London circa 1760
This album presents a recital, offering us a variety of compositions to help us understand what was fashionable in the world of art music after the death of George Frederick Handel. The composers represented include C.F. Abel, Johann Christian Bach, Francesco Geminiani, T.A. Erskine, Rudolf Straube and Ann Ford.
As usual, for La Rêveuse and Harmonia Mundi, the production quality here is high, with a well-recorded sound.
There’s an obvious focus on the viola da gamba in this recital, given the co-director’s instrument of speciality. The last piece is a surprise, offering us a taste of musical glasses, a preview of Mozart’s use of the glass harmonica. The other timberal treat is hearing “English” guitar, played by the ensemble’s other leader; two tracks are offered via Geminiani’s publication, paired with gamba.
Flute also plays a role in several pieces.
I enjoyed the most from this release the Geminiani pieces for guitar and Abel’s Quartet and the two selections from his Drexel manuscript.
The opening concerto by Abel and the J.C. Bach “quartet” were less interesting to me.
This repertoire took me out of my comfort zone of the middle and high baroque. Track 11 of the Erskine trio sonata (taking the second violin part down to the gamba), is the perfect example of a piece that bridges, say, the sonatas by Handel with the more forward-focused style of J.C. Bach. I can find comfort in this piece, insomuch that it would relate to someone familiar with Handel. And to J.C. Bach? It might seem outmoded.
Whatever my own relationship to this style is, I have to admit that the performances here demonstrate the affection the musicians have for this repertoire. The playing is outstanding. My criticism for the album lies in the time period, not in the technical or affective abilities of La Rêveuse.
The dark flute sound in track 5 (J.C. Bach) is delicious. The contribution from glass in the last track? Moving. The way everyone blends together, harmoniously in the 9th track (Abel Quartet)? A tribute to the musicians and recording engineers.
This album showcases what I can only describe as a positive, happy time in the life of Londoners. Composers were forging a melody-first agenda, alongside attempting to integrate the past’s reliance on counterpoint and the import of the basso continuo. Color is the big contribution across these pieces, wedding the new and novel alongside the last hurrah for the viola da gamba.
This release is valuable in that it projects as less well-known portrait of musical life in London at the dawn of a new age of style and novelty. As chamber works, these are easily accessible and while my own heart is best soothed by the style of the past, the freshness offered here for my baroque ears was a fascinating journey.
