’s worthy to have. It may most closely take me to the sound world of what it might have sounded like to hear Bach himself playing these works in the space of St. Thomas’s on a late night evening when the building was empty. It may lack the polish of the world’s finest rendition, but it excels in being honest, reverbrent, and in some cases, truer to the text than what we’re used to.

Italian Flute Concertos

This recording by Musica ad Rhenum featuring Jed Wentz features the composers Vivaldi, Ferrandini, Albinoni, Galuppi, Tartini, and Giordani. A rather interesting mix, for sure; all Italian. Using baroque instruments, the ensemble gives us a survey of (likely) their Italian favorites.

All of the concertos follow the Vivaldian 3-movement form. I am betting most folks won’t know these works. Even the Vivaldi work was unfamiliar to me, not belonging to his op. 10 or other collections.

The recording is good, there isn’t terribly much separation between soloist and ensemble, but that isn’t necessarily a bad thing. Each concerto is played with sensitivity using a small number of forces. Fast tempi are fast, Probably my favorite work is the Galuppi, being set in a minor key. The concerto opens on the D minor triad and goes about the standard structure. What makes it interesting is the addition of a second flute, and the natural pauses of affekt that the ensemble takes. It reminds of me of another favorite flute concerto in some ways, that one of by Blavet in its harmonic language.

In all, this CD has great performances of a number of obscure baroque flute works from Italian composers. Fresh air, for sure, and an ever deeper understanding of the musical language active from 1715 on.

Tartini: Sonate a violino

Violinist Chiara Banchini plays solo works by the late-Baroque composer Giuseppe Tartini, and is then joined, oddly enough, by soprano Patrizia Bovi with various arie del Tasso.

I picked this up on the good reputation that Banchini already had with her Bonporti set, and her Tartini Concertos with her Ensemble 415. This is is mostly solo violin music, alongside a few songs that seem to pre-date the violin works. Despite their distance in age, the juxtaposition isn’t terribly indecent. Tartini takes some rather oriental twists from time to time, which adds color to his writing. The arias likewise have a foreign sound that enhances Tartini’s harmonic forays.

But I could have done just as well without the singing.

A close recording and miking is used on Banchini’s violin alongside a generously wet acoustic.

Banchini’s sound is rustic, with soft-tensioned gut strings on her violin. Sometimes digging into lower notes, the sound booms from her instrument, blooming in the recording space. This is music that would sound rustic no matter the performer, the writing is such that the figures require dexterity and a variety of techniques, from pizzicato to multiple stopping, with far more chromaticisms than your average baroque violinist-composer has been known to inject.

If you like his more famous Devil’s Trill Sonata, you will likely also admire this collection. Tartini’s music is less measured than my favorite Bach. Because of that, I’m not sure all the works here work as a complete album. But sample from it often, and you’ll enjoy the interpretations for sure.

Biber: Un Carnevale

Biber: Un Carnevale a Kremsier is an album by Ars Antiqua Austria which I haven’t listened to especially much, likely because it isn’t the choicest set of Biber’s music.

That’s not to say it isn’t colorful.

The leader Gunar Letzbor previously did a great Mystery/Rosary set, his pedigree established earlier with Musica Antiqua, Köln. Among the more interesting of the 24 tracks are the sets of Balletti, which colorful additions to strings, such as a bell. Another work found in other collections includes the so-called Balletti Lamentabilli in four parts. The performance here is solemn, likely written for an occasion that you’d rather not repeat. Sorry, I’ve found this piece a little snoozy.

Likely the most interesting works are the Harmonia Romana and the Trombet-undt Musicalischer Taffeldienst. These multi-movement works in a somewhat “phantastic” style don’t rival Biber’s Mesa Sonora collection, yet they’re not far from that sound world. Speaking of “table music,” the music takes on an almost renaissance flair when the strident color of recorder enters the picture. And then you’ll wonder who’s drunk when the “Nightwatchman’s” song comes out of the woodwork. The aesthetic here is for sure of a drunkard. While I prefer the rendition by Musica Antiqua Köln on their Scherzi Musicale album, this one is good too.

This disc may not be an essential unless you’re a real fan of Biber. If that’s the case, the folks here don’t do much wrong. It’s simply that this isn’t Biber’s most engaging music.

Alexandre Tharaud – Rameau

Currently playing in iTunes: Suite en Sol: L’Enharmonique by Alexandre Tharaud…

The album on piano comes by way of Alexandre Tharaud. I’ve had this album now for some time, enjoying a little baroque via piano. His dextrous fingers certainly can delight, especially in numbers such as L’Egyptienne, or Les Sauvages by Rameau. Rameau of course was a famous claveniste, but the music is good enough, of course, it can live beyond the confines of one instrument.

Tharaud is a gifted pianist that doesn’t take all of our obvious avenues with this music. Where I suspect Rameau wants the harpsichord to get loud and obnoxious, the piano here may be handled with lightness, bringing a rather transparent, clear quality to all of Rameu’s hemisemiquavers.

Among the most famous pieces included is his Gavotte avec six doubles, each one here treated to its own track. Fabulous.

22 tracks, including Debussy’s Hommage a Rameau. In the end, I fatigue listening to all of this at once. Good recorded sound. I prefer the harpsichord in the end, but this is still a worthy reading with merit. This reading has personality.

The Music of Gabrieli

This recording isn’t new — I picked it up in college when I was studying this music in music history classes.

Gabrieli’s style is interesting in that his music is complex enough in terms of voices that you cannot perform it too quickly; the music therefore typically takes an easy pace, yet places with your sense of space. Multiple choirs of instruments, from sets of instrumentalists in one to voices in others make for really stereophonic music.

The famous sonata pian e forte is included here, as is the sonata a tre violini, and his Sonata à 22.

With the spirit of the Renaissance in this music, you can almost sense yourself inside the large cathedrals and spaces of Europe. Yet, Gabrieli lived in a time of change, as instrumental music was gaining sophistication, at the birth of the baroque.

Of all the Gabrieli I own (among my recordings, the set by Musica Fiata Köln and the later release by McCreesh on Archiv) this is a tamer, more relaxed release in almost all respects. But with good headphones, it can’t hurt to enjoy the music played a tad more simply, and enjoy the sonority that Gabrieli is remembered for.

Bach Kantaten BWV 12, 78, 150

Akadêmia has recorded works by Johann Sebastian Bach.

I like to think about this release like you might about something to drink: choose the category that pleases you, be it juice, wine, or anything really. Certain drinks swirl in the glass thicker than others, they hug the glass, their texture more viscus, more supple. This is the type of drink we have of Bach with the vocal ensemble Akadêmia, focusing on works by Bach that follow an ostinato bass: cantatas BWV 12, 78, and 150; motet BWV 118. One per part singing for solos, supple instrumentals, and above all else, a tight, rich sound.

While I have been surveying cantata releases by a number of ensembles over the years (Rousset, Koopman, Gardiner, etc.), no single disc provides quite as much enjoyment.

Highly recommended.

Mozart: Symphony #40

The Portuguese ensemble Divino Sospiro under the direction Enrico Onofri have recorded two works by Mozart: Symphony #40 in G minor, and the Serenata Notturna in D.

Their recording is from a live performance. While there isn’t a lot of audience noise, there is noise from the conductor on many occasions (breathing). I came to buy this CD after listening/watching to several videos on You Tube featuring interviews with Onofri on this repertoire.

This is certainly an interesting interpretation of Mozart, of course the highlight being K. 550. It’s also interesting as an introduction for many people to this baroque orchestra and Onofri as conductor (with a baton). To fatten the ensemble, he’s got some chums from Il Giardino Armonico in the house.

The unusual approach, perhaps, is in the interpretative gestures that are not found on the surface of the score. Any conductor is likely to suggest that their interpretive decisions come from deeper place in the score, if not other information not contained within (composer biography, political events, etc.).

DS sound like a band. The recording space doesn’t help their sound (and neither does the acoustic captured from the concert). I guess I’d call a band a rowdy group of instrumentalists, an orchestra a fine-tuned, deluxe version. This is not a subjective value judgement per se; I like many ensembles that are “bands” as opposed to “orchestras.”

Onfori’s pace on the first movement of the symphony isn’t too fast, neither is his second. When you get towards the end of mvt. II, the band sound, with these “outbursts” that almost shock. I find these refreshing. These are the types of things you go to a live performance to hear.

In movements III-IV, Onofri leads the ensemble at a “faster than typical” tempo, each full of energy and bite. As familiar as this symphony is, you’re likely to hear “new” things, simply because Onofri has chosen to exaggerate here, or emphasize there.

The second work is a concertino/concerto type suite, written as a march, a minuet, and a rondo. Odd in this one is the stereo juxtaposition of the recording: almost all of the music is on the left speaker. In the video, the soloists are grouped on the left. As with the symphony, I had wished the levels were higher (for the mastering of the CD).

Otherwise excellent playing in the Serenata would have been improved with a better recording. The feeling and gestures inherent in the music are played out here, ripe with what me might call Mozart’s humor and panache.

Winter

This is weird.

If you call it art, I am pleased to say I don’t get it.

Pancrace Royer

I recently purchased Premier Livre de Pièces pour Clavecin by the French baroque composer, Pancrace Royer as performed by Christophe Rousset.

I discovered this composer and his quite flavorful music in a DVD extra by harpsichordist Skip Sempé; specifically, it was Royer’s tour-de-force work entitled La Marche des Scythes. Thanks to some enterprising fan, you can see it for yourself via YouTube. (It’s really good.)

So, when I saw a whole collection by Rousset, another favorite harpsichordist of mine, I couldn’t resist.

The French harpsichordists were a rich bunch of fellows. I have a feeling more than one were eating some of the rich sauces we equate with Escoffier-style French cuisine. François Couperin was almost a lightweight, compared to the later Rameau, and certainly Monsieur Royer. Royer is remembered perhaps more so for his operas today, but he left us in 1746 a rather robust set of keyboard pieces.

If you’d like to follow along with the Sempé video, behold all of the fast notes.

You can also read some of Charles Downey’s thoughts on this release via Ionarts blog.

Royer’s music makes use of some of the lower registers of the harpsichord, imparting the richness in sonority that made me think of yummy, rich French sauces. Rousset has chosen a rather nice sounding instrument to interpret Royer’s pieces, among the nicer moments we hear in the third track, Les Matelots and the first, La Majesueuse. In other rather colorful pieces, such as Le Vertigo, Royer goes the other direction, tickling the upper-registers. All the time, there are ornaments all over the place. Royer’s music hits my ears as quite modern, bold, and harmonically satisfying, especially in Rousset’s fingers and hands.

A very satisfying release that is full of energy, finger fireworks, and at times even, beautiful noise. Warmly recommended.

Zefiro Water music

Baroque band Zefiro, under Alfredo Berardini, has released a new version of both Handel’s and Telemann’s Water music suites on naive.

Rich, sensual, lush playing makes for tasty listening. This is their best recording. Full of creative graces, ebullient ornaments, and superb first violin playing.

A must-have.

Peter Wispelwey plays Bach

Today I decided to go for another version of Bach’s cello suites. He wrote six, and I love the edition recorded by Yo-Yo Ma.

But I’ve also been admiring the work of cellist Pieter Wispelwey, who records a lot on Channel Classics. I picked his Bach set via iTunes.

I like the close miking of his great-sounding instrument. He plays with gusto in areas where gusto is sometimes lacking by other performers. He adopts some nice tempos (I tend to lean more to fast than slow, and he kept me very engaged).

This was a personal reading that revealed to me some emotional feedback that I hadn’t noticed before. That’s to say — I established some new respect for a few movements (tracks) where I hadn’t really “heard” as evocative a statement as I had in the past. With great masterworks, there’s often something else to say.

Some years ago I picked up the Ma DVDs. He made six films, each one centered around a suite. It was an interesting project, because some of the films were more successful than others. What I brought away from those were two things:

(1) Ma really knows, and “owns” these works. They’re in his body and his fingers. (2) This music means so much (different things) to so many people.

That’s why when I focused on Wispelwey’s reading of BWV 1012.5 (two gavottes) I had a very emotional reaction. The music pouring into my ears was not unlike someone coming in and turning on lights in a bedroom. “A ha!” The music is in a relatively sunny D major, but it’s dark. I sat here thinking that despite the cellist’s job of ripping all of those multi-stopped chords with happy music, something very sad was just beneath the surface. I hate to use such simplistic terms (happy vs. sad), but Wispelwey brought to me a type of melancholy bliss.

More people (including, perhaps the cellists themselves), ought to talk about what they hear and what they feel and appreciate in an interpretation. I assure you, this is a great reading when it inspires such thought on its own.

All’Improvviso – L’Arpeggiata

This is my new favorite album of all time. That might not last for so long, but, hey, it’s 2009. I’ve got a big collection of music, and this is damn good.

L’Arpeggiata (perhaps named after the piece for lute by Kapsberger), is an ensemble directed by harpist and lutenist Christina Pluhar. Their recordings have pretty consistently been composed of pieces both instrumental and vocal with instrumental backup. Think of L’Arpeggiata as a big continuo group. They’ve got minor percussion, a hammered dulcimer (psaltery?), and at times they bring out melody instruments like cornetto and violin. They’re a historically-informed group, but they don’t use that as any restriction. Instead, it’s the foundation for lively music making that often causes a curled smile by this listener.

This recording celebrates the chaccone. What makes it stand out is the addition of an E-flat clarinet. Suddenly, it’s an early baroque band that suddenly has gone Klezmer. There’s no doubt in my mind, that no matter the mood of a particular track or section within a track, that the musicians here are having fun.

Among my favorite two tracks are the Folia, the Spanish dance that traveled its way across Europe, causing an intolerable sensation as it did. Composers over time have taken up this “crazy” dance and done some cool things with it. Again, the clarinet here is just crazy fun.

The other winner is Antonio Bertali’s violin sonata over a bass chaccone. Some slight variation from the score here is by far the best reading yet of this work. And Pluhar’s violinist Veronika Skuplik is just as good as John Holloway and Manfredo Kraemer in their readings (on ECM New Series and Astrée, respectively). What sets the readings apart is simply the overall sense of the work’s design and a willingness to take risks for the happy injection of drama into what we might consider boring, simply looking at the score.

This is a well-performed, well-considered, delicious recording.

Goldberg Variations – DongHyek Lim

Goldberg Variations Dong-Hyek Lim

One of the pieces that’s been with me for quite some time is Bach’s collection of variations on a ground bass, BWV 988. His so-called Goldberg Variations or “Aria with 30 variations,” is one of his major works. As I’ve told the story before, I discovered baroque music through recordings in my public library when I was still in high school. Someone’s wise purchase there of recordings by Trevor Pinnock and The English Concert led them to pick up Pinnock’s reading of BWV 988. It was a blue cover, with a golden harpsichord on the cover. (Just to be clear, a harpsichord with gold accents, not a gold-plated instrument. Pinnock is no Liberace.)

I never bought that recording, but I did recently pick up one on piano by the young Korean pianist, Dong-Hyek Lim. It’s recorded in a rather fresh, open acoustic, but close enough to capture the percussive nature of the instrument. I’d say as piano recordings go, and especially those capturing the music of Bach, the folks at EMI did a superb job.

Mr. Lim is playing in a dangerous area. Being the age he is, he’s got credibility yet to earn. He can’t stray too far off a path, so to speak, with interpretation. The Goldbergs also offer any pianist to flaunt their technique.

Not comparing Lim’s work to any other one pianist, there’s something in his recording that’s missing in many others. It’s a sense of emphasis. Lim’s constantly pulling out little licks, little themes, and little microphrases with emphasis in touch and in volume level. It’s such a welcome interpretation.

And yes, he’s got excellent technical chops. When he chooses, he can play all them notes just as fast as he likes, and makes it sound like it was nothing at all.

The pianist Vladimir Feltsman did a reading of the Goldbergs that too made emphasized gestures. He went further afield than Lim did. Some might suggest he earned the right to, with a more established career before recording the Goldbergs. Or, that he’s just a more “out there,” creative pianist.

Lim manages to play along that fine line between meeting expectations, offering us an authentic interpretation, and tickling our fancy just enough. I wonder what I’ll be saying about Lim’s second Goldberg recording, say, 40 years from now.

Today Dong Hyek Lim offers listeners a very engaging reading of Bach’s Goldberg Variations on piano. His interpretive license is smart and I find myself nodding in agreement to what he’s chosen to emphasize here and there. Beyond the technical bravura spent on some variations, there’s depth too.

Warmly recommended.

Monteverdi by Jaroussky & Pluhar

Don’t let anyone tell you that YouTube videos can’t sell albums.

I caught this while YouTube surfing the other day, and found it was a recent release and picked it up via iTunes. Wow.

While Philippe Jaroussky is a featured singer, the album features others beyond him including some talented instrumentalists. But as the clip above demonstrates, they’re aren’t playing “straight.” Who knows, while my undergraduate professor, a Monteverdi expert, might grow dizzy upon hearing this, I think it’s rather refreshing.

We’ve gone through in the past 60 years several stages of the “authentic” or “historical” movement, and each progression forward seems to blow more dust off the music of the past than the one before it. I think knowing the straight version is important, but once you know how to do that, what law is impeding the fun that can take place with our own brand of creativity and authenticity?

This is a great CD. From the example above, to the toccata from L’Orfeo, to the closing track, my favorite Zefiro Torna, this is a great album. Above all, because so many of the tracks are familiar but also strikingly fresh.

Il Giardino Armonico: Il Pianto di Maria

Il Giardino Armonico record works by Vivaldi, Ferrandini, and Monteverdi – Il Pianto di Maria – the Virgin’s Lament on Decca L’Oiseau-Lyre

After IGA’s release of Handel, they’ve now turned to a more Italian program featuring the mezzo/alto Bernarda Fink. I’ve heard Fink before in a recording with Musica Antiqua Köln and didn’t care for it. In fact, I rarely ever liked the vocalists that worked with MAK. But here, Fink is much more palatable, in a collection of familiar works.

We open with one of those works (RV 130) that gets recorded “as filler” far too often. Have a little Vivaldi, and want some filler, add one of his little string chamber concertos. IGA play it well enough, but I never found these works worth the time. Then we move on to a work that I love; it’s a sometimes attributed to G.F. Handel. It was recorded by Otter with MAK years ago on an otherwise all-Handel recording. It’s likely not Handel, at least the musical language sounds far too passionate, even among some of Handel’s Italian works. So it’s good to have two versions…

IGA with Fink vs. MAK with Otter. Who wins? Does it speak well enough for the remainder of the CD as well?

I think MAK wins on the instrumentals. It sounds as if IGA are playing with a less cohesive string ensemble and at times, honestly, they’re not perfectly in tune. The MAK reading is also more passionate. For the singing, I think I prefer Fink. MAK takes a slower pace in the show-stopping aira, Sventuarti miei sospiri, yet the violins are farther out front with the dissonances in strident tones.

Another familiar “filler” here is the Marini Passacaglio. MAK recorded this around 1980, I believe, with their own collection of vocal works, including the Monteverdi Pianto. IGA’s reading is among the strangest I’ve ever heard. With Antonini it sounds more like a funny dance. The lilt they use is quite unfamiliar to my ears, and at first listen I didn’t care for it. With repeated listens it grows, but my favorite texture for Marini’s work is with solo strings.

Then we hit the major work on the CD: Monteverdi’s arrangement of Ariane’s Lament, his Pianto della Madonna. They use here lute and gamba for the bass (a small organ seems the most appropriate, but when you have an expert lutenist as a founding member of your ensemble, you’ll use him). Fink’s huskier voice is quite a change in character from the angelic voice we get with Emma Kirkby and her recording with Anthony Rooley. That said, Fink and IGA deliver with an appropriate amount of gravitas and passion in their reading. It’s only too bad they didn’t include a work for solo violin that mimicked the work by Monteverdi.

Instead, more Vivaldi filler: RV 129 and RV 169.

While Vivaldi’s D minor concerto follow the Monteverdi work in the same key (good idea) it’s far too modern in comparison. At 14 seconds in the second movement (track 15) you can hear talking or coughing going on. Again at around 29 seconds, too. Rather messy for a premium priced recording.

More noise can be heard from the instruments at the start of track 19, the second half of RV 169. RV 129 is a far better work by Vivaldi, but again, I question the program of early baroque vocal works, late baroque (Ferrandini) packed into a recording together with Vivaldi. Vivaldi’s works here maybe reference older-style vocal works, but they’re not among is better pieces.

Before we end on Vivaldi phluff, we take a stroll into another time with Conti’s Il Matrtiro di San Lorenzo for solo voice and chalamaux. You mean you have woodwinds in your ensemble, and you save it for one stinking track?!

IGA’s best recordings were their set of Vivaldi chamber works. Impeccable and first-class in taste, sound, technique, and tempo. Expert playing of the highest order.

I don’t think their strongest point is ensemble string playing. Conti’s work comes between two string pieces and sounds very modern in comparison to the other works, even the Ferrandini. It’s slow tempo would release it from any regular rotation I’d entertain. Conti can’t write a line like Vivaldi or Bach, for example, and while pulling in an less-well known vocal work into the mix might have seemed like a good idea, my curiosity is piqued with just one work by one composer I hadn’t entertained before. Again: questions of programming.

The recording ends with a two-movement work for “strings” but it includes the full IGA emsemble (oboe and perhaps chalamaux included). And who wrote this one? Oh, a German violinist. Herr Johann Georg Pisendel.

IGA ends on a strong note, they like this Pisendel fugue in track 22, but it’s a shame it’s the best thing on the disc at only 2 and a quarter minutes long.

Don’t get me wrong: it’s not all sour grapes in this latest release from one of my favorite ensembles. But I do take issue here with their programming, the un-even cohesiveness and “sound” of the strings when alone, and especially the inclusion of over-worked Vivaldi chamber sonatas (he might call them concerti, but they’re odd little pieces). After a stronger release with their re-interpretation of Handel, they disappoint a bit here with Italian fare.

This might be valuable to folks who don’t already have some of these works in their collection. My advice would be to mix up the works with other, more appropriate companions when you listen.

Vivaldi Concerti

Maurice Steger & I Barocchisti perform recorder concertos of Antonio Vivaldi on Claves

It was some time ago now that I collected yet another Vivaldi flute (or recorder) CD and was like blown away. This new ensemble came to my door, this Ensemble Matheus under a violinist named Spinosi. Sebastien Marq was the soloist, and it was all together tight, sassy, and it had more attitude than just about anything I owned. To this day it’s one of my favorite recordings.

I’ve been collecting two CDs with recorder player Maurice Steger, and while he’s always playing well, he didn’t quite have the attitude that Marq did with Ensemble Matheus. Not a bad thing, but a point to note.

In this release with another new ensemble (to my ears) we get attitude all over the place. This is a fun disk.

You’re likely to already have some of these concertos in your collection, I did. We’re treated to three concertos from Vivaldi’s opus 10 collection (#3, #5, and #6) including the famous Goldfinch. While Diego Fasolis’ ensemble is not as “tight” or astringent in their approach as Spinosi & Co., they can get exciting but they really let Steger come out front and show off.

One aspect of their playing that I really admire is the attention to ornamentation. On repeats, they’re all over the place, having fun, adding their own bank of extra notes into Vivaldi’s basic lines.

It should be noted that each concerto isn’t for flute; there are fiesty numbers like RB 127 in A minor where I Barocchisti are by themselves, in string concertos (overtures).

Every piece on this recording is a winner from Vivaldi’s obviously prodigious output. I’m so glad I discovered yet another fine ensemble that can play with energy and verve. Whether it’s in the string chamber works such as RV 155, or the concerti with flute such as Il Gardellino or RV 108, both I Barocchisti and Steger command with their energy and inventiveness. I think this might be the 4th or 5th recording I have of the Goldfinch, but it’s easily my favorite.

Warmly recommended.

Academy of Ancient Music – Bach

This past Sunday, I attended at concert at George Mason University by the Academy of Ancient Music under Richard Egarr of Bach’s Brandenburg Concertos.

I previously saw Egarr’s band in Portsmouth, in 2007, performing Handel. I thought his joviality lent a certain freshness to the ensemble, and they sounded good (in a church). The concert today in Mason’s large performing arts hall was too large for the intimate ensemble, although they did bring in a crowd to fill almost every seat.

Egarr has a dry wit and he used it effectively during stage changes after each concerto by talking to the audience and cracking some jokes. The ensemble’s choice of using one player per part worked, but only to a certain degree.

At times with two strings on a part, you could detect some intonation issues, but honestly, any two string players cannot play each note perfectly in-tune. That’s why orchestras typically opt for multiple players per part: the inconsistencies between tones make for a ‘lush’ sound. While I trust the scholarship behind the 1 per part decision, it worked less ably in a large space. At times the harpsichord continuo got lost. They did ramp-up the volume with continuo, however, by inviting William Carter on theorbo. His bass lute had enough punch, especially with the open strings, for appropriate balance.

The ensemble made their way through all six of Bach’s diverse concerti, although in their own special order: opening with #1, and ending with #4. The fourth ended with a super-fast tempo, one that I thought must have been a special challenge for the violin soloist, Rodolfo Richter. The first concerto suffered from some cohesiveness issues: at times the ensemble did sound as “tight” as possible. #5, in contrast, was far more tight, opening the second half of the concert.

Egarr made reference to Pickett’s allegorical readings of the six concerti, which I have referenced in my own research on Bach’s concertos. Egarr and Beznosuik both played in Pickett’s recording with the New London Consort in the 1990s.

The ensemble at times really looked as it was having fun, especially with seasoned players who felt the freedom of adding ornamentation to Bach’s notes. Especially refreshing were those from the violins in Brandenburg #3. The ensemble’s sound was good, but it suffered from projection issues in the large hall. Especially lacking were some of Richter’s playing (he took the reins from Beznosuik in concertos #1 and #4 as the violin soloist), the double bass, and at times the harpsichord.

The recording by the AAM released on harmonia mundi suffers none of these drawbacks, but the performances are perhaps a little less extrovert in the recording. The ensemble toned-down their ornaments, extremes in tempi, but do treat us with a rich, sonorous sound.

After the concert, the AAM was selling CDs and director Egarr was signing. I snagged his autograph amid the fans and shared quick words with the latest director of Hogwood’s AAM.

Vivaldi Concerti – Florian Deuter

A long time ago, I found what I considered the best “sound” in baroque music through recordings. It was the German ensemble, Musica Antiqua Köln, and everything came from that. Others must have noticed too. “I once was a member of MAK…” It became a pedigree, like any other well-known ensemble, teacher, or prestigious school.

At around the time of their release of the Heinichen concerti, I found that Goebel was no longer performing first violin. News traveled slow back then without the Web. I found out later about the hand injury. One of his “deputy” violinists, one who had the same sound (likely in part because he was using some of the same instruments used by Goebel) was Florian Deuter. Today, Deuter plays with Harmonie Universelle, a period ensemble that recently released a 2-CD set of Vivaldi Concertos.

The label promised these were all new recordings, but the truth is, I’d already heard a few in earlier releases by other ensembles. I have a thing, you know, of collecting Vivaldi. It was inevitable.

It’s hard to put a finger on the approach here. The easiest thing to ask yourself is this: Who does this sound like? I have to admit the concertos are not all among Vivaldi’s best. There’s probably a reason, you see, why so many of these concerti have existed up to this point un-recorded. So, that unfamiliar, “not as well crafted quality” in the concerti’s writing throws you for a loop. Then the sound… The ensemble sounds medium sized, in a somewhat live, but not too distant acoustic. The playing is full of dynamic contrasts, but none too severe. There are plenty of opportunities for Deuter to show off (these concerti seem to be ripe with little snippets of double-stopping angst before the last ritornello closes the movement). He does so cleanly, ever in-tune, but the energy he builds up is seemingly ignored by the ensemble.

Take RV 275, a concerto in A minor. The opening states the theme with little phrases that act as echoes. Deuter’s solos are clean with a nice rounded tone to the sound, nothing special, but it’s good playing. Problems creep-in when this sound just dove-tails perfectly into the ensemble sound. Now some may go for that type of thing, I like it when there’s something about the soloist’s style (whether that be articulation, timbre, or volume) that separates him or her from the ensemble a little more cleanly. I guess I can’t hold it against them if they all follow his lead and have an integrated sound. The middle movement of RV 275 is dead. The soloist this time around is out front, but with hardly any variation in affect. Upper strings provide the accompaniment, as it does in more than one Vivaldian violin concerto. But this accompaniment isn’t saying terribly much. The interpretation is especially dry, and that’s maybe the best word to describe the entire collection: a tad dry.

HU and their recording make me think back to some of the early recordings by the British ensembles (read: AAM, English Concert) in their approach. They were never very severe, and at times may have held-back with a tad too much politeness. It’s not that HU doesn’t feel the fire (as Vivaldi put on the page in the final movement of RV 275 as my example). It’s just that other ensembles seem to reveal these characteristics with more definition, more saturation. Take Ensemble Matheus led by Spinosi. One per part playing (I cannot vouch for how many per part HU uses, but in least a few tracks, it sounds beefier than 1 per part), freedom from an ever-persistent tempo, and a whole lot of verve define their playing (both instrumental and in opera).

While FD and his HU manage to cover a lot of (new) ground, their effort lacks the flexible penache that’s played as a hallmark for Europa Galante and Il Giardino Armonico. While I ultimately found some tracks more energetic than others on this release, there’s something about the style that is just missing here.

For the good, a good number of unfamiliar Vivaldi concerti played with fine attention to intonation and just tempi.

For the bad, performances that stand bland in comparison to second and third generation ensembles playing similar repertoire.

Codex

Santiago de Murcia – Ensemble Kapsberger

Having bought this online, I can’t cheat and pretend I know anything about Santiago from Murcia. But, I can tell you, most everything I’ve heard from Ensemble Kapsberger is gold, having enjoyed a lot their albums Alfabeto and Nuove Musiche. Lutes, guitars, percussion all come alive in crystal-clear detail. This album is in the same vein, of course this time around with a dedicated Spanish flavor.

Included are a collection of folias and various dance-driven pieces improvised by single and multiple instruments. Lislevand’s approach always seems to be a modern, fresh interpretation using original sources and authentic instruments. What you get when you play this for folks is confusion: “What kind of music is this?” I ask. “I don’t know,” they say, and they are amazed to learn how ancient the music is. “Fresh, is more like it,” they’ll say. Sure enough, Lislevand’s ensemble brings a fresh approach, and the results are entertaining and sometimes very toe-tapping.

The music here isn’t significantly deep, but that doesn’t mean technically it isn’t challenging. It’s about color, texture, and dynamics. This makes a great recipe for relaxing, dining, and maybe even dancing, if you’re so inclined. You can imagine yourself on a terrace in Spain in the night, perhaps, or traveling back through time with thoughts of Don Quixote.

While I’d put this release third after Lislevand’s other two releases mentioned above, it should have a place in your collection.

Bach: Concertos

Some years ago, Harmonia Mundi released a Bach album by the German Akademie for Ancient Music. For reasons unbeknownst to me, I only purchased two of the concertos via an online service.

They appeared in this morning’s rotation and I’ve done a disservice by not writing about the performances sooner. BWV 1052 is among one of my favorite Bach concertos. Of course, its placement in the 1050s would suggest it is a harpsichord concerto, but as with several ensembles today, the AAM-Berlin has recorded it in an incarnation for violin. They choose very spritely tempos, tempi which wouldn’t work in each space. It demands close listening, in fact. As the music wafted out from one room into the other, it sounded rushed. But close-up, it’s spot-on fantastic, toe tapping and fun. The violinist comes across clean with an at-times strident tone, but one that helps penetrate the texture. I love their interpretation, especially in sections with solo passagework.

These people get the spirit of Bach. The concerto obviously works well as a solo concerto for violin. The third movement brings back the fast tempo, with a soloist this time who manages more so this time to penetrate the texture of the orchestra with accents and very stylish playing. I like to compare this reading to the most excellent one by Fabio Biondi and company on Virgin Veritas. While Biondi is a favorite, this reading is no less valued in my collection.

The second concerto, the “double” BWV 1060, is here presented in a version for violin and oboe. The tempi this time are not as severe, but the colors are more rich. The oboe especially has a nice roundness of tone that mimics for me a very fine wine that might proffer a great mouth feel, forward fruit, and a sophisticated finish. What does that mean? This oboe has a very dynamic sound that along with the period strings, sounds great.

The middle movement of BWV 1060 is a famous one by Bach, that opens with a wonderful little melody that later introduces intermingling with the oboe. It’s up there with Bach’s “Air” from BWV 1068 in terms of its charm and having a played a few of these tunes, I know they’re a lot of fun to play. With repeats, they can be a backdrop for amazing ornamentation. Here, the AAM-Berlin don’t overdo things (Biondi too records this one, and he has more fun with the ornamentation).

The final movement is brash with a lot of movement (a stormy opening), and the first statement by our soloists confirms for me that the instrumentalists on this recording would have been better represented by a drier acoustic, or a closer miking. While a detail like this is important, it’s not important enough to take away from a very strong and stylish interpretation of Bach that’s fun each time you listen.

Edward Aldwell, Bach WTC

As a little Christmas present to myself, tonight I picked up the recordings by Edward Aldwell of Bach’s two Well-Tempered Keyboard collections, Books 1 and 2.

These have been around for a long time, but the second book just came up on Amazon, so… before I talk about what I hear, I’ll mention why this collection is of interest.

First, Aldwell performs Bach on piano. I have book 1 by Hantaï on harpsichord, among my favorites, compared to others. Hewitt is nice on piano, but Aldwell has been compared to Gould in some respects, and his fugues are especially interesting for the clarity of lines.

Second, Aldwell is dead. Sad story really; he died in a car accident several years ago. He put me through some rough times in college, as I used his textbook in my music theory classes. It’s one thing to read about music in terms of notes and text, quite another to hear how someone who intimately understands the structure of the works might change the performance to demonstrate that understanding.

Thus far, listening, I’m in the C-sharp minor fugue. He doesn’t play in any exaggerated style that would suggest he was Glen Gould II. His playing is very clean, tempos for the most part are particularly regular, although he will slow down to show emphasis. Dynamics too are present, but not in any particularly jarring way. For the most part, I’d say Aldwell was of the camp of letting the music speak for itself. I think I read that once about Keith Jarrett in his recording of Bach or Handel. “I’ll let the music speak for itself.” Yes, but Aldwell isn’t totally letting the music do its thing naked. It’s a better thing, I think, for performers to add some of their own intellect and “interpretation” into the score.

I think I’m going to enjoy taking these in. Far too many preludes and fugues for one night. I may reference these in a future piece on the WTC I/II, each book on its own, with some favorite performances.

Merry Christmas.

La Pantomime

Sempé and Fortin record La Pantomime, works by Rameau on harpsichord for Paradizo (2008).

I own many recordings by the American harpsichordist Skip Sempé, but among my very favorite was his first duet with Canadian harpsichordist Oliver Fortin. Their Bach/Vivaldi album was like nothing I’d ever heard. Two of the most delicious-sounding harpsichords, all wrapped around one another in texture and sound. It was the most glittery, powerful, rich thing you might have heard from the Baroque.

I followed up with their Pavana album, where they add, for extra richness, a third harpsichordist, Pierre Hantaï. This album I thought was less successful, only because the music was not up to the same level as the Bach arrangements. But now we have another late Baroque release, in the music of Jean-Phillippe Rameau.

To be precise, Sempé mixes some of Rameau’s solo works in groups (a suite in G, and suite in A) and another pairing in D-minor with several groups of Rameau’s Pièces de clavecin en concerts, which are where he invites his collaborator Fortin to add the lines for bass and violin. While I really enjoy my recording by Rousset and company on this latter work, the collaboration here on this disc from Sempé is very rich and enjoyable.

As I sit here now listening at my computer, with each speaker located about 3.5 feet away from my head in stereo, it’s an almost overwhelming experience (much like that with headphones). Yes, you should really like harpsichord, but no matter your taste, the sound and texture of Rameau’s richly harmonized pieces will most definitely grab your attention.

As a bonus, they provide several short pieces on DVD. I most enjoyed the “credits” where more of the players’ personality emerged in outtakes.

Very highly recommended.

Handel’s Opus 6

Il Giardino Armonico perform Handel’s Concerti Grossi op. 6 on L’Oiseau-Lyre

It’s been some time now, eh, for a release on Decca’s early music label? And IGA? Wow.

My de-facto Handel has been by Pinnock and the EC. Manze did his recording, but frankly, Handel’s string concertos never afforded me that much pleasure. But I couldn’t resist this new collection from G. Antonini and friends.

The Italians (and here, I mean to saw Biondi with Europa Galante and Antonini’s IGA) like to “mess” around with the music. Tempi sometimes, but more often than not, they like to mess with the dynamics. This is no exception, but the two leaders take very different approaches.

Listening with headphones, this is real playing. It’s almost rustic in quality, you can hear grunts, digs into strings, harsh bowing at times, all in the spirit of the music. This isn’t polite “English” background music for high tea; it’s Handel turned inside out, guts showing, passions exposed.

The few times we do get a concertino solo here and there, Onofri and friends are on good form, never strident, but always with flair. Antonini makes some choices that make me sometimes put my head back… but there’s always a musical reason behind his approach.

The energy in concerto #5, for instance, is just non-stop. It’s all face-forward. What the ensemble loses in this recording can be found in the same work, last movement. The “smooth”-ness they are capable of is almost lost in the acoustic used for the recording, and close-placement of microphones. But movements like these also expose an interesting continuo section, here, adding notable contributions from Pianca on lute.

Other minor-moded movements like #6 in G minor, always seem to have drive and intensity. What’s most jarring, perhaps, is the intimate, delicate contributions from the one or more solo violins against the full-on attack of the ensemble in intensity.

None of these are complaints. Antonini takes his own style and applies it to Handel, which honestly for me, needed a little waking up. This is a modern interpretation, in many ways, but one that accentuates Handel’s gifts as a composer.

Very highly recommended.

Carbonelli: Sonatas for Violin

I recently acquired a new recording by Helene Schmitt of music by Giovanni Stefano Carbonelli. The composer was born at the end of the 17th century, and his style tells you he indeed studied with Corelli.

Unlike other Italian late-baroque composers (among them Tartini and Locatelli), Carbonelli was likely heard as an old-fashioned composer. His sonatas retain the warm, simple chord progressions found in Corelli’s works, yet go beyond the master’s art with (at times) more interesting melodic phrases and atypical jumps in line.

This recording is well done, but does suffer a bit. The continuo section is ripe with organ, harpsichord, cello, and plucked bass. Yet, there’s a lot of “open, reverberant” noise in the recording, especially evident when everyone stops playing and you can still hear the air being pumped into the organ. It’s really not bothersome, and you’ll only likely notice it when everyone stops playing, or through playback with headphones.

Carbonelli is somewhat like another composer I just reviewed – Gaspard le Roux. They spoke very different languages, but they similar in being “minor” composers, writing in styles aligned with those today we’d term “masters,” carving out their own paths. Their music maintains a certain flavor within their tradition, but they carve out new sounds. Sometimes the exploration is very successful, other times, it’s simply curious.

This recording of Carbonelli sonatas will round-out your collection of mid- and late-baroque Italian violin sonatas. The recording benefits from the warm, full-bodied sound of Schmitt’s violin, with her sensitivity to Baroque affect. If you’re a fan of Corelli and his violin school, I’d highly recommend this recording.

Le Roux: Pièces de Clavecin

Christophe Rousset, Pièces de clavecin, Gaspard le Roux (Decca L’Oiseau-Lyre).

What would happen if you took some of the more complex sonorities of Bach’s keyboard works, mixed that with a heavy dose of Couperin, and a relish of Rameau? You’d get the solo keyboard works of Gaspard le Roux. I recall vaguely the Gramophone (or was it elsewhere) review of this recording in the 1990s. I searched for it at every CD shop I could find myself in. I saw it once in a store in Shaker Square in Cleveland (Shaker Heights) some years ago, but I let it go “for next time.” Well, some ten years later, I applaud folks like those at Decca who have re-released their catalog via Amazon and iTunes. Finally, I can get to hear what the reviewers painted back then as a very rich offering from star French harpsichordist Christophe Rousset.

Rousset and Hantaï are among my favorite harpsichordists, and this CD is a real delight. The sound of the instrument is superb, but even beyond that, are these gems of suites by le Roux. Having already owned some le Roux in the form of a Harmonia Mundi release with Mitzi Meyerson and Lisa Crawford, I wasn’t ever so satisfied as with this release.

Already owning the livres of Couperin, his pieces can lose their character after you listen to too many in one sitting. Le Roux’s works, on the other hand, are more flavorful bites. I might equate the differences as “10 ways to present and cook trout” and “a cook’s tasting menu in 10 courses.” Le Roux may not have been as prolific as Couperin, but his musical ideas, perhaps more unusual, will find a welcome home in your catalog of French baroque harpsichord works.

As zesty as French claveniste repertoire may get!

Concerto Köln: Handel’s Water Music

I just picked up Concerto Köln’s new album of Handel’s Water Music Suites. Wow.

This isn’t your “grandmother’s water music,” for sure. I’ve always thought some of my best recordings came from Köln, but this one is quite interesting. I had heard them perform from a live concert on NPR, and when I saw this for sale through iTunes, I couldn’t resist.

It’s “turned up a notch.”

For one, some of the tempi are unusual, many, in the fast direction. Second, there’s a ton of ornamentation from individual players. It is very baroque, then, isn’t it? So refreshing.

In total, I think, there might be some question about whether this is a definitive reading. The technical part of the playing is outstanding; an excellent recording, and crystal clear. But in terms of orchestration, some of the combinations were surprising (one movement played alone on the harpsichord, transverse flute for one of the movements from the G-major suite, etc. But I keep returning to that word: refreshing. This is a new look, for sure, of Handel’s orchestral works. As a bonus, they include a string suite as well, which again, is played like the others: with energy and flair.

What’s remarkable is the transparency of sound (each group, from strings, to continuo, brass, and woodwinds, is so perfectly audible separate from one another. Yet, together, the ensemble sounds well-combined. At times, perhaps, the laid-backness of the strings might surprise you, then again, if you listen, there they are, pushing things along.

I don’t think I’d like to give up my former favorites, Pinnock’s original with the English Concert, or the more rollicking version from the London Classical Players under Norrington. But this version is akin to blowing away every last cobweb on Handel’s masterpieces. The accents, the tempi, and the bravura displayed through the affective ornamentation will wake you up from what you “thought” you knew of Handel’s water music.

Highly recommended, without reservation.

New Albums: Corelli, Vivaldi

I recently picked up several new albums via Amazon and their Mp3 store. All feature some of the same artists: Vivaldi L’estro armonico and Corelli op. 5 sonatas.

While both are enjoyable, in their own way fresh air comes to mind, the Corelli especially is ripe for its excellent recording, not to mention the abundance of violin flourishes that one simply doesn’t find elsewhere. This is real baroque playing, complete with passion and to my ear, an authentic Italian flavor. While I have come to love Manze’s recording with Egarr (especially so, because of Mr. Egarr’s playing), this one is an ever-capable companion, all the equal, if not beyond.

The Vivaldi is a collection I received likely as one of the first recordings on CD ever — Trevor Pinnock and The English Concert. I loved everyone of those Vivaldi concertos, each one strong in character, ripe in invention. Then came Mr. Biondi and his own case of “fresh air” with Europa Galante. This latest addition to my collection isn’t as “safe” as the Pinnock, nor as “fast” as the Biondi, but is ripe with flavor like a good recipe can be at a finer restaurant. With such ugly CD covers, I may have not otherwise ever tried these. Thanks to Amazon and their willingness to allow us to sample.

Bach: *Concerts avec plusieurs instruments I*

After discovering the recent recordings by David Plantier, I sought out more, and I came across an earlier series by the excellent Café Zimmermann of Bach concertos. The first disc in this series borrows its name from the title page of Bach’s Brandenburg Concertos, yet, only contains one from this set, number 5.

(c) 2001 Alpha Productions, 69 minutes.

It’s Pablo Valetti at the helm of this recording, another violinist that’s worked with Plantier on other recordings; he’s also #2 with Manfredo Kramer and The Rare Fruits Council. So, if you catch my drift, all these folks have experience with one another. They’ve also had exposure to Reinhard Goebel, formerly of Musica Antiqua, Köln.

Harpsichordist Céline Frisch is featured, herself, prolific of late, producing a number of recordings of solo keyboard works. Her contribution in the outer movements of the first work, BWV 1052, is well recorded, very transparent. These players, too on the outer movements, play with some gusto and pleasing timbres. Nothing overly extrovert, just well-chosen tempi with thin scoring.

When you listen, you might just open up their booklet, which is a curious essay on the cover photograph, depicting the “chocolate girl.” Opposite that, is a lengthy discussion of coffee, and traditions at the Zimmermann’s Coffee Haus in Leipzig. And that’s the theme for this recording: Bach’s supposed concerts at the coffee house. The article says he might have given 600. What a cool thing to think about: hearing Bach’s original works in the leisurely setting of a coffee house, a new fad, but one growing immensely at the time, in popularity.

Did Bach play with the energy and youthfulness of Café Zimmermann?

More galant in style (for Bach, at least), is his triple concerto for flute, harpsichord, and violin, known better as BWV 1050, Brandenburg Concerto #5. Here, Diana Baroni joins the concertino on flute. While every part is again easy to discern among the texture, the CZ are missing the more masterful, seamless blending of lines among the melodies that better masters have achieved, say, Goebel with MAK in their recording from 1986? Again, the harpsichord in the texture is very easily heard, perhaps more so than in any other recording. I sometimes wish the other two soloists were more “on top” however, without my headphones I might be missing what’s going on currently with the flute (first movement, before the big harpsichord solo). For a recording that does so well with balance in the first concerto, I’d have expected better for the last on the CD.

A wonderful Bach concerto, BWV 1055, is also presented here. We’re not sure what it may have originally appeared for, but in this recording, CZ give us their version with oboe d’amore (it appears in the catalog for harpsichord solo). Antonine Torunczyk is the soloist, with a full, thick, robust tone. The ensemble plays well together, all at a nice toe-tapping tempo.

Unfortunately, tuning issues become a little stressful in the slow movement of BWV 1055 (in the oboe). However, the ultimate movement, for as light as it is, takes off with more toe-tapping verve. Overall, enjoyable.

Lastly, I auditioned the (most) famous BWV 1042, the E-major violin concerto (my first real exposure to Bach, in it’s harpsichord version). The performance is good, but not remarkable for any discernible reason. Again, the soloist sticks-out above the texture so that every detail is very clear. Valetti plays with confidence and a delicious tone, but his playing along with CZ doesn’t command our attention.

Compared to Bach’s same concerto performed in a more recent release by Huggett and Sonnerie, there is somehow a more palatable richness in texture. The recording with Huggett is far more live sounding, the “space” larger, and while definition of the soloist suffers and tempo slows, somehow there is just something more interesting in the Huggett example.

I am of course nit-picking. CZ has made a good recording here, generous in length, and in many cases, most technically polished. And when we compare their readings with those of others, this music is so good we can’t escape the value in having access to multiple interpretations. I was just perhaps looking for more of the breath-taking spirit in their recording of works by Avison/Scarlatti.

Les Arts Florissants

Another blast from the past: a concert review from December 6, 2001.

Last night, I had the (rare) opportunity to hear an ensemble I’ve known about for some time, Les Arts Florissants, directed by William Christie, a Buffalo, NY-born conductor and musicologist. The all-French ensemble presented some major Christmas works by Marc-Antoine Charpentier. I’ve actually never heard this composer in all my Baroque knowings, but it was all good. The ensemble had a really good intonation, and the presentation was crisp and first-rate. Both instrumentalists and singers were on top-form, and I especially liked the no-vibrato technique by the first-violinist. The concert was held at the University of Richmond. It is always distressing, however, to find the audience at such concerts so old. There was a walker (with training wheels) in the entrance area. Why don’t more people my age like this ancient music?

Mariokart Wii

This has been a lot of fun thus far.

We acquired it yesterday; it was a gift.

Walther – Hortulus Chelicus

JJ Walther was a German violinist-composer whose music has become a recent focus for David Plantier and his ensemble, alongside the music of Walther’s compatriot, von Westhoff.

Only a portion of Walther’s collection appears on this disc. Plantier and associates sound all the same in verve, quality of recording, and able bodyness as they did with their Westhoff release. Plantier’s violin has a beautiful tone. Since I purchased this recording digitally, I am not sure what instrument he plays. It sounds in character close to Manfredo Kraemer’s Techler violin from 1704.

Walther’s music is searching, it seems, for voice, and alongside others in the “mid Baroque.” It’s that he doesn’t sound like other composers that you may know, that his ideas are refreshing. Both Walther and Westhoff were influenced by the Italian innovators, but they write music belongs to the so-called German violin school. Westhoff seems to have been the more gifted composer; but Walther’s music still has its moments.

With only one listen under my belt, I cannot say anything profound about this release. The playing is well-done, at times sensitive, other times, virtuosic. Walther’s music is full of ideas, some more satisfying than others. The music above all is lighter than that of Bach; less exotic than that of the Italians, and earthy, to a point of pleasure.

Sonates pour Violon et Basse Continue by Westhoff

I had always hoped Reinhard Goebel would have produced a CD of Westhoff violin sonatas. His colleauge Manfredo Kraemer did some years later release a single sonata (for solo violin) on a poorly recorded CD with Capriccio Stravagante. Another MAK colleague, the talented David Plantier, has now released some Westhoff on the ZigZag Territories label with Les plaisirs du Parnasse.

This is my first chance at hearing Mr. Plantier as a soloist; his dynamic range and tonal sound is really quite nice. Think one part Goebel, one part Onofri, one part Kraemer, perhaps… of course, that’s an unfair comparison. He’s his own player, but rarely do we find a player with such a penetrating tone, playfulness, and directed intensity.

Westhoff published these works, evidently, in 1694, quite remarkable for their quality and complexity. Both with the technique and the harmonic language, Westhoff was a modernist. The recording here is live-sounding, well done, great depth captured between an up-front violin, and deep, plucked bass from among the continuo group.

The six works included in the collection are played out of order and vary somewhat in quality. The opening #4 is rich and virtuosic. #3 is nervous, changing speeds and moods on a dime. Carry a pocket full of change. What we’re left with is a multitude of sound worlds, presented lovingly one after another. Westhoff seemingly likes strong themes, and milks them, but where others might go and follow the full depths of one’s first theme, Westhoff changes course and presents a new idea. Perhaps these are the traits of the world’s finest composers, but it makes Westoff easy listening.

The intense sonata #2 is full of multiple-stopping, Plantier is quite able to shift between the break-neck speeds chosen for the Allegros, and the more contemplative (if not private) slower movements. Let’s be honest, these sonatas contain lots of opportunities for speed and double stopping. They can’t be easy to play. Both Plantier and his colleagues on basso continuo own these works.

This recording is rich with invention. Rich with tonal color, rich with virtuosic challenges met, and rich with passion. It’s the type of CD you don’t listen to from start to finish. Mix a sonata or two with other Westhoff contemporaries. Like fine chocolates, you may feel too guilty eating them at once.

Very highly recommended. Read what Johan van Veen said about this release.

Veracini Sonatas

Several years ago, John Holloway and his colleagues released an ECM New Series recording of Francesco Maria Veracini’s violin sonatas. Not a complete collection, mind you, but some select examples from the late-baroque Italian master’s works.

I say “master” because Veracini was a famous violinist in his day. He’s most famous for limp. Supposedly, he once jumped out a window and thereafter, he suffered from his leg injury. He wrote in a modern style that borrowed from the Italian models of the day, but extended the technique for string player further. MAK and Goebel came out with Veracini earlier in the mid-1990s with a series of overtures. Holloway chose to visit Veracini after his time with Biber, and before exploring Leclair on disk.

Among his most famous collection is the Sonate Accademiche which has been recorded by Elizabeth Wallfisch for Hyperion. Holloway gives us one of these op. 2 sonatas, alongside others: one from his op. 1 collection, another which can also be played on flute, and another from his collection of “Dissertazioni.”

So, there’s Veracini this composer–one we have to decide if we like. I find him very warm at times, at others, he’s just following a conventional plan. That’s why interpretation is so important. It will make or kill some of his works.

It was perhaps unfortunate that Holloway, Mortensen, and ter Linden opened with the G minor work that also appears on an album by Fabio Biondi (Italian Violin Sonatas). It’s a rich work, for sure. Lots of opportunity for sass all around. Holloway sticks to his clean sound and wet acoustic, common from his earlier recordings. Yet, Biondi captures better the flair and fire hidden beneath the surface. His faster tempi, and wider dynamic nuances make a better companion to Veracini’s sonata. In the second movement, for instance, it ends with this repeated motif on one note… it’s angst, anger; at least, something passionate. Then the movement closes with the opening phrase. It’s a dramatic shift, for sure. Holloway builds up the intensity, but his tempo is just a hair too slow. And then the answer that closes us up is left to be played as vanilla as could be, seemingly ignoring the previous outrage of emotion.

Biondi is a far less serious-sounding violinist by comparison who makes a real show-stopper out of the work. Holloway, in movement 4, seems to have missed the entire dramatic potential of the work. He plays with great intonation, lots of baroque figurations, but… the passion we read about in Veracini’s life is missing in the performance.

Where I found Holloway’s style more appreciated in his reading of some of Biber’s works, this recording of works by Veracini falls short, in my estimation. You get variety; you get some very clean playing; you get some beautiful music, for sure. The reading of the D-major sonata based on a work by Corelli, for instance, is done quite well. But the different tracks begin to blur at times. My real complaint is that they miss some Italiante personality and range of emotion.

Rameau, Scarlatti, Couperin et Bach

The Assad Brothers perform baroque keyboard works.

After reading many positive comments, and after my really warm reception to their Piazzolla CD, I bought this on a whim this evening via Amazon’s Digital Downloads.

Many, to this baroque cat’s ears, are “old favorites,” and the texture of two guitars, roughly separated on each of the two stereo speakers, is quite divine. Crisp, well-articulated. Perhaps the charm is hearing each piece (especially the familiar ones) so lovingly played by these two talented guitarists. While I have recordings of some at faster tempi, here we get warmth instead of speed. Caution. Yet, on the harpsichord alone this might equate to something less interesting. Here, the two guitar’s tone makes up for somewhat slower tempi in places. Ultimately satisfying, no matter the speed.

The recording contains 22 tracks, from Rameu’s Pièces de clavecin collections, and Domenico Scarlatti’s 550+ sonatas. There are also contributions by Bach and Couperin.

Hearing this music for 2 guitars makes you wonder: “was it intended this way?” I mean, you know its not, but then again, I ask the question: “Is this not the best way to hear/listen/perform these works?” In a piece like Rameau’s energetic Les Cyclops, it might certainly seem that the 2 guitar version is superior in every way. Expert dynamics, articulation, and warmth. That’s what keeps getting me here, this music on the guitar sounds far more warm than it would on harpsichord. And it’s a quality that’s so often missing, you rather fall in love with it when you hear it.

Their Bach is so fast and fleeting, perfect, it seems in articulation, that you pine for more. Somehow it doesn’t sound like Bach’s sound world, but it is nevertheless beautiful (as the same, Bach on piano can be beautiful).

And I haven’t even listened to the whole thing. But it’s a good one; very warmly recommended.

La voce nel violino

Enrico Onofri and Imaginarium Record Violin Sonatas

I love the baroque repertoire, especially the early- and middle-era sonatas for solo instruments, such as my favorite, the violin. Onofri here records some pieces he’s done before (Castello, Fontana), but nonetheless, presents a diverse program: Cima, Uccelini, Monteverdi, Castello, Gesulado, Pandolfi, etc.). It only whets the appetite of what more might come from his own ensemble, Imaginarium (including friends Tampieri, Köll, and Doni).

I often tell of hearing Onofri live (I believe with Mr. Doni on organ) in Cleveland, OH, some years ago. It was the best musical performance I’d ever witnessed. It was perfect. Affective. Entrancing.

This same repertoire is now on this disc, at least much like what I heard live. Onofri doesn’t play, say, in the style of Andrew Manze. The violin has a far richer tone, and Onofri plays it at different stress levels (lightly, harshly, and everywhere in between) conjuring different sounds (tone) from the instrument. And unlike Manze and many of his colleagues (among them, Huggett who released some years ago a Fontana/Cima album), Onofri uses affective ornamentation that seems unique. But you also hear it in the early baroque vocal music; it seems quite appropriate.

Trills and turns on notes that aren’t quite true sharps, for instance. In modern parlance we’d call these microtones. Onofri sprinkles them around like a messy chef throws salt into his various stock pots preparing for a grande meal. His sound on this recording is superb; the ambiance captured along with the other continuo (harp, cello,, lute, harpsichord, and organ) is live yet not distant. It allows the sound of each participant to “glow.”

If you liked his earlier release on Winter & Winter, this one is a natural progression. Where there are fabulous moments in that recording, this one is an equal, if not one step ahead in aesthetic gold. My own study of this literature never went far enough for me to say if Onofri’s playing style is absolutely historically authentic, but it seems so by my ear. Even more so, it’s infinitely pleasing to this modern, 21st century ear.

I can only recommend this release on ZigZag with my warmest encouragement.

Vivaldi – Stabat Mater, Nisi Dominus

I recently picked up (digitally) a new recording of Vivaldi’s Nisi Dominus by Jean-Phillipe Spinosi and the Ensemble Matheus. This CD features Phillipe Jaroussky and Marie-Nicole Lemieux. While the countertenor takes RV 608, the alto takes RV 621. What’s interesting is a competing CD by Fabio Biondi’s Europa Galante with David Daniels. How do they compare?

There’s a lot to compare: different vocalists, interpretations, and ensembles. Not to mention the recording itself. Let’s start by saying, out of the gate, Jaroussky is amazing in the opening number from Vivaldi’s Nisi Dominus. A great, fast tempo is established, and then his singing sticks to the instruments like glue, strong, and expanding with emotive power when necessary. You feel he owns this number. The Ensemble Matheus is lean in this recording, plenty of attitude (as usual), but maybe a tad flat? I’m not sure who the soloist is the Gloria, but here the EM take a second seat to the viola d’amore solo by Fabio Biondi in the alternative, older recording. Both the tempo and phrasing are superior with Biondi. By the time we get to the Amen, the drama and vocal flights of fancy go back into Jaroussky’s court.

I admire David Daniel’s sound and voice. And I’ve always enjoyed his recording with Fabio Biondi. But for Vivaldi’s Nisi Dominus, Jaroussky under Spinosi is an all-around better contender. It’s not clearly better in every detail, but the sound and artistry are simply more affective coming from this new CD.

The second work is Vivaldi’s more famous (and in my opinion, better) work, the Stabat Mater. Here we have another contrast, a female contralto with a male countertenor. I think the new recording by Spinosi loses in this round, compared to the reading by Biondi with Daniels. Where Daniels is a golden honey sound, Lemiux is more dark flavor, thicker, slower, and tinged with an ounce of poison. The whole interpretation by Matheus is another quizzicality too. The playing is dynamic, for sure, but in odd ways. Who can resist that solo treatment Biondi gives the same work, that tone and that personality? The multiple violins under Spinosi just don’t compare. And they don’t seem to be speaking Vivaldi’s language here.

For the SM, Daniels and Biondi clearly have the upper edge. It’s simply more enjoyable under them. Now, if the EM took a 1 per part approach, and followed the line (the melody versus the vertical alignment in phrasing), and had Jaroussky at the mike, then… we might have something really to compare.

So, it’s a tie. Spinosi: 1, Biondi: 1.

Pierre de la Rue – Motets

The Hilliard Ensemble perform a mass and motets by Pierre de la Rue.

I honestly don’t listen to this recording often; it was recorded in the early 1990s, and I purchased it in Madison, Wisconsin on Virgin’s cut-rate label for reissues.

It just came up this evening after I was listening to Bartók’s Music for Strings, Percussion, and Celesta (a favorite work), and it hit me… this recording has some gems within.

The ensemble sounds great together. The music is slow, and the overall affect harmonious and sometimes otherworldly. It is those shifts of harmony into places (or back to chords) that we often might not expect coming from the 21st century that arrest our attention.

Listening to this on the extreme fringe of Easter morning, with the personal strife I’m currently enduring, this was a nice gift to come in my iTunes playlist.

No Reservations

Catherine Zeta-Jones came into my bedroom this evening; I rented her movie based on cooking from the iTunes rental service. No glitches, this time; I ordered the non-HD version, which looked fine, but with the black bands at the top. I’m glad I didn’t get the higher-resolution version, as this movie was a stinker.

The film was based on the book and earlier movie entitled Mostly Martha. Why do a remake so soon? The original was in German. But it was a far better film.

I, in fact, have never seen just a bad re-make; they even copied some of the same music. They could have taken the same story, but adopted it, and made some changes.

A friend at work considers Martha her favorite movie; she already warned me not to watch this one. Oh well. I still like the idea of iTunes rentals better than going to a store. I scored there.

Scarlatti: a due

Skip Sempé and Oliver Fortin record Duende – Music by Domenico Scarlatti

On their new “Paradizo” label, Sempé and colleagues are publishing some new recordings, including this first with the music by famous Scarlatti. Most recently, I have been very happy with the richness of Pierre Hantaï’s three Scarlatti releases on Mirare.

This CD is more or less a compilation of “Scarlatti favorites.” Which, if you consider, that the man wrote hundreds of sonatas, why we might want “repeats”? Well, not every one was a hit, and who wouldn’t like a new interpretation of old favorites?

The selections of sonatas is a good one. Some really nice sounding instrument(s) is(are) used, but not quite the percussive, fruity-sounding ones used by Hantaï. (Fruity, here, being a positive term.)

So, what made me buy this, considering that Scarlatti isn’t my favorite composer? When you see multiple harpsichords being used, and the combination of Sempé with Fortin, you don’t wait, you buy the CD. There could hardly be a more sumptuous, more rich, more extravagant sound than multiple harpsichords together. Think of Bach’s great 4-keyboard concerto. Then I think of the Sempé/Fortin release of music by Bach/Vivaldi from several years ago. The few tracks where these guys appear together are (once again) magical.

I only wish the whole CD was dualing/dueling harpsichords, and not just a few select tracks. Here’s hoping for more good things from Paradizo.

Janine playing Handel

This video depicts what looks like to be a “perfect night” of entertainment. Balmy breezes, open-air performance of great music, and passionate and able performers. Bravo!

i found this on YouTube after reading more about her release of Bach that I purchased last year.

Alfabeto: Music by Foscarini et al.

Ensemble Kapsberger performs music of Foscarini and others. I first reviewed this CD on April 4, 2002

I’ve always been a fan of reading about commentary on the issue of authenticity in music. It’s frequently a hot topic among performers of early music, including that of the Baroque composers I so much enjoy. While in Tower Records today, I came across a very attractive CD on the Astree label entitled Alfabeto, by Ensemble Kapsberger, led by the musician Rolf Lislevand. I feel this CD would appeal to all sorts of people. But if you like excitement in your music, harmony, and the sound of plucked strings, please do yourself a favor: Buy this CD! I’m not even done listening to the whole thing, and I feel compelled to write things about it. This is 17th century guitar music played rather progressively with voice, percussion, and flamboyance. All on authentic instruments, to boot. Track 11 features Biberfan’s favorite variations, La Folia, in a rather sassy interpretation with organ, percussion, and solo guitar, seemingly from different composers in a type of medley. Zesty playing. Capable. Exciting. Excellent close recording. I wouldn’t be surprised if this CD doesn’t win some major awards. Composers represented are Foscarini, Pellegrini, Granata, and Corbetta.

Since first reviewing this recording, I have played it many times, and have shared some of the tracks with others. “What is this music?” “What are the instruments?” The music is both rhytmically and harmonically rich. It is perhaps best related to Lislevand’s more recent album Nuove Musiche in style. This recording is a real favorite after four years of listening.

Update (2/9/2008): I found another interesting account of this album from the BBC. Since my first review in 2002, I still love this recording and consider it a top favorite in my music collection. Like the BBC review said, the absolute authenticity of the recording is in question. It doesn’t matter for me: the art on this disc is so profound. Having recently upgraded my stereo system, this CD, with all of its textures, plucking, etc., is a great piece of software to show-off what a better hifi system can achieve. When guests hear the music, it’s always engaging and “new” to them.

Schmelzer – Holloway

Several years ago, violinist John Holloway began recording for ECM New Series; he started here, with some of the works by Johann Schmelzer, a contemporary of Biber.

The first piece, however, deserves mention specifically. It’s by Antonio Bertali, not Schmelzer, and is an extended theme-and-variations affair over a repeating bass. This chiacona is realized at the same tempo throughout (unlike another reading by Manfred Kraemer), with a unique sound: harpsichord and organ together for bass. It’s quite a clean, refreshing sound. It’s one that Holloway would continue to explore in future releases.

The other pieces are perhaps less interesting, from a grand scale of design. They are more technically and motive varied, for sure, but they sound simpler. Holloway never is an extrovert, one shying away from sheer bravura, showy playing. He makes each note sound effortless, but sometimes, this clean, measured style can escape the musical potential.

It’s almost as if Holloway is purposely limiting his expressive capabilities for the sake of the music (or how it might have been played?).

You will find more drama in the reading by Andrew Manze. Yet, I like this one nonetheless. There is a directness to Holloway’s tone, and the beforementioned continuo group that is an appealing component to the sound. I gather these pieces are fun to play. My only wish, as mentioned, would be for a better interpretation of the dramatic potential these early baroque gems might convey.

Classic Musica Antiqua Köln

When you collect “records” (i.e., music recordings, no matter the medium of the software), you grab recordings by the same ensemble (i.e., the Academy of Ancient Music, the Beatles, etc.). You begin to compare them, at some point, and perhaps identify one as a “signature” or “classic” example of that ensemble’s sound, not to mention their artistry, etc.

When thinking about Musica Antiqua Köln, I select their Telemann recording of Tafelmusik from the late 1980s. I remember buying this 4-disc set at the record store in Cleveland’s TowerCity Center in the mid 1990s, thinking it a luxurious purchase: around $50 for Telemann.

What I found, and still find, is a really clear recording (it sounds crystal clear, in fact, with percussive harpsichord, bright flutes, and the robust, juicy sound of Goebel’s violin) that overflows with energy, color, and technical perfection.

The recording represents everything one might want: a variety of music (the collection is a set of three “productions” or suites of pieces, including a solo sonata, a trio sonata, a concerto, and an overture), a variety of color (each example is scored for a different collection of instruments, ala Bach’s Brandenburg Concerti), and edgy, passionate readings. MAK may have never sounded better or have appeared in such a clear recording.

Their reading of Telemann more recently, on the flute quartets CD echoed some of the details from Tafelmusik, but it is the recording of Telemann’s banquet music that is clearly the signature.

Incidentally, I’ve been looking for a MAK replacement of late. Some MAK disciples are obvious candidates: Manfredo Kraemer, Anton Steck, Florian Deuter, Christian Rieger, etc., etc.

BWV 1048

I couldn’t find the digitized cover for Brandenburg #3 by Musica Antiqua Köln, but that’s the core of what I write here tonight.

i recently re-read some first-time reactions to the 1986-87 recording by Musica Antiqua Köln of the Bach Brandenburg Concertos on the J.S. Bach Website, with the surprise then of listeners. They complained it was awful; it was too fast. Gross.

Come on! These players capture the spirit of the music, with such precision and dynamics to awaken one’s soul. Strap on some headphones, and you’ll go for a wholly ride (to quote, recently, the actor/scientologist Tom Cruise).

I have listened to this work hundreds of times; during my high school years, we’d roll down the windows, and turn-up good old “Brandenburg 3″ on repeat. It would later catch my attention in a work I wrote for a graduate class on baroque musicology and the musica poetica. While I own many recordings, this one, and this track, the second (some call it the third) movement of #3, is the best.

Even after some 20 years.

Nigel on Bach

Fast, for sure, but it made me smile quite a bit.

David Daniels and Martin Katz

Last night, I saw countertenor David Daniels in a concert at the University of Richmond with pianist Martin Katz. Together, they performed a program of works including those by Brahms, Peri, Durante, Frescobaldi, Reynaldo Hahn, Handel, Vaughan Williams, Quilter, among others in a program that spanned a wide gamut of time, languages, and styles.

Imagine my surprise when I assumed he’d be appearing with the Italian baroque ensemble that is due to perform tomorrow night. But the fact that the entire program was not baroque was no matter.

Both Daniels and Katz are remarkable musicians, and every piece of music was a gem that they obviously savored. A great program then, memorable too, for the remarkable affect offered by several pieces.

There were a few things I noticed that I thought I’d comment upon. First, Daniels audibly was clearing his throat several times and I found this distasteful. It’s like someone who doesn’t want to blow their nose, and is sucking-up phlegm. I mean, if you’ve got it, and you’ve got to sing, I understand. But it was kind of odd.

Second, Daniels appeared several times as if he was going to fall over. As a concertizer, he really does get into each song. He was almost as interesting to watch as he was to listen to. The fact that the entire program was sung from memory on his part was on the verge of amazing.

Third, at times Katz seemed to overpower Daniels. Balance between two musicians is a challenge, sure, but with a countertenor, someone who has a restricted dynamic range, Mr. Katz needed to back off a few notches in a few places.

Fourth, Katz was less effective with a favorite piece by Frescobaldi, where his style at the keyboard used pedal and sounded quasi-romantic. The performance was great, but I’d like things “all baroque” or all “avante-garde,” but not some mushy area in the center.

Fifth, is it me, or is Daniels’ continuous use of vibrato throughout his singing, even bridging styles, authentic, when it comes to a baroque singing style? His voice is in fact very good, and like critics, I’d dare to say he’s a front runner in the countertenor stars. But at times, my mind wandered, thinking if a more “straight” sound would be appropriate for the baroque works. It’s not a criticism, as I haven’t been reading on the latest historical performance research… but more an aesthetic question.

In all, a nice recital; and we were treated to three encores.

Marini: Passacaglio

I remember it still: the first time I had really gotten to know the famous Marini Passacaglio for strings. I was in graduate school. The piece was not new. I had the score, though, and sat in the “listening room.” I had secured an early Musica Antiqua Köln recording from the library’s archives.

The piece is seductive, yet simple. On the page, it doesn’t look like much. It is odd in that it can be played with one optional (middle) line. Yes, that phrase keeps repeating. But what makes it art, I say, is how it takes the human capacity for passion when performing it. Like a piece of putty that “takes” the impression of your thumb, or a memory-foam pillow that “takes” the impression of your tired head, this piece of music takes-on the impression of the performers especially well.

But unlike a solo sonata or concerto, its complexity lies in the fact that all players have to sort of think as one. It’s the string ensemble that can stretch the line, add nuance, emphasize a line, etc., that makes a successful performance all the more challenging.

For instance, when I compare the thin, hollow sound of Romanesca in their recording, it’s one particular sound world. Innocent, perhaps; the taste of your first cappuccino, without too many calories nor too much sugar. Passion is in store in terms of volume and intensity, at least in a more arch-form portrayed by Manze and associates.

Musica Antiqua Köln, on the other hand, have a more deluxe string sound, perhaps they’re better at the ensemble concept, rich, subtle, and fat. Their idea passion comes in the form of smaller moments, used throughout each strain of the repeated bass.

Europa Galante, from their Legrenzi album, also tackle the famous Passacaglio, but at a much faster pace, without the repeats. A thin sound some of them have in this recording, but what’s most striking is the percussive harpsichord in the bass. I almost miss Biondi’s star role here, I half expect him to break-out in 32nd note runs above the repeated harmony, but we never quite get it; nor do we ever get the polish of Romanesca or rich strings of MAK.

Some folks wouldn’t find this work of particular interest. But as an example of early Italian baroque string music, and one using a dance form, it might sound bland. The right performance, however, can reveal the art beneath the tones: echoes of subtle, sensual human emotion realized through melodic gesture and supported through harmonies resolving out of dissonance to consonance.

Janine Jansen Plays Bach

Bach’s Inventions for keyboard (both the 2-part, and the 3-part, so-called Sinfonias) are rich little pieces of music. Too bad they are so short, but so fun each one is, written in a variety of keys. A sort of predecessor, if you will, to Bach’s giant preludes and fugues (WTC).

The inventions are significant because they are contrapuntal in nature, light fugues, if you will. But the writing and themes are so well-done, that experimentation with them is par for the course for many performers. While I love my recording of these works by Suzuki on harpsichord, this new album by Janine Jansen and friends is the more adventurous type of recording, doing these on stringed instruments.

It takes good players to render each single line in tune and in balance with the other performers. For the 2-parts, we get violin and cello; for the 3, violin, cello, and viola. I particularly enjoyed several movements that were more eclectic (especially spooky slow, or fast), and I realized I could listen to these by at least 3 more ensembles with their own interpretations. The music is so good it can take different takes, just as we might have 3-5 recordings on keyboard by different virtuosi.

She includes one of the solo partitas for violin (the big one, with the chaconne), and while it is well done (great tone), I would have preferred some more of Bach’s transcriptions with her two colleagues.

Not a must have, but if you adore these works and like an “authentic approach”-influenced sound world, this one is for you.

Feltsman on Die Kunst der Fuge

Tonight I’m listening to Vladmir play The Art of Fugue by Bach, and it’s quite nice. I don’t have many AoF recordings all on keyboard instrument. Of course, he’s all kind of crazy and all over the place in his Goldberg recording, so this one you might guess is different.

Feltsman lets the music affect his mood (I guess), and this mood, in turn, affects the music. Combined with a moody figure and excellent technique, some very interesting things can happen.

It’s those little nuances here, and there, that render the recording as one with touches of fleeting brilliance.

Clear sound, great attack in many phrases. Sometimes the timing is just not robot-perfect, and this to me, is a blessing rather than a curse. Feltsman’s playing for me in Bach is very different from the touch of, say, Angela Hewitt who is more smooth (legato) in her style. Feltsman avoids the mechanical style of Gould, but any echoes are fair ones.

I am not sure in all the praise I might give the recording that it would be my definitive favorite. It wouldn’t be the only one I’d want to have in my collection… but it contrasts very nicely with my instrumental versions and brings both smiles and appreciation to me while listening; between its moments of reverence, and those of humor.

Viaggio Musicale – Il Giardino Armonico

There are certain brands that you learn to trust; a favorite beverage, perfume, or perhaps dishwashing detergent. Right? You find one you like, and you expect the same quality over and over.

Il Giardino Armonico are often very trustworthy as entertainers of the highest order, providing excellent recorded programs and a very high-quality of musicianmanship. An excellent example of this is their recording, Viaggio Musicale, which features early Baroque works from Italy. Merula, Castello, Riccio, Marini, Uccellini, etc., all the way back to Fontana. I later procured a DVD which features a number of these works.

The sound world employs a variety of continuo (harpsichord, bassoon, lute), and melody instruments familiar and those not (cornetto, various recorders, violins), and that fiesty style that defines an IGA recording.

THe recorded sound is close, but when such excellent technical prowess can be enjoyed, why not? They play from the hip, and they have nothing to be embarrassed about. This CD showcases IGA at their best, playing some great music: Marini’s Sonata on the theme of La Monica, Castello sonatas (anything I’ve heard from Dario Castello has been gold), and other gems from Cima and Rossi.

Much of the joy I have received from listening to this recording copious times has been from the violin playing, particularly from lead violinist, Enrico Onofri. Both the tongue-in-cheek moments to the times when they clearly are showing off, all is very exciting and moving.

The cover depicts tomatoes, cappuccino, and fish, and grapes. Perhaps modern interpretations of Italian cultural artifacts. Inside, the cultural artifacts are richer, engaging, and practically timeless.

Improvisata by Europa Galante

Fabio Biondi and company recently released a new CD on Virgin Classics based on more “concerti con titoli” although many are not concertos at all. And aside from Vivaldi and Boccherini, the composers are not too baroque or too familiar.

I just read the Gramophone Magazine review of the CD which said, to paraphrase, that the music was a curious choice, not great. But Europa Galante brought spirit to the pieces. But would it survive repeated listenings?

The title of the CD comes from a Vivaldi work (boring, snoozer, skip it). But the real gem on the recording is the Boccherini (and Biondi does Boccherini well) Casa del Diavolo which was recorded earlier by Il Giardino Armonico.

To start, the CD has a wonderful recorded sound. Those record companies don’t always get a good take in terms of the acoustic and the microphone placement. This one is done well; Europa Galante many never have sounded so rich and full.

I feel a lot of the content is wasted on filler. These pieces ought to be heard, for sure, but the album as a unit will fail over repeated listenings. Mix a few of these numbers up in a custom playlist, then we start to build a little interest.

For instance, in the Demachi sinfonia: there are some interesting textures, the horns sound great, and… it’s fluff. This is not great music. It works. It’s fresh. It’s light. I want some high-calorie stuff when I listen.

And that my friends leaves us with the Boccherini. That’s the gem on the disc, the main entrée if you will, and it is fantastic.

I compared it with my Giardino Armonico recording.

Antonini is about contrasts in dynamics, and has a very brassy horn sound. The strings never really burst forth into the foreground. With Biondi, they do. It simply sounds as if Biondi has more string players.

When you’re playing loud and fast, it can be difficult to sound together, or “tight” if you will. Europa Galante does it with great skill. I like both performances, mind you, but Europa Galante steals the gauntlet with this one. EG has a flawless technique, and combined with a specially-miked continuo (with all its crunchiness and percussive bite), the sound is simply superior.

Antonini’s approach might win on “creativity of interpretation.” No doubt, the IGA disc is overall more satisfying, musically. But this recording by Europa Galante is 5 star based on their reading of the Boccherini Casa del Diavolo.

Turn up the volume, and prepare to have your breath taken away. (It’s that good.)

Dudamel and Beethoven

A colleague recently lent me her copy of Beethoven’s “Fifth” and “Seventh” symphonies, performed on DG by the Simón Bolívar Youth Orchestra (Venezuela), directed by the young conductor, Gustavo Dudamel. Not only had she gushed about it (young, energetic, bold), but so had others.

What struck me so much about the orchestra at first examination was their sheer size. Coming from the historical/authentic/needs a better name background I adhere to with baroque music, this is a large orchestra. And to boot, it’s a youth orchestra.

Who cares what it sounds like. John, why say that? You’re reviewing a recording! Let’s look at the recording from another angle. As the CD booklet suggests, some of these student-musicians are “off the streets,” and performing in the orchestra gives them a sense of purpose in life. By any measure, these are poor young musicians, living in South America, and they are championing western “Classical” music. If I could think of the appropriate fable or tale, I would… but it seems here we have an instance of the “children” waking us up and pointing “over there” (at classical music) and telling us (our society, at least from the U.S. perspective, old, gray-haired, and rich) “we can do this too.”

And the reviewers might hopefully say “oh, and you do it well, too.”

Question what you will about the repertoire: they chose well-loved and extremely well-written music to perform. Not bad when you’re trying to get noticed.

The first thing I noticed were tempi. The 5th symphony for me was a tad slow. But how can you possibly keep everyone together at a faster clip with so many string players? I think that is my biggest gripe about the entire recording: too many musicians. That’s hardly an awful thing, but it is likely the root issue when I find other issues to mention.

Tempos in the second work are slow(er) too, save for the last movement. There’s no right choice, of course, but I always think Beethoven sings better when he’s had a kick in the knickers.

Symphony 7, second movement. What a dark, gritty, low sound the lower strings have. The numbers here allow for a great crescendo. But the tempo is too slow. The tempo might work if we were watching something (a drama, a film, perhaps) but alone, it’s like waiting for your entrée to come in a restaurant that has a serious backlog in the kitchen.

The third movement has an appropriate tempo to start, but I can’t help but feel in the slower section, we’re falling aslseep with a giant, a giant that simply is too loud when it’s supposed to get crescendo. But if you wanted speed throughout, advance to the ultimate track.

Certainly no one has performed Beethoven’s seventh so fast, even though he called for Allegro Molto in the last movement. Dudamel and Company give us that, for sure. So fast, the horn players (for me, the real protagonists in this movement) can’t get all their notes spoken clearly (or defiantly). Is it messy? A little bit. But what of course is special here is that they do it… young musicians… a young conductor… it’s absurdly fast, but oh isn’t that fun? It certainly is! No doubt some of them had smiles on their faces the whole time…

For me, I thought the album would be about the conductor. I think it is, but it really is more about this young youth orchestra. While their size may prevent them from being truly agile, they can play with passion and power. Do they over-do-it at the end with some suspect intonation? Yes… but what speaks better for passion and power than a few rough edges?

It’s Dudamel I come back to in the 5th symphony, then, to ask “Why the last movement at this speed, if you guys can play faster?” Is it an artistic decision? A pragmatic one? His artistic decisions that are well-heard (articulation, certain emphases) are interesting, for sure, but it is difficult to point out the conductor from the orchestra. Or should we? The brass coming in in the middle of the last movement of #5: way too loud! And the tempo getting faster once the full forces come back in?

If we’re going to measure this recording against international standards with professional orchestras, then yes, there is much to criticize. For instance, some portions sound rather mechanical. Some times, the group simply is putting out a bit too much power. The upper woodwinds (flute, especially) outshine their counterparts in brass.

I found this recording: interesting. It was fun to listen to. And that might be the ultimate compliment. It had me thinking… considering.. thinking about what I knew about performing, conducting, and about Beethoven. I think he would have been pleased.

Dudamel will more ultimately be judged in his new role in Los Angeles. Who knows what will become of the S.B.Y.O.? For young musicians, they are missing the suave aspect that likely comes with maturity. But they can sure play. If they can morph that into a more “organic” or “smoother” sound, they would be truly world-class.

This recording won’t be for everyone. But if you are the type that can’t have “too many” of a particular work, and admire Beethoven’s 5th and 7th, this might be for you. It certainly is entertaining to compare this track, with that. And what comes about is a great appreciation for the composer’s art.

Bach: Sonate per ‘Le Concert Français’

Some years ago I acquired an interesting-looking CD with golden piles on it… of Bach’s “sonatas” by Le Concert Français, namely, Mr. Marq on recorder, Mr. Fernandez on violin, and Mr. Hantaï on harpsichord. They were performing a variety of works, including several of Bach’s trio sonatas for organ, here, re-arranged, as others had already done. Namely, the King’s Consort and the Palladian Ensemble.

This recording however doesn’t cover BWV 525-530 completely, and instead adds some other works, like the cello sonata, BWV 1008 played by recorder (alone). While I’m a sucker for complete collections, a little variety would be nice. I told myself.

Bach’s trio sonatas work on the organ well. I have Mr. Koopman to thank to prove that to me. And the King’s Consort does a really superb job at performing the sonatas as chamber music, using a combination of instruments. In fact, it is their best recording to date, under my own judgement.

Le concert français sadly does not offer the same quality reading as the Brits did in their earlier release on Hyperion. That record had “life” in the notes. Sensual playing, to be sure, each player living the line they were assigned.

Which is funny, as the LCF are all excellent players. The sound of the recording is well done. Why do recorder players (and Sebastien Marq is an excellent one) insist on playing Bach’s cello works? I’m sorry, it just doesn’t convince me. In fact, I could have done without the pedal piece too, BWV 598, which leaves us with the ensemble pieces.

They are played well, no doubt, although some tempo choices I felt were a little… slow, but that allows performers to have more control in shaping line. And that’s what I missed most. I know it was in their grasp, perhaps, but it wasn’t ever fully realized. Too timid to stand out?

Bach’s sonatas on different instruments mean you can accentuate the line in ways you cannot do on the keyboard. And there is some going on, but it could have been more blatant and more exaggerated.

For my taste.

The CD is not bad; it simply doesn’t arrest your attention.

Bach Motets

The Hilliard Ensemble record the Bach Motets BWV 225-230 on ECM New Series.

I compared this recording with my earlier one by Philippe Herreweghe on Harmonia Mundi. They perform the motets with instruments. In only one performance by the Hilliard Ensemble, do they use instruments; when they do, it’s a solo organ for the continuo part.

The older Herreweghe recording sounds great today. It’s rich, and the instruments which play the vocal parts in unison, make some of the more complex textures, such as that in BWV 225 more easily heard. That’s dense music.

The Hilliard approach is of course different. It’s intimate, the tempos are generally faster, and the sound more transparent. They follow the movement established by Josh Rifkin of performing Bach’s vocal works one/part. And this is of course the Hilliard’s forte, performing complex music, one-per-part, with an amazing sound of the voices combining to make harmony.

I admired the Hilliard’s in their recording with other works on ECM of BWV 4, Christ lag in Todesbanden, and this CD, while recorded 3 years prior, has deserved a place on my shelf.

I’ve been living with this CD all weekend, taking it in, listening to favorite parts over and over, and coming up with a reaction. First, I’ll say I love the fact they split the sections up into tracks, so I can re-play shorter sections with no trouble. Gone are the days for CDs with index tracks.

Some of the motets use a double choir. The voices match well, especially so that we have two sopranos and “extra” male singers to make 8 part harmony.

Complaints? Yes.. in the choral (track 6), from BWV 226, I hear a ripe clash from the soprano(s). And in my favorite work, BWV 227, some phrasing from track 15 in the second soprano, bothers me. This work is sublime, and Herreweghe does well with it, but the Hilliards add a faster tempo and some really clear voicing.

The “baritone” voice at times could stand out… more… this is what happens when you don’t back up the voices with instruments… some of the depth, and the root of harmonies, is lightfooted. This aside, however, we have a great record.

Track 22, BWV 229 is especially dramatic, and the acoustic used for the recording is simply appropriate. It’s delicious music. Look at the last track for BWV 230, how light they are, and yet, what is this music? It sounds modern. Bach’s motets look backward, for sure, in their style, but the overall sound is atypical for Johann Sebastian. Rarely is it sung like this, so open and bare; the purity of voices makes for good music making.

They Hilliards include a “bonus” motet, BWV anh. 159, and what a real gem it is. Here the mixture of the lower sonorities ring strong (with bass). It may be one of the most beautiful things on the recording; I’m guessing they will include it often as an encore.

Bach not only wrote these motets, but wrote Latin-style masses, in addition to his larger-scale cantatas with instruments and continuo. If you like polyphonic music, with cantus firmus, this is written in that style. It’s baroqueness makes it sound fresh, while fans of older vocal music will see and hear its roots. 6 gems by Bach. Yes, we can nit-pick and find a few flaws here or there, but this is a recording that reminds me of the Hilliard recording of Gesualdo… pure sound… only this time around, the music is even more rich and palatable.

Vivaldi: Concerti per violoncello 1

Il Giardino Armonico and Christophe Coin record Vivaldi Cello Concertos, (p) 2007 naïve

It was in Il Proteo that IGA and Coin joined forces long ago, on Teldec Classics. Onofri returns to IGA and records in the Turin-series, this time around focused on cello concerti by Vivaldi. Compare this to the 2-CD set by Dieltiens and Ensemble Explorations.

During slow movements, Coin reminds me of his (much) earlier recordings doing Vivaldi sonatas with Hogwood on Decca’s Florilegium label, L’Oiesau-Lyre. It’s the same sound, the same style. What surprised me first about this recording was the careful, deliberate tempi IGA chose, in contrast to their typical, more-spirited paces. There is much to like (and perhaps dislike) in these tempi choices.

On the good side, we hear very clearly (thanks to good miking) all the details and “barqueness” in Vivaldi’s solo lines. On the bad, some tracks lack the passion and toe-tapping factor that I had come to appreciate with Roel Dieltiens’ recordings on Harmonia Mundi.

IGA’s sound is good, well-recorded, and includes richness with the use of lute and bassoon. After listening for some time, taking in IGA’s typical use of dynamics, I feel that Coin is too close in the recording; he is so up-front that the dynamic range of the orchestra seems out of place with his own dynamic range.

Of course, there are some gems that Dieltiens never recorded, like RV 409. Yes, my favorite first violinist has a few nods with the cello in this work; we might imagine Vivaldi playing along with a beloved pupil who had gained mastery on the cello.

This is an intimate recording, very clear. This is not, however, the most flamboyant of the IGA recordings. Antonini left the fire burning slow and dormant. This is not to say the drama is “dead,” but it’s less extrovert. I’ve never considered Coin an extrovert player, so I think the two complement each other well.

The booklet includes an essay by long-time admired Vivaldi scholar, Michael Talbot. Pictures are included in the booklet, too, of Coin, Antonini, and the ensemble.

In tracks performed by Ensemble Explorations, I think the over-all concept is better done. This CD by IGA and Coin is good, but Dieltiens is likely a superior cellist, and the musicality (but likely not the sheer quality in the recording) is bettered on the earlier Harmonia Mundi recordings.

I enjoy these concerti so, however, that I don’t mind having both, and looking forward to more.

Emerson Quartet on Bach’s “Art of Fugue”

CD#750 in my collection (I save the big, round numbers for important works, such as Bach’s Kunst der Fuge) is this CD: the Emerson Quartet performing Bach’s ultimate work. At over 80-minutes, and released in 2003, it has no doubt been popular.

Just read the gushing reviews at Amazon.com.

As I listen now, the d-minor phrases and countersubjects companions with me in my listening room, I read some of these comments from other purchasers… one wrote about it being (or sounding) “smooth,” an analysis I agree with. Their tone is smooth, rich… expresso gelato, and all of that. And of all the recordings I own, they match closest that of the Julliard String Quartet, who recorded the work earlier (and whose special, long viola appears in this recording).

Yet, I don’t share all the ebullient reaction that gives this recording a “5-star” rating. Is it cleanly recorded? Yes. Does the ensemble have a good sound? Yes. Is intonation clear and true? Yes.

But I’m sorry, dear Emerson. I have your Beethoven, and have loved your Bartók. But this recording of Bach’s best work is awful.

The interpretive style is just wrong. I actually prefer the Julliard. As one reviewer (who still awarded them 4 stars, an easy praiser, I guess) said… it lacks passion. If you look closely at baroque vocal lines, on how you phrase a line… you need to do that here. Instead, it is somewhat a more “romantic approach” (with so much vibrato, I’m queasy), but it ignores baroque phrasing and some of the “gooiest” and more intense parts of the music.

I think if you want to get a good idea of what AoF is, then… a couple tracks from this recording, mixed with some others, might be worthwhile. Certainly, these are professional, star musicians. No doubt. But their take on Bach is so different than what they historically-informed camp is doing that the ignorance is wholly dissatisfying.

I know, some people hate the baroque violins, in contrast. I could live with the instruments, I just want the phrasing to be right, and the vibrato to disappear.

Un concert pour Mazarin

Ensemble La Fenice records Un concert pour Marazin with Philippe Jaroussky.

I once saw this CD at Tower Records. By the time I realized that it contained the violin talents of Enrico Onofri, I went back only to find it all sold-out (or removed). I recently procured the recording, featuring not only Onofri on violin, but the directing of Jean Tubéry and the singer (countertenor) Philippe Jaroussky.

One of the more famous tracks is the Sancta Maria from Monteverdi’s Vespers of 1610. Somehow, I feel the chorus is actually Jaroussky and the recording engineers. If so, I don’t care, he makes a very nice recording of this work. His voice soars about the chorus, with nice lutework underneath.

Then there are the instrumental works… such as the Canzon per Cornetto e Violino by Viadana, or the Turini sonata a 3 sopra la Monica. While the recording doesn’t best his Anno 1630, Onofri is on fire again, matched many times with Tubéry on cornetto in a very convincing early Italian style. This is music with verve and style. Great stuff.

I find the solo keyboard works less satisfying, save for the Fugue a Quarte Parties by Roberday. Never heard of the man, but he betters Frescobaldi on this recording.

Every track here isn’t a perfect gem, but the performances are first-rate, and the delights, many. The last work, a three-track span entitled In Caligine Umbrosa shows off the excellent acoustic used to record the CD, bringing many ensemble players together, including a convincing Jaroussky, expressing a range of emotions in a very convincing, natural way.

Pisendel: Violin Sonatas

Anton Steck and Christian Rieger perform violin sonatas by Johann Pisendel.

Steck and Rieger are both former members of the illustrious Musica Antiqua Köln, and recorded this CD in the same studio where many of MAKs best recordings were made, at the former “West” German radio in Cologne.

Too bad the microphone used was on sale, for the recorded sound here fails, somewhat, these musicians who play with passion. Pisendel was one of the star violinists to play at the Dresden court, evidently inspiring concertos by Vivaldi. So, you might expect, his own works might be challenging and full of little baroque warts. They are.

The opening sonata in D is in fact so challenging to bridge into a more modern style, with a wide range in notes for the violin, sending Steck into frenetic twists where unchartered tuning curses our ears.

Far more interesting is the solo sonata (without Rieger on harpsichord) in A minor, similar in scope to one of Bach’s own solo violin sonatas. The recorded sound ripens for this work, too. Pisendel’s writing extends the upper-range of the violin, but lacks the writing of a genius musician. Its nevertheless odd enough (maybe not to the artful degree Zelenka’s works are) and irregular enough to inspire our time listening. The notes don’t always go into the expected places. My favorite track is the last, a gigue with variations.

The e-minor sonata starts out typically; it could perhaps be by Albinoni in its old-fashioned opening. The ending Scherzando is devilish, more Tartinian, Steck sounding more assured.

The C-minor work is the most famous, for having been once attributed to J.S. Bach (complete with its own BWV number). Steck’s reading is interesting up against Goebel’s early recording with the other Bach sonatas. Goebel had some intonation issues in his reading, and Steck here, improves on intonation but occasionally breaks-out into an impassioned vibrato that I find starkly modern, seemingly foreign to the otherwise Baroque-sounding work.

Who knows who wrote this work. It does have a certain Bachian touch, elevating the quality of the writing. This same flair is evident in the resulting work, too, a Sonata in G minor (my favorite key). It’s back to the trilling and over-ornamented style that introduced us to Pisendel’s style.

Violinist Anton Steck seems to be going after some less well-known composer’s chamber music for baroque and early classical violin. I applaud “the series” that’s being released on CPO, and hope it continues. There’s a little bit from time to time to arouse our eyebrows with a rustic touch here and there, but it’s also seemingly an honest, genuine appraisal of some curious works. This is not a must-have CD, but one for a curious interest in Mr. Pisendel and his personality, for sure.

Jacques Loussier Trio plays Bach’s Goldberg Variations

You know when a piece of music is good. People record it in record numbers. Even better yet, they re-arrange and re-work something multiple times. Take the recent Beatles Love album, as an example. Bach’s music is in the same camp, if not a more lofty one. And here, the Jacques Loussier Trio perform his BWV 988 on Telarc Jazz.

My first complaint when listening to these miniatures is the lack of repeats. And what a controversial topic! Bach wrote-in repeats for this binary pieces, and here we get the run-through. Some maybe do not warrant repeating, but some can build upon repetition, and invite the performer(s) to manipulate the music upon second playings. In fact, you could repeat a variation multiple times, creating a so-called multiplicity of variations, upon variations.

Loussier does an excellent job at some tracks. The jazzy style is there, and the use of all three instruments (drum set, piano, and bass) all make equal, compelling solutions this Goldberg update. A few tracks lack the re-working. This is where Loussier depends more so on a direct translation of the part, alongside drums and bass.

Variation 9 is an example of the first. The theme starts in the bass, and then we add-in the piano. #26 is an other interesting example: Loussier is playing one-handed to deliver a quick sequence of notes–the same notes we’d hear by some pianist playing the Goldbergs straight. But it all comes together in a nice mix, toe tapping guaranteed.

Variation 29 is a better example of my second comment, a complaint. It’s the variation as Bach wrote it, pretty much, with a little jazzy fluff dressed on top. Not all treatments are equal.

Variation 30 is unique in the use of an extended bass solo. When the piano finally comes in, I almost wish some other melody instrument was there, a soprano sax? A trumpet? With bass and drums so easily able to change their sound quality, the piano could almost use a little variation of its own.

We could nit-pick all day on an album where they’re picking on Bach. The Variationen Goldberg are already a fine work, why mess with success? For one, it’s flattery. For another, it’s a fun to “shake things up” a bit, musically. There are, on this CD, many moments that will make you smile. A few warts aside (like the recorded sound of Loussier’s piano), this release pushes the sound world of Bach’s Goldberg Variations with a variety of treatments and styles. If you already admire Bach’s Goldeberg Variations, this CD is likely a fitting dessert.

Jacques Loussier Trio plays Handel

The Jacques Loussier Trio performs works by Handel on Telarc Jazz, (p) 2002.

It wasn’t long ago that I was listening to the Loussier Trio perform Vivaldi’s Four Seasons on my updated hi-fi, and was amazed at the lower extension of the bass. Loussier plays piano, and uses one of two bass players, and seems to always pair with drummer André Arpino. Having since lost the recording’s original CD, and only having a 160Kbit rip in MP3 format, I re-purchased the album along with a few others. First up for review is their 2002 recording of Handel, specifically, music from the Fireworks and Water Music suites, plus a Passacaglia that lasts some 5 minutes.

What’s fun about the Loussier recordings is knowing this music inside-out, upside-down. It’s the tickle of fancy of recognizing old favorites in new clothing. I think Handel’s music is less successful in this clothing than that of Vivaldi or Bach. Of course, there are some successful tracks amid some “good tries.”

The concluding “Trio” from the Water Music suite is energetic, if not virtuosic. Some areas where the music is “quoted” verbatim bother me… of course, you have to referenc the original, but there are other ways to weave these melodies into something… I think this music, whether it be Handel, Bach, or someone else, is so rich that you could make many CDs off the same source material, if you were so talented.

Loussier has a particular talent… he’s good at capturing spirit. The direct quoting I find less successful. The last movement of the Fireworks music, with over a minute of drum fodder, then a direct quotation… I found less than enjoyable. Nice try, wrong approach, I think.

So yes, there is some to love, some to hate on this release. Then we get the final track. A sparse 5 minutes, but so richly wrought-out, it is the jewel on the disc. It’s less about direct quotation, and more about getting to the essence of a work. I don’t mean to sound cliché, but this is about high-life, with all the cheese we might associate with a successful man sitting in his easy chair after work, enjoying a fine scotch. This is that soundtrack… but when you brush the cheese aside, it’s music that simply makes you smile.

Any CD that forces a smile on your face is a good one, despite its warts.

Only if we could plays these for Dr. Handel.

Biber: Sonatas from the Kremsier Archive

Biber: Violin Sonatas performed by Anton Steck et al., on CPO.

Yes, I am a Fan of Biber. But my interaction with Biber’s music came long after I “found” my niche in the baroque. Ever since, I’ve been looking for good recordings and some are obviously better than others. Steck and company play my style, with some verve and “guts.” Even a little sex thrown in, if you get imaginative.

First, I must report that the recorded sound quality begs for something better: the sound is a tad thin. It’s not the players, it’s the recording.. thin and distant. My guess is they used microphones that I don’t care for.

So, with that major disappointment aside, the music… interpretation is mostly agreeable. The most famous work, the first track from Biber’s 1681 collection, shows-off what’s here to love and perhaps not (love). Three continuo players make for variety. Steck plays with verve and soul, however the plucked continuo sometimes almost sounds like a child’s instrument is being used. Yes, the recording suffers that badly. As we progress through the CD, however, the sound warms up.

The depth of nuance Steck plays with reminds me of the MAK recording of Die Kunst der Fuge by Bach… the dynamics just aren’t off/on, they are manifest through swells in line and energy, that seems at once organic, if not at times, rushed. The remainder of Biber’s works are less well-known, and then they tack-on the infamous Muffat sonata.

Annoyances? Steck sometimes uses a rather fast vibrato as a ornament. I don’t care for its speed. Sometimes Rieger adjusts the harpsichord to a lute stop… something in my head tells me Biber et al. weren’t doing this. Eh. Sometimes, you don’t need all 3 continuo players. Sometimes it’s nice to have one on one sonata, a couple on another. Variety is the spice of life. Spice doesn’t overwhelm when used in moderation.

Complaints aside, I enjoy this recording. More Biber, the better. And it’s here in the hands of sympathetic musicians who (as in the Biber D-major ciconna) know how to impress with technique.

Then there’s that Muffat sonata. It’s nice and all, but I’ve grown tired of it. Steck plays with considerable warmth (in part with a lusty-sounding instrument, and in another, way with an intense vibrato). The recording would only have been better with more “warmth” in the sound. Rieger and Steck are dead-on with one another in this work, but take the enharmonic progression carefully. Probably better traversed than Holloway in his two readings, but then there’s that creepy fast vibrato creeping in.

In all, this is not a perfect disc, and I can’t recommend it without some reservations. If you have SACD, it’s a hybrid disc that perhaps sounds better in SACD. Second, some areas feel rushed. Steck plays impeccably when it’s fast… but breathing room here and there would be welcome. The music is certainly inventive and affective. It’s an honest recording, one that would have been golden with a better recording.

Bach: *Kammermusik*

Musica Antiqua, Köln record Bach’s Chamber Works. This music has been released and re-released a number of times. I first heard it on LP releases belonging to the Sibley Music Library (Rochester, NY), and found it coupled with other Bach/MAK recordings several years ago.

Yes, it was so good back in my college days, that a CD of it was warranted. This collection includes the sonatas for violin and harpsichord (good, but the recording from 1981 suffers a bit), the flute sonatas and partita, the gamba sonatas, and some extra bits, such as the Fuga BWV 1026, the Sonata BWV 1020 (here in the violin version), and the Sonata BWV Anh. 153. That’s right–some lesser known Bach works. Treats for the ears and the soul.

What we’re treated to, of course, is that quite unique, piquant Goebel violin sound. In general I found the violin performances exemplary, the da gamba works less satisfying (tempi too slow in some cases), the flute works, suffering from sound quality. In fact, the recordings as a whole suffer from inconsistent sound quality, having been recorded at different times, and originally issued as different releases. None of the performances are bad; its simply that newer releases have eclipsed some in their sound quality, or level of dynamic performance.

My favorite track of the set is the aforementioned BWV 1026, a “fugue” for violin and harpsichord. It has dubious origins, but I so badly believe it to be Bachian due to its stupendous quality. The piece is at once modern, ancient, and fresh. It’s foot tapping, glorious in that sound, and when those multiple stops come in, it brings the widest, happiest grin across your face. In a few places, Goebel sound a little stressed (tuning, scratchy) but it doesn’t get much more authentic than this… it has a palpable rawness to it that is so downright honest, that you know those performers feel the magic under their fingers, in their hearts, and minds.

It’s this passion the music speaks that can be found in smaller pockets throughout this collection of diverse Kammermusik.

This is vintage, “old school” MAK. Hazelzet and ter Linden take a back seat, but some of those flute movements are played with the challenge meter turned on high. Because of the extreme stereo separation of some tracks, I’d recommend this in an open listening room with loudspeakers, in lieu of using headphones.

Dowland: Lachrimae

I recently acquired a recording from Musica Antiqua, Köln of Dowland’s Seven Teares on the Challenge Classics label.

I first heard these consort pieces by Fretwork on their Virgin-Veritas recording, purchased during my college years, at a Borders Books and Music. I remember picking it up, after reading about Dowland and viol consorts. The music, itself, is a tragic lot of harmonies. They thirst for some developmental break that never really comes; it’s as if the whole collection is a thick blanket of clouds, with rays of sunshine filtering through, but never fully realized in sound. A blue sky never appears.

So, as consort music, it’s dry. I admit, not the most flavorful of music. But MAK does something else; they present some tracks that take departure from this core set. Track 9, for instance, is for harpsichord and solo violin. What’s left are the convoluted melodies, complete with the bowing and style known later in solo repertoire. It sounds like an experiment, for sure. Is this why MAK chose to record it on their “off-label” instead of DG Archiv?

Well, why did they record lute and viol consort music on their more Italian instruments of violins, violas, and cellos? It’s a valid question. It’s the same type of question I ask in seeing Goebel and partners holding violins with chin rests. After reading Brown’s essay in “Performance Practice after 1600,” a compilation of essays about string and other instrumental (plus vocal) performance practices, I came to find the chin rest is a 19th century invention. Does it affect the sound? Likely not; the chin-rest, does however, confirm a later playing style by inviting the performer to hold the instrument under the chin, where it’s squeezed. Some detail of the early instruments–from the way they were played, to the types of strings, to the why it’s held, all influenced the early MAK.

For them to pick up with Italiante instruments and play early English music may be historically improper. But they are foremost a string ensemble, and no one can deny anyone the desire to perform the literature they derive pleasure (or a living) from… If we look at the music, and consider its passage through time, we may ask… “If this was picked up by an ensemble (or would it have been) in say, 1730, how might they have played it?”

My guess (and it’s only a guess) would be: a) they wouldn’t bother; however it may be studied as a relic; b) if they did play it, they’d use their “modern” instruments of the day. Our modern-day obsession with the past hasn’t seen the light of day since the humanists of the Renaissance re-invented ideas from the Greeks. We know they did a miserable job, and hopefully we’re doing at least better, in re-living the sound world of the Baroque.

This is breathing music. It’s played well enough, but too many times I heard the real viols of Fretwork making a more convincing case. MAK has a better sounding recording, and more variety on disc. But instead of harpsichord, should we not have lute as the continuo instrument?

There is more interpretive freedom that could be exercised in these works, for sure, especially with dynamics. MAK makes some statements, but nothing too profoundly original with their reading. This was ultimately a disappointing release, but not so much for the performance, as the music itself.

To understand it, I believe, we have to look at the culture from which it came. For lovers of Dowland’s art, he no doubt had talents this fan of Biber have missed. I take credit for not finding his gifts.

Bach Alt Kantaten

“Old Cantatas?”

I read this post and got confused about exactly what work he was discussing… and found my favorite rendition of BWV 82 with Fabio Biondi (violin) and Ian Bostridge. But then sought-out the work I really had been thinking about when reading that post, the Johann Christoph Bach work, Ach, dass ich Wassers g’nug hätte… from the old-Bach archive.

Musica Antiqua Köln performed this work in their final concert performances. The string ensemble performance was excellent; I much prefer their recording with Magdalena Kozena than the lady who appeared on stage.

I have several renditions of this early work, too, which makes a nice comparison. The strings in the Cantus Cölln recording are far kinder, and polite than the MAK recording. It reminds me an “earlier” music mindset: a much clearer, less dramatic vocal, simple chords for accompaniment. So, between the extremes, of intense playing (with my memory of MAK’s live performance in mind), or more laid-back–which was it for Johann Christoph?

I then consulted an earlier MAK recording, made in their hey-day, right around the time they released their now-famous recording of Sebastian’s Brandenburg Concertos. An interesting contrast, for sure; it sounds as if the vocalist (here, a guy) is singing into an echo chamber, and the string ensemble is far more balanced with focus on the violin.

Then we go to Gérard Lesne and his recording “Bach,” with Il Seminario Musicale. Finally, some singing on par with Kozena! But they run an expensive production, complete with lute, which to my ears, loses the “full string ensemble sound” that was so admirable in other recordings.

Either way, this is a moving work, one that is harmonically rich, and full of German Affekt. Those performances that make most of these gestures are my favorites. I like the recording from the Lamento album with Kozena and MAK best for the ensemble sound, and the singing by Lesne best, on Astrée.

This is a dramatic work. A special one, for sure.

Hot Weather? Telemann Paris Quartets!

Today, currently, it’s 84 degrees in Richmond, VA. My OS X weather widgets always display the temperature, alongside the read-out for Merced, CA. I’ve got a 14-degree lead.

Ok, I am hot upstairs here.

And what better music to celebrate the full-force impact of Spring?

Telemann: Paris Quartets, as performed by the Trio Sonnerie with Wilbert Hazelzet.

Whenever I’ve heard a Paris Quartet live, I admire Telemann’s writing. They have that certain style about them, that “level of class” that might be missing in a more rustic piece like Vivaldi’s trio sonata “La Folia,” or one of Biber’s so-called “Mystery” sonatas.

Some years ago (I can remember the store, actually, in Westlake, OH, this little independent record store that had a classical section) I picked up both of Sonnerie’s discs; you can now find them in a two-for-one packaging.

Huggett and company do a real nice recording with Mr. Hazelzet, a once long-time and founding member of Musica Antiqua Köln. Here, however, they don’t play as a “a few regulars plus a guest,” but instead, play these works together, as if one mind is behind the whole sound.

The French quality of these works is reinforced through the use of a viola da gamba. Telemann chooses all kinds of forms for his “Quartets,” including suites, “concertos,” and more traditional sonatas. Some of the characterizations, such as Fatteusement are interesting, to say the least, and while more simple gestures are implied through Gai or Vite, each one of these special tracks embues a flavor that shows us both façades of light and dark.

Somehow, under the atomosphere of a warm afternoon with bright sunshine these works seem very apporpriate.

I know I’ve reviewed these discs before, but I make mention of the Quatuor no. 6 from the companion disc, and its last movement, a Modéré, which could be Telemann’s most masterfully written piece. It’s not a hot, spring afternoon piece, but is something far more reserved for once dusk comes, and cooler breezes blow the trees outside. The simple lines between flute, violin, and gamba are just that: simple, but it’s the tone of the original instruments, the E-minor key, and baroque gesture that put this writing over the top. It’s a sublimely beautiful movement that Sonnerie makes magic with. This one 4 3/4 minute track is worth the price of the entire CD.

Huggett performs Bach

Sonnerie and Monica Huggett perform Bach’s Violin Concerti.

I spied this release on the iTunes Music Store, but ordered the CD. I liked what I heard online, but wanted a full-hog, full-resolution version. I compared it to other recordings. First and foremost, this CD succeeds by nature of its recorded sound: things are crisp and clear.

I compared her reading of my favorite A-minor concerto, BWV 1041, with Andrew Manze with the AAM. The AAM recording chooses faster tempi, and the soloist, Manze, rises to the top of the froth of strings, projecting Bach’s melodies and contrapuntal fury with some attitude.

Yet, the recorded sound is muted and distant.

Huggett’s reading, more up-front, natural, and warmer. With Huggett’s reading, however, she can hide. She can hide behind the other players, as they use a 1/part ratio. With the A minor, she takes it all a bit slower, but the concerto really doesn’t suffer for it. It’s a light touch she has, and across the whole disc, it might dilute our pleasure. But she has attitude under her skirt, too.

The opening work, reviewed previously, is the arranged D-minor work, and no matter who you are, this work has some attitude. While less intense, the G minor work, BWV 1056, is likewise here re-scored for violin. The middle movement is a real favorite; having played it myself many times on the trombone, I liked Huggett’s solo, but didn’t care as much for the harpsichord using lute stop. Somehow, I question whether or not this effect was used in continuo. Just a hunch.

The third movement of the G-minor picks up speed, and shows what happens in a small ensemble. The tempo can shift, transparency illuminates the work’s complexity (or simplicity), and little start-stops in the tempo take us for surprise. It could be a bad thing, but here, I kind of like the little shifts in tempo between phrases… it gives the work a very human, organic feeling.

The E-major work, the famous BWV 1042, is well-performed, too. I like some of Huggett’s phrasing in the last movement.

All the tempi chosen are moderate, by modern-day standards. None convey too much attitude. And maybe that’s what holds me back from giving a most enthusiastic nod, here. I like the tempos swift, the fiesty attitude, and the sassy kicks in line and dynamics that set our friends Manze and Biondi apart. Yet, this is a great collection, nonetheless… why? The recorded sound, the ensemble sound (they mesh together very well in tone), and there’s something attractive about the one per part scoring that lets us hear each of Bach’s lines in a most intimate manner. This is no definitive set, but one that has charm. Huggett and company take a back seat to saying something profound, and instead, let Bach’s music speak for itself. There, they have succeeded.

Bach’s BWV 1052

Does it get much better than Johann Sebastian’s concerto, BWV 1052? Originally, a harpsichord concerto in the wonderful key of D-minor, it is believed to be a second-hand work, originally for “some other instrumentation,” and there are ripe reconstructions to enjoy. I have decided to discuss the work, not as part of a collection, but in the guise of different performances, from it’s “original” harpsichord version, to more colorful renditions with violin.

In fact, we have Le Concert Français, The Academy of Ancient Music (Egarr/Manze), Monica Huggett with Sonnerie, Europa Galante with Fabio Biondi. Two ensembles performing it with harpsichord, and another showdown with violin. Some favorites too… Hantaï, Huggett, Biondi… the AAM. First, can any of these performers do wrong? It’s one of Bach’s better concerti… full of emotion and passion. Let’s see which is the more delicious.

Hantaï and company offer a very clean, close recording that is one per part. The harpsichord playing is impeccable, perfect in timing. The sparse orchestra, however, at times can depart slightly with the sync, but overall, the ensemble performs well in their small setting. The middle movement from Le Concert is especially interesting–playing unlike the others–with a phrase style that demands attention. Instead of the “flow” we might expect from a violin or woodwind, it seems especially adapted for an instrument that cannot sustain tone. I felt ultimately some more interesting things could happen from the accompanying strings during this movement… but the limelight does go to the harpsichord. The speed and “tightness” of the ensemble in the last movement is impressive… everyone’s together, and there is definitely toe-tapping energy to be found. Bach was a genius. LCF does him justice here. I don’t like all my recordings so close, but it works here.

This recording pales against Hantaï’s. There is more of a shape to the phrasing from the soloist, Richard Egarr, and the ensemble, but the tempi chosen and the recorded sound can’t match the French recording. Egarr does some nice things with phrasing, however, mixing a more legato style with a more perfect, deliberate attack. The other nice thing about the AAM recording is the use of lute in the continuo; I simply enjoy hearing those big fat low bass lute notes come out from time to time.

During dramatic portions of the music, however, I just am trying to hear more… more intensity… sound… tempo, and the AAM and crew just fall short. The middle movement is a sleeper, clocking in at 7:30.

Monica Huggett and Sonnerie have recently come out with a CD of Bach’s violin concertos, among them, our D-minor friend, BWV 1052. It’s a nicely recorded disc, and this concerto has some of the penache and verve that our friends lacked from the AAM. Like LCF, they play one per part. Huggett has dropped her Amati for this recording, and the violin used sounds good… like her more recent Biber recordings, there’s a little sass to be found. The middle movement is nicely done, with a more sensical tempo and more typical phrasing. There are parts, where we have to question the transcription. Parts where everyone drops out, it seems, and the solo goes over to the viola. I like that, but do the upper strings all need to drop out so? I have not a score to examine, but the solution Biondi and company follow makes more sense to me.

There’s a lot to like in the Huggett recording for BWV 1052. Good tempi, very nice transparent sounds between the parts. Her extension into the upper range at times is an unusual, refreshing twist. The ensemble is playing with dynamic contrasts, but I don’t always find them convincing. And the last movement suffers from some questionable “wabbly” tempo changes. Nothing awful, but my foot-tapping got confused in a few places that didn’t make the most “organic” (read: natural), sense.

Then finally, we consider the recording by Fabio Biondi and Europa Galante of the same work, again, transcribed for violin. The recorded sound, compared to Huggett’s, is a bit colder, recorded more distant, for a larger orchestra. Where Hantaï’s reading was tight, Biondi’s dramatic and push-pull, but it always sounds organic (natural). Biondi is far more adventurous than Huggett, dropping ornaments like a rapper might drop “f-bombs” in hip-hop. He can change his sound, mid-phrase even, and does so with such an interesting effect. He may not exploit every dramatic nuance Bach has hidden in this masterwork, but he does reveal a few, and some, with wondrous affect. The tense feeling in the solo-passage in the first movement, which suddenly relaxes when the rest of the ensemble comes in is well-done. This is a creative interpretation, and among Biondi’s better work, this is likely one of his best on record. His little tongue-in-cheek effects added like extra scroll-work on a baroque façade are extra treats. He’s a master.

In all, Bach wrote a great concerto. Biondi and the others all made great recordings, but someone had to be the least interesting. For me, it was Egarr with the AAM. Biondi wins on the flair, especially so, too, in the middle movement which isn’t the most interesting of the three. But his sound rises above the accompaniment. He chose good tempos. But Hantaï has a fine rendition on harpsichord, tight, and energetic. And Huggett’s new disc is good, this the opening number, well-recorded and a tad sassy–but not overdone to Biondi’s extreme.

I like them all.

One for a desert island? Unfair, each disc has such great musical treasures. But if I could only have one BWV 1052, Biondi and Europa Galante say more with Bach’s notes. Oh, to wonder what JSB would have thought!

Bach: Violin Sonatas and Partitas – Kremer

Gidon Kremer records Bach’s Sei Soli for violin, ECM New Series.

What different ways there are to perform (and record) Bach’s Sonatas and Partitas! I would pair this recording by Kremer with my first, recorded by Itzhak Perlman. Both are “modern” violinists, in a time where we now look backward when performing. Backward in a positive sense, of course. It doesn’t mean Bach (or any other composer) cannot be performed on modern instruments. My only gripe is when we play modern, and then try to emulate the past. Why put theorboes in the orchestra with Vivaldi when we’re playing on modern instruments with vibrato?

To say Kremer’s recording is “modern” is a compliment, he doesn’t overdo vibrato, another quality I find tasteless when playing on the violin. In fact, I think performers today are learning from one another… “period” players are warming up, romanticist players are cooling down. Maybe.

I don’t much care what Kremer’s theory is behind scholarship. He simply has made a definitive, tour de force (whatever that means), personal recording that sounds great. And he plays so well, too.

He doesn’t hold back, either. Listen to the famous long Chaconne. He’s beating the living hell out of the instrument, broad, strong, intense strokes. Baroque purists might run in fear. But it’s real authenticity. This is a man who’s gotten into Bach’s head, and his own, and is making this music his own. Above all, this recording exudes confidence. There’s no doubt he owns the notes, the bow strokes, and makes sounds that feel convincingly authoritative. It might not be Bach’s sound world, but it’s Kremers. And that’s something to admire.

I recently acquired the Holloway recording of this music on ECM (look forward to a review). His take is different. So is Huggett’s, and all the rest. Listening to Kremer simply makes you feel good. His interpretation might not be the “Best,” but it’s very good, and demands your full attention. He reveals qualities in these works I don’t always hear. This is good!

The recorded sound is excellent: close, but enough air and “reverb.” Excellent, clean technique, and a beautiful violin sound. This has already become a favorite recording. Kremer takes chances where others are careful. His playing exaggerates the slurs and phrase groupings that would help any violin student get it right. Maybe overdone, but I like it. It’s not what I typically hear.

I realize these notes are not very specific or well-organized. I apologize. But your mind will likely be filled with superlative thoughts in disarray when you listen to Kremer’s Bach. There’s variety of dynamics, breathtaking speed, and impressive technique. Above all, it’s Bach, who ought to be as proud as proud gets for writing such engaging, perfect, delicious music that in our day is still celebrated, and by so many folks, in different ways.

Corelli: Sonata for Strings, Volume 4

Purcell Quartet, Corelli Trio Sonatas, opp. 3, 4 on Chandos Chaccone

This CD has been with me for some time, having purchased it likely in Rochester, NY during my college days, and becoming an early introduction to Corelli’s beautiful trio sonatas for string ensemble. This music, with its tidy Neopolitan harmonies and encyclopedic style, forged lessons for future composers who were more daring and extrovert.

The Purcell for me have an odd violin tone, not to my ideal preference, yet this is perhaps one of the better CDs they have produced on Chandos. The tempi seem so right for most all the movements, no matter fast or slow. There’s moment to foot-tap, some for smiling, and all capture that sweetness of style inherent in Corelli’s music.

The recording quality is not ideal, and the violinists Mackintosh, Weiss, and Wallfisch could play with a little more passion in the slower areas. Their faster passagework is immaculate. Movements like Op. 3, no. 12, III play-out as an example: combinations of fast racing, then a conclusion so sweet you’d swear it was all toffee and caramel.

Corelli’s music typifies the best mid-Italian string music of the baroque era. He created the forms others followed and tweaked. The Purcell recorded all of his trio sonatas that were published, and this one CD is but one example of their Corelli project. I am not aware of a better edition out currently, but there is of course room for improvement in the execution of style, and the quality of the recorded sound.

Yet, despite its age, it’s a beloved disc.

Biber: Sonate tam Aris Quam Aulis Servientes

The Rare Fruits Council performs Biber: sonatas equally at home in the chamber as the chapel tam aris quam aulis servientes on Astrée, directed by Manfred Kraemer, violin.

Among Biber’s collections, this is a colorful group combining string ensemble with trumpets. Passionate motives are intermingled with faster, athletic passages that play off strong harmonies. In this recording the 12 sonatas benefit from a rich continuo ensemble, and dark color.

This recording has been lauded by the official press upon its release some years ago. To be praised is the just intonation of the trumpets, and the variation in tempo and dynamic of the excellent Rare Fruits Council. This is some fun music, and it’s played extremely well. Good tempo choices all around, and again, some excellent trumpet playing, admirable both for the creamy metallic tone, but also for the blending with strings, and spot-on intonation.

These sonatas are not as “listenable” as some by Schmelzer, often paired for similiar texture. Adding trumpets in a home setting is not typical. In a church cathedral, it would be festive. The addition of trumpets helps put the performance of these works–at least what it may have been like in the late 17th century–in context.

What sets this particular recording apart is the intensity of playing. I might compare it to a meal overdone with fat. Compare a lean steak with one full of beautiful marbling. A light sauce with intense flavor versus one mounted with butter, richer, creamier, and somehow just a smidgeon more sinful.

These works are primarily string ensemble sonatas, built upon Austrian models, that in turn looked towards older Italian models. Various themes are presented in quasi-movements, indicated by shifts in texture of tempo. Some are in fact foot-tapping, and the RFC do their part at keeping the pace going. The title suggests that they are universal in scope, being appropriate for use in church and in chamber. I’m guessing the ones including trumpet parts would be more apt for use in the church.

The Gabrieli Consort recorded two of these sonatas with trumpet for their recording of the so-called “Salisburgensis” mass. The sound of trumpet lends these sonatas an almost regal air. One can imagine the sound of rich harmony these sonatas possess when played in a resonant space, with trumpets calling out melodies that carry to listeners far away. Each has shifts of mood, and the Rare Fruits does an excellent job at giving each its time and an appropriate treatment.

Compared to other recordings, this one compares well with the Freiburg Baroque Orchestra Consort, and betters the Purcell Quartet.

Biber done right.

Sonate pro tabula

Celebratory music by Biber and his contemporaries: Sonata pro tabula, Musica Antiqua Köln.

MAK is joined on this disc by the Flanders Recorder Quartet… but is that the focus? Seemingly not, trumpet music is what we get the most of, Biber’s “a due” or his introductions “for two” trumpets. I don’t care for their placement on the CD, nor for their musical quality. They belong, I think, in recreation-CDs such as Paul McCreesh’s that use them in context.

With that said, MAK plays with extraordinary precision and passion. This is perhaps no better exemplified than in the Johann Pezel sonata, track 16 for strings. Full force, with tempo and energy in playing. The best word for this style is intensity, one that was likewise present in their live concert in Los Angeles in November, 2006 sans Goebel.

The main Biber work, his Sonata Pro Tabula in C is less convincing than other works on the recording. The Italians, represented by Bertali and Valentini offer some variation in the playing style, my favorite being the Valentini Sonata Pro Tabula on track 2. Like the Schmelzer, these composers manage to combine the color of the lowly recorder with ensemble strings. Most of the music on the CD, including these tracks, is simple fare.

Goebel’s ensemble plays with such importance and penache in each track. They certainly elevate otherwise bland music. An excellent recording, but not of the most excellent music.

Bach: Christmas Oratorio, BWV 248

Ton Koopman and the Amsterdam Baroque Orchestra and Choir perform Bach’s Weihnachts-Oratorium BWV 248 on Erato, (p) 1996.

I remember picking this recording up at discount in a record store in Cleveland, OH, near a favorite Chinese restaurant a friend and I frequented, in an area known as “Coventry.” I was purchasing this after enjoying many a release in Koopman’s prodigious cantata cycle.

To wit, I wasn’t sure what Bach’s Christmas work was all about. Expert Christoph Wolff tells us:

Bach’s CO is a remarkable exception among the composer’s major vocal works, inasmuch as it was conceived to be performed in two different churches on six different feastdays over a two-week period.

The year, 1734, the place, Leipzig. Over two hours, 20 minutes of music. Makes you feel good it wasn’t supposed to all be enjoyed at once. In fact, Bach was re-using a lot of material he had already written in secular cantatas for this sacred purpose. The work, 64 complete movements, is organized as six separate cantatas. The musical material is typical “Bach Cantata,” alternating choruses, instrumental lines, recitative, and solo arias. Especially fetching is track 6 from the second CD, Ich Will Nur Dir zu Ehren Leben. Two wonderful solo violin lines, a foot-tapping tempo, and great singing from tenor Chrisoph Prégardien.

Different in quality, but nontheless beautiful, is track 29 from the first CD, a duet for soprano and bass, with rich contribution from ABO’s double-reeds. Both CDs are filled with quality music from Bach, but why doesn’t this work bill high, as does his Matthew Passion, with critics?

I find enjoying Bach’s (or any composers’) large works more difficult, than say, a single instrumental concerto, or a single cantata movement. Multiply the fact that I, personally, don’t follow the words, and instead, try to enjoy many vocal works on the sheer value of their sound and color. It speaks well, then, that Bach was able to take already high-quality music, and re-use it here, despite the change in context. Yet, was his form to blame for the lack of interest in this work?

For me, perhaps, as a work, it presents so many ideas, themes, and motives. Except for familiar keys, it can be a large work to appreciate. But in pieces, Koopman’s recording is likely a good choice for celebrating Christmas by way of Bach.

Geminiani: Concerto Grossi, op. 3

Fabio Biondi and Europa Galante: Geminiani op. 3 Concerti Grossi, (p) 1997 Opus 111.

Geminiani isn’t as well known as Corelli and Vivaldi, two Italian contemporaries whose music might sound similar to some ears to Geminiani’s. While I think of Tartini as looking forward to the classical era, in Geminiani, we get music slightly older-sounding, rooted in the harmonies of father Corelli, but with some of the fire and dash found in Vivaldi or Locatelli. He was known in his time more as a violinist and theorist than composer.

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Scarlatti 2

Pierre Hantaï, Scarlatti Sonatas, “2″. (p) 2005 Mirare

I recently came across the 2nd of the 3 volumes Hantaï has released. It was harder to find than “1″ and “3.” What a sound! He always seems to find really good sounding harpsichords. An interesting essay is to be found inside, with some thoughts on Scarlatti. He tells us that some Scarlatti sonatas aren’t that good, and that some can bore him when listened to–if not played well. To him, “well” is with some passion. Hantaï brings his own brand of passion to 16 tracks by Domenico Scarlatti.

The real gem is track 9, the Sonata K 261. Many of these sonatas are new to me, and despite their freshness, they’re played with unlazy fingers and a both a tonal and interpretive brightness. The ultimate track could be played (K 84) any number of ways, but here Pierre Hantaï’s real gift is revealed: he has that “art of touch” — relishing in the sound of his instrument, and in the mechanics of Scarlatti’s writing. The opening Fuga, K 58, reminds me of a Bach fugue. Where did it come from? What’s its history? Is it true Scarlatti? Or had Domenico picked up on the keyboard fugue tradition? If so, he wrote a gem of an interesting piece. It’s not Bach-caliber, but close, and the sound is rich and sunny.

Hantaï is among my favorite harpsichordists today. His recordings on Mirare have all been excellent, this release included. Not all of Scarlatti’s sonatas for me, are the best works. But Scarlatti is like a mood–and certain moods need certain music. I love the sound of Hantaï’s instrument, and his selection of what to play are likely favorites. They are each interesting and different. Gems like track 9 and track 2, K 239, are likely to stop your thoughts and simply beg your full attention.

Rameau: Nouvelles Suites

“Nouvelle Suites” recorded by Calefax Reed Quintet, (p)2006 MDG.

I was recently impressed searching through the “R”s at Virgin Megastore on Michigan Avenue in Chicago, to find a new recording by the excellent Calefax, and indeed, one with a recording of baroque music.

Here, they offer us 23 tracks of Rameau’s keyboard works for woodwind quintet: oboe, clarinet, saxophones, bass clarinet, and bassoon. The arrangements are well done, and reveal a richness to Rameau’s writing I hadn’t heard before.

What delicious sounds emerge. Take, for instance, the twelfth track, Le Rappel des Oiseaux. How much more bird like could you get? What fruity juice they squeeze from their instruments, each ripe and so well recorded. And when that bass clarinet comes in, the floor is dropped, and admiration surely follows.

Track eighteen, La Poule is no less enjoyable. Here, as elsewhere, the ensemble plays with a comfortable flexibility with tempo that both makes sense and sounds right.

My favorite track is the famous Gavotte with doubles, track eight. Again, the arrangement is well done, the playing, even more so. At times this recording has a Frenchified aire, at other times, I am not sure where the music came from. There is much to admire here on a fine disc.

Bravo, standing ovations, and warmly recommended.

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.

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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.

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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.

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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.

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.

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.

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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.

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Bach Solo Violin Sonatas and Partitas

Monica Huggett, violin performs the Sonatas and Partitas for Solo Violin BWV 1001-1006, (p) 1997 Virgin Veritas

For many years we only had Kuijken on baroque violin for Bach. Then in the late-1990s, we started to see some more “baroque” violinists try their fingers at Bach’s (the world’s) masterworks. Among them, Monica Huggett, who made a recording with a very close microphone. Her colleagues from Sonnerie produced the album.

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Bach: Harpsichord Concertos

I feel old, having seen two generations of the AAM record the harpsichord concerti of Bach, and too the violin concerti. The AAM has taken the world stage under the direction of violinist Andrew Manze. This 2-CD set offers Bach’s single harpichord concertos and the triple concerto featuring Richard Egarr on cembalo with a one-per-part AAM plus lute continuo.

Andrew Manze leads the Academy of Ancient Music with soloist Richard Egarr in Bach’s Harpsichord Concerti and Triple Concerto, BWV 1044 on Harmonia Mundi France (p) 2002.

This recording is well done—the performances are shaped, clean, and respectable, however they fall short of what they could be with the care of more imagination, speed, and daring. Pinnock and the English Concert offer a good comparison (and I have them in my collection, with ever so slightly more quick tempi which really make a profound differerence).

That’s what I had to say in April ‘03. And after listening to this collection (for the quality of the music, over the performance) I have a few things to add.

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Pavana – the Virgin Harpsichord

Pavana: the Virgin Harpsichord; (p) 2001 Astree; Skip Sempé, Olivier Fortin, and Pierre Hantaï.

I’ve never seen Sempé in a public performance. Nor have I seen his buddy, Fortin, but I have seen Hantaï, perhaps the most accomplished of this trio. I find this music interesting in that sometimes it lacks direction–is it pulling us in any one direction?

When I first reviewed this CD in November of 2002, I said:

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Tartini: Concerti by Ensemble 415

Chiara Banchini, Enrico Gatti, and Roel Dieltiens perform concertos by Giuseppe Tartini.

Tartini was a composer of the late Italian baroque. Imagine if Vivaldi had smoked some of the same pipes as Mozart. We’d have nice even phrase lengths, melodies over invention, and clearly defined moments of tutti vs. solo passages. Yet, somehow, it would all be Italiante, and more Baroque.

This CD features the ensemble Ensemble 415, and I found the recorded sound to work against the ensemble and soloists. It features concerti grossi, violin concertos, a cello concerto, and more of the same. Good variety, for sure, but the sound of the ensemble was thin and at times sounded ever so slightly mistuned. I imagine the sound is rather authentic… yet, the polish was somehow missing from the big picture.

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Concerti per vari Strumenti

Zefiro performs wind concertos by Antonio Vivaldi, (p) 2000 Naive-Auvidis.

I first reviewed this recording in September, 2003. Back then, I had this to say:

The whole CD package is attractive (as many Naive recordings have been lately), but more so is the quality of wind playing. That’s the focus of the ensemble, but it carries here authentically on record. From RV 538 for two horns (expertly recorded in a perfect acoustic) to the brisk rendition of RV 535 a few tracks earlier, for two oboes. For big Vivaldi fans, some works are old hat favorites, still others are probably new.

The recording of the concerto for two trumpets is superb. It’s not the best of Vivaldi’s concertos, but thankfully the ensemble took a nice tempo that sets it going and engages the listener. The ultimate movement really sets the strings a flutter, and as they now say, “That’s all good.” Indeed, lots to enjoy from both the winds and strings.

The ultimate movement for RV 545, featuring oboe and bassoon is no less enjoyable. We are treated here to the Grazzi brothers, who once played with Il Giardino Armonico, in their excellent Vivaldi series.

There is much here to enjoy. This CD isn’t as rustic or wild as say one we might expect from a Biondi, or dramatic as an Alessandrini, but oboist and director Bernardini plays his Vivaldi with a fair amount of zest (honesty), a little restraint (historical authenticity), and does so on a record with clean recorded sound.

I really like their reading of the C-Major double trumpet concertos. The tempos are ideal, as is the trumpet tone and sound. Their take on other concertos is welcome to, playing with small numbers on each part. It sounds like chamber concertos, and they’re done well.

The concerto in D minor (in four movements) simply screams speed (track 14). I believe this may be one of those oboe works that Vivaldi may not have composed, but were instead were a Frenchman’s try at playing Vivaldi. Either way, the work is good, and the cooking tempo is a welcome departure from what I typically hear.

Another favorite is Zefiro’s attempt at a brassy affair in the Double horn concerto (in F). Like the trumpet concerto, the brass sounds fantastic. I can’t say the same for the artistry in Vivaldi’s writing for this ensemble, but the horns are allowed just to be a little brassy. And I like that.

“Zesty restraint,” and nice control of the brass sound. Warmly recommended.

Care Charming Sleep

Yes, an odd mix, and this is not like Swingle Singers Bach or Jacques Loussier piano jazz, either. The instruments, and the voice of John Potter combine to suit the music in effective, just ways. Quite simply, this is a testament of excellent musicians grouping together for some music that has been belittled in modern times—we could say left behind. Yet, something greater emerges as a modern rendition is relived.

This collection contains gentle pieces that fit the mood, as suggested by the title. Pre-bed time songs, perhaps, but ever so dark and serious, yet tantalizingly sweet. You can’t help but twist your head just so as you listen, and smile at the pleasure that affords you with the sensual gift of sound. That’s quite a laud, but this is the real thing. Favorite track: 13, a combination of Stubb’s own chiccone pattern that leads into a Monteverdi aria.

The Dowland Project records works by Monteverdi, di Rore, Johnson, Purcell, and Stubbs (p) 2003 ECM New Series.

I first reviewed this recording in October of 2004. It is a real favorite. Most highly recommended. The musicians enjoy themselves here, and the dark mood is infectious. Works really well with the volume high and the lights low.

Biber: Mystery Sonatas by John Holloway

John Holloway and Tragicomedia perform the 15 Mystery Sonatas of Biber, (p) 1990 Virgin Veritas

I first reviewed this collection of Biber’s Mystery Sonatas in April of 2003. Back then, I wrote:

I first heard this 1991 Gramophone Magazine award-winner for best instrumental baroque recording while in college, at the Eastman School of Music. I had just bought my Goebel recording (reviewed here earlier), and my initial reaction was that it was inferior, and not worth the $32.

Some 10 years later, I return to purchase it, in the years since, it has maintained a following in the press and through personal accounts; and for half-price, it ought to be in a biberfan’s personal collection. No?

The notes were a big disappointment; I remember more from reading the original notes than what was presented in this set. I remember in the first, Holloway discussing his standing on a platform in an archway, or some such architectual feature, to acheive good sound. Hearing it now, despite that, I felt that the recording suffers quite a bit. I can imagine standing towards the back of a medium-sized church, empty, and this is what it sounds like. To record from that distance, you lose definition of sound in the wash of reverb. I think microphone placement in this case is to blame; the reverb is nice, but it’s too… sostenuto for violin playing.

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CPE Bach Symphonies

Andrew Manze and the English Concert record works by C.P.E. Bach on Harmonia Mundi, (p) 2006.

Well-recorded sound. Excellent, in fact. Very nice symphonic sound for a chamber orchestra. One of the few discs of note where Manze isn’t the star, but the orchestra is. Excellent flute, oboe, and especially horn playing. This music is ripe with drama and penache.

Bach’s most-gifted son wrote works that really depart from his father’s sound world, works that are clearly in a new, galant style. This disc offers us four symphonies in three movements (my preference) and a concerto for Cello. All the works are played with an affective style, at times with winking humor, and at others, with a seriousness deserving a smile, since it’s done so well. The cello concerto for me was an interesting work, but likely the weakest of the offerings. I can only think that Bach’s father would have thought this a bit to silly and tidy. Who knows, he was dead.

I noticed especially on this disc some fine harpsichord playing by David Gordon. The crisp texture is heard in each work, and the fireworks emerging from the instrument are an exciting textual element that is missing from so many other recordings.

All the works on this disc are new to me. They are not overly serious works, but they have energy and are played so well. I highly recommend this disc—I think it might be the best EC disc ever recorded. According to the roster, the EC has some new blood of late.