recordingreviews - Early Music America

recordingreviews
Edited by Tom Moore
J. S. Bach
Goldberg Variations
Andreas Staier, harpsichord
Harmonia Mundi HMC 902058
(CD and DVD)
www.harmoniamundi.com
The first time I heard Andreas
Staier in a live concert was during an
early music festival. I was tired and
felt that a whole recital of solo harpsichord music was more than I could
bear. But time went by fast, and
Staier’s playing kept me nailed to
the chair. The man had passion and
intelligence, coupled with a riveting
stage presence—the kind that
makes you want to meet the artist
and have tea with him. After that, I
began to buy his CDs and was often
moved, amazed, and entertained.
So, there, it is out in the open: I cannot profess to be a dispassionate
critic.
According to Bach’s biographer,
Johann Nikolaus Forkel, “Count
Kaiserling was often ill and had
sleepless nights. At such times,
Goldberg, who lived in his house,
had to spend the night in an
antechamber, so as to play for him
during his insomnia.… Once the
Count mentioned in Bach’s presence
that he would like to have some
clavier pieces for Goldberg, which
should be of such a smooth and
somewhat
lively
character
that he
might be
a little
cheered
up by
them in his sleepless nights. Bach
thought himself best able to fulfill
this wish by means of Variations...”
Whether true or false, this story
helped to shape the posterity of the
piece.
While much praised, the Goldberg Variations was played less often
in concert than many other keyboard works of J.S. Bach (16851750). Evidently this had to do with
its length, which could take over a
whole recital, and also with its intimate nature, intellectually challenging in its intricate twists and turns,
rather than any soporific qualities! It
has been a well-regarded gem and a
favorite among keyboard players,
16
but perhaps not really a crowd
pleaser. Notwithstanding the “lively
character” that Forkel mentions as
the Count’s wish, there is a shroud
of melancholy that envelops the
theme from the start and that
remains undispelled even in the
frizzier variations, or the noble ones.
In its long-winded search for itself,
the Goldberg Variations seem to
require a small audience, in an
intimate setting.
Once recordings were available,
they became the natural medium for
the work, and there are countless
examples of artists who made the
Goldberg Variations a goal to reach
in their maturity. For the listener, it
represented a quiet pleasure to be
had at home, late in the evening, in
order to clear the mind of the petty
worries of the day and set it into a
more spiritual frame for the night.
Most of the recordings I cherish
tend to be delicate, pensive, and
sad—journeys deep into the
interpreter’s soul.
Knowing Staier’s inclination
towards the brilliant and the energetic, I hardly imagined that he
would take a meek or brooding
approach. A lively touch was only to
be expected, but even I was surprised to be faced with such a vigorous, loud, and vibrant sound. Much
of this can be credited to the instrument chosen for the recording, a
sturdy and impressive harpsichord
(made by Anthony Sidey, after Hass),
with a huge tone and a wide
palette; and some of it can be attributed to the miking—very close to
the soundboard, making us feel at
times as if we were inside the instrument. Make no mistake, however;
these are all Staier’s personal choices
and they perfectly match his vision.
Is this bad? Well, it jolts the ear a
bit in the beginning, especially if you
are in the suave music mode. But
after the initial shock, it captures
another dimension of the work, one
displayed with flair and conviction. I
had the impression of hearing a
completely different composition,
the kind that sends sparks flying. It
won’t replace my former image of
the Variations, one of serenity and
acceptance. But it is personal, interesting, and gripping in its own way.
This is a full-blooded performance,
Winter 2010 Early Music America
one that most certainly will not lull
you to sleep. On the other hand, it
may make you re-shape your notions
about sonority, intentions, and style
in Bach.
The accompanying bonus DVD
(About Bach’s Goldberg Variations, a
film by Christian Leblé) is as close as
most of us will ever get to meeting
Staier and having tea with him. It
permits us to hear him talk about
the music he loves with intelligence
and affection and is a welcome
addition to the package.
—Laura Rónai
J. S. Bach
Die Kunst der Fuge
Gavin Black, harpsichord;
George Hazelrigg, harpsichord
CD or download available from
www.theartofthefugue.com
Bach’s music is set apart from
that of his contemporaries by both
its extraordinary compositional skill
and its uncanny empathy with the
listener. The latter is most evident in
the great sacred works such as the
St. Matthew Passion, the Magnificat,
the B Minor Mass, and all those
astonishing cantatas. His compositional mastery of harmony, form,
and above all counterpoint is best
evidenced in the keyboard works
and the collections Musikalisches
Opfer and Die Kunst der Fuge (The
Art of the Fugue). This excellent
recording of Bach’s last and most
intriguing work is delightful, insightful, and extremely well executed and
recorded.
As an art form, the fugue has
become the terror of entering graduate music students and a Hollywood staple for meaningful drama.
This recording reminds us that the
fugue can also be fun; each subject
entrance, permutation, or mutation,
each harmonically winding episode,
should fill us not only with profound
respect for Bach’s craft but also
impress us with his genius for
drama. By using the same subject
for every fugue in Die Kunst der
Fuge, Bach offers a double serving;
each new fugue demonstrates
extraordinary skill, at the same time
gratuitously playing with and gratifyingly delighting our intelligence.
Much scholarly ink has flowed to
explain how Bach meant this work
to be performed instrumentally and
what is to be done about the unfinished final fugue. The performers,
George Hazelrigg and Gavin Black,
director of the Princeton Early Keyboard Center, have made an excellent choice in dividing the contrapuntal voices between two largermodel German harpsichords. By
doing so, they clearly bring out each
voice through registration, color
shifts, and a healthy dose of the lute
stop. Even the complex mirror
fugues and the famous unfinished
final fugue on three subjects—here
abruptly ended—have a pristine clarity. However, to credit the instruments alone is a disservice to
Messrs.
Black and
Hazelrigg,
who ably
phrase and
shape the
individual
voices and
employ a transparent and accessible
structural approach to each separate
fugue and canon.
The result is to give Die Kunst
der Fuge a lightness of touch missing from many other recordings and
to remind us that, for all his northern Teutonic sobriety, Bach can be a
lot fun to listen to as well.
—Lance Hulme
Heinrich Ignaz Franz
von Biber
Mensa Sonora; Battalia
Baroque Band, Garry Clarke, director
Çedille Records CDR 900000 116
www.cedillerecords.org
That Heinrich Ignaz Franz von
Biber (1644-1704) has not remained
a household name on the level of
other Baroque luminaries is an injustice to one of the most talented and
versatile composers of that era. It
may be that his relative obscurity is
due, like Corelli’s, to his belonging
to the middle Baroque, a time
before the full maturity of the compositional techniques that mark the
period and remain its legacy. In any
case, the Salzburg-based Bohemian
was reportedly the greatest violinist
of his time, particularly known for
the many virtuoso violin works, such
as the Mystery Sonatas and Harmonia artificiosa-ariosa, that employ
Anna Bon
La virtuosa di Venezia
La Donna Musicale,
Laury Gutierrez, director
La Donna Musicale LA10104
www.ladm.org
Anna Bon (c.1738-after 1770)
was the daughter of highly successful figures in the world of opera: her
Nobil Donna
Music at the Barberini Palace
Suzie LeBlanc
Soprano
La Nef
Photo: Tara McMullen / ATMA
mother was a singer and her father
a scenographer. This gave her the
opportunity, not open to many
women in the 18th century, to
receive a stellar professional music
education at the Ospedale della
Pietá (the same institution where
Antonio Vivaldi taught for many
years) and to pursue a vocation as
harpsichordist and composer. It
seems she spent her early years traveling as a harpsichordist with her
parents to courts across Central and
Eastern Europe. Although her exact
itinerary remains unknown, she was
certainly engaged at the court of
Frederick the Great’s brother-in-law,
the Margrave of BrandenburgBayreuth, and then at the Esterhazy
court (within a year of Josef Haydn’s
appointment there as Kapellmeister).
The members of La Donna Musicale have devoted themselves to
unearthing and performing music by
early modern female composers,
and they make a sympathetic case
here for Bon’s music. Most of the
chamber works on this recording,
which Bon composed early in her
life, have been explored on disc
before, but here the group experiments with the instrumentation of
all the works, with attractive results.
Two of the three sonatas for flute
instead feature the violin (which also
substitutes for the flute in the Divertimento) and pardessus de viole,
respectively, with the viola da gamba
joining the
fortepiano
as continuo instrument. The
decision to
use members of the
viol family—one as a melody instrument and one as bass accompaniment—is unusual for music composed so late in the 18th century,
but it is fitting in light of the fact
that even as the viol was abandoned
south of the Alps, it enjoyed a final
efflorescence in Germany well into
the last quarter of the century. In
this case, the caressing tones of the
viol family suit the subdued
galanterie of these works perfectly.
The vocal works are all first
recordings, with Julianne Baird lending her lovely soprano to two of the
three sacred pieces. The attentiongrabbing heart of the disc is the
offertory Ardete amore, an urgent
exhortation to the faithful to “burn
with love” in praise of God. Martial
horns, a flurry of restless figurations
on the strings, and continually
shape-shifting tempi set a theatrical
Giovanni-Felice Sances
Giovanni Girolamo Kapsberger
Stefano Landi
Marco Marazzoli
Giovanni Battista Vitali
Benedetto Ferrari
Bernardo Storace
Girolamo Frescobaldi
Luigi Rossi
Giovanni Pierluigi da Palestrina
Riccardo Rognoni
ACD2 2605
scordatura (retuning the strings to
allow greater harmonic and contrapuntal flexibility). His phenomenal
output ranges from the profundity
of the Missa Salisburgensis to the
humor, flash, and panache of the
Battalia heard on this CD.
Andrew Manze’s 1995 Gramophone award-winning release, Biber,
Violin Sonatas, helped to redress the
gap in public awareness of Biber’s
music. This
CD from the
Chicagobased
Baroque
Band adds
to his justifiably growing
reputation. The six Mensa sonora
that comprise the first part of the
CD are “sonorous table” partitas
written for Biber’s patron the Archbishop of Salzburg and were intended to accompany formal dining.
Unlike the more virtuosic solo
sonatas, these partitas do not use
scordatura, instead concentrating on
melodic development and harmonic
and formal ingenuity. The Baroque
Band provides a truly musical and
precise musical interpretation, making me regret I am not able to experience their Chicago concerts. The
ensemble uses multiple performers
on each part, which creates an
impression of grandeur not heard in
other recordings.
Each Mensa sonara has its individual appeal. Collectively they are
delightful for the connoisseur, but I
do wonder whether they are a little
too much the same to appeal as a
set to the casual listener. In any case,
the final selection is a perfect antidote. The well-known Battalia is a
battle piece typical of the period but
extraordinary in its use of extreme
dissonances and scraps of folksong
to represent the battle between the
European West and Turkish East. I
played Battalia for my first year
music theory students. They were
enthralled. I have heard a number of
recordings of this raucous, splashy,
and yes, perhaps a little trashy,
work, but the Baroque Band’s performance has become my favorite.
—Lance Hulme
AT M AC L A S S I Q U E . C O M
Early Music America Winter 2010
17
Lost in Time Press
New works and
arrangements
for recorder ensemble
Compositions by
Frances Blaker
Paul Ashford
Hendrik de Regt
Harold Owen
and others
Inquiries:
Corlu Collier
PMB 309
2226 N Coast Hwy
Newport, Oregon 97365
www.lostintimepress.com
[email protected]
New from Plectra Music
World Premiere Recording of the 1627 Ioannes Ruckers Harpsichord
Complete Harpsichord Works
Elizabeth Jacquet de La Guerre
Available December 2010
www.plectra.org
18
Winter 2010 Early Music America
RECORDINGreviews
stage for the vocalists, who exploit
the frequent dynamic changes in
their parts to great dramatic effect.
These are excellent performances of
delightful music by an enigmatic
composer.
—Berna Can
Dr. John Bull
Complete Works for
Keyboard, Volume I
Mahan Esfahani, Peter
Watchorn, harpsichords
Musica Omnia MO0301
www.musicaomnia.org
This excellent two-CD set is the
first release in a projected series of
the complete keyboard works of
composer, virginalist, organ builder,
and early-Baroque bad boy Dr. John
Bull (c.15621628). There
has been a
long lag
between the
recording
and release
of this set. I
hope that future releases will be
more timely, since a comprehensive
collection of this great composer’s
works is long overdue.
Bull’s colorful biography belies
the seriousness of his compositional
oeuvre. Very early on he enjoyed the
patronage of Elizabeth I and later
James I, but he was forced to flee
England, having sired a child out of
wedlock. His career and life ended at
Antwerp Cathedral, where he
claimed refuge as a rather dubious
recusant Catholic. These colorful
highlights, including a possible stint
as spy, are contrasted with an
Oxford doctoral degree, a professorship at Gresham College, and
consistently erudite and musical
production.
Were one to judge Bull’s works
by the examples in the Fitzwilliam
Virginal and Parthenia, it might be
tempting to regard him as a sort of
Elizabethan Oscar Peterson—popular dance suites ornamented by running scales. But much of Bull’s output reflects far more complex compositional approaches, including
inventive variations and grand contrapuntal works. These CDs include
works from the more popular publications, and this reviewer happily
awaits the more involved works in
subsequent releases. Music Omnia
owner Peter Watchorn is not only a
performer and scholar but also an
instrument builder. He trades off
performances with Mahan Esfahani,
presently artist-in-residence at New
College, Oxford. Both interpreters
provide excellent and particularly
crisp interpretations, using three
harpsichords, each modeled on a
different instrument. It would take a
far more nuanced ear than mine to
differentiate between the three
equally fine instruments or, for that
matter, between these two talented
keyboardists. Notable in the actual
recording is the lack of action noise,
a particular benefit from having a
harpsichord builder as producer and
performer.
—Lance Hulme
William Byrd
Gradualia (1607)
Ensemble Plus Ultra (Grace
Davidson, Sally Dunkley, Clare
Wilkinson, Warren Trevelyan-Jones,
Thomas Hobbs, Matthew Brook,
Jimmy Holliday, Michael Noone,
director); Robert Quinney, organ;
Musica Omnia MO0302
www.musicaomnia.org
One of the joys in listening to
new recordings of early music is
coming across a group that understands one-on-a-part singing.
Ensemble Plus Ultra is definitely a
group that fits the bill, and for a
variety of reasons. First of all, the
seven singers featured on this disc
blend exceptionally well together,
creating a rich, mellow, and unified
sound. Secondly, they sing with clarity, both in the imitative sections and
in the more homophonic ones; the
listener can clearly hear where each
individual singer is in the mix, and
that transparency is most welcome,
especially when the music is as complex as that written by William Byrd
(1540-1623).
While the group could have chosen any of Byrd’s 109 pieces from
the Gradualia, the ones selected
here are those he wrote for the
feasts of Saints Peter and Paul and
for the Blessed Sacrament and Corpus Christi. A setting of the English
poem “Why do I use my paper, ink
and pen” is included, featuring the
gorgeously warm voice of alto Clare
Wilkinson, accompanied by Robert
Quinney on organ. Byrd originally
set the poem for five voices, but I
have more frequently heard it performed as a solo with viol consort.
The organ was an excellent choice,
working exceptionally well with the
timbre of Wilkinson’s voice, and
since it is featured on a number of
solo fantasias interspersed amongst
the vocal numbers, it unifies the
vocal and instrumental portions of
the recording. Bookending these
works are two more Latin motets,
his Circumspice Hierusalem and
Venite exultemus Domino, both
highlights of the disc.
In the liner notes, Michael
Noone gives an amazingly detailed
discussion of the cultural milieu in
which these pieces were written—
the tense years of the English Reformation, in which any hint of Catholicism was grounds for arrest and perhaps even execution. Despite the
risks, Byrd continued to associate
with Jesuits and publish Catholic
compositions (or Catholic-lite, seeing
as how at times the text was too
provocative and only the incipits
were given), often treading perilously close to treason by doing so.
Noone urges that the listener hear
the pieces within this context, as
“virtuosic cries for justice and freedom.” While I would agree that the
performance is beautifully virtuosic, I
can’t quite
say that it
reminds me
of a cry for
freedom. For
that, I’d
need more
edge, more
bite, more dynamic contrast, more
rage—but that might be asking for
something a little too anachronistic.
Instead, the recording is a glimpse
of secret music in a hidden chapel. It
is sensitive and nuanced, able to slip
easily in and out of the different
metrical moments that Byrd gives
us, nicely bouncy in the joyous
moments and gently grieving in the
sad ones. It’s a most welcome contribution to the catalogue of Byrd
recordings, both for its scholarship
and its musicality.
—Karen Cook
Pierre Février
Pièces de clavecin
Charlotte Mattax Moersch,
harpsichord
Centaur CRC 3084/3085 (2 CDs)
www.centaurrecords.com
Unless you are a harpsichordist,
the name of Parisian keyboard mas-
ter Pierre Février (1696-1760) has
probably never come to your attention. His 1734 volume of pieces was
republished in facsmile as early as
the mid-1970s; the second volume
(probably from 1735) was long
thought to be lost (Grove still lists it
thus), but
was rediscovered and
republished
about 10
years ago. In
addition to
these two
books, there are three cantatas to
his credit that survive.
It is surprising, given the high
quality of the music, that Charlotte
Mattax Moersch is the first to release
a collection devoted to Février.
Although most of his contemporaries were moving in the direction
of a simpler, more Italianate music,
these works still retain a high level of
seriousness (even if only one suite
opens with the traditional allemande). Mattax brings this music
across with style, the sort of
panache that can make listeners
think that only French Baroque
music is the pinnacle of good taste
and refinement. At times she pushes
the music as far as it can go; for
example, in La Delectable, marked
très gracieusement, the motion is
stretched to the uttermost. The
sound and tuning of the 2009
instrument by John Philips, after an
original by Dumont, are marvelous
and beautifully captured.
—Tom Moore
Johann Jakob Froberger
Suites Nos. 2, 7, 8, 9, 10, & 12
Christophe Rousset, harpsichord
Naïve/Ambroisie AM 148
www.naive.fr
Generally recognized as the first
great German harpsichord composer, Johann Jakob Froberger (16161667) travelled extensively, facilitating the widespread dissemination of
his works and making him a figure
of enduring international repute. His
influence extended well beyond his
generation to composers such as
Buxtehude, Pachelbel, Handel, and
J.S. Bach; even Mozart and
Beethoven copied his works. But it
was through a contemporary that
his voice established its most
unadulterated stylistic legacy.
Around 1652, Froberger traveled to
Paris and captivated an impressionable Louis Couperin. In turn, the rising French composer infused his
burgeoning national style with features of the German’s music. 
Early Music America Winter 2010
19
RECORDINGreviews
Froberger did incorporate some
codified French customs into his
harpsichord suites; he particularly
admired Chambonnières’s compositions. But thanks to the success of
Couperin and his followers, Froberger’s own stylistic contributions
sound as if they have a decidedly
“French” dialect: the complex harmonic progressions in the Allemande of Suite X, the jarring
chordal juxtapositions in the
Courante of Suite IX, and the metrical ambiguity in the opening
“Lament” of
Suite XII, a
technique that
became the
model for
Couperin’s
unmeasured
preludes. Not
surprisingly then, in this latest album
of Froberger’s harpsichord suites,
Christophe Rousset, who has recorded critically acclaimed performances
of works by Couperin, Rameau, and
Lully, makes a comfortable and elegant transition within the French
Baroque tradition.
The profound introspection of
Froberger’s suites demands a skilled
and sincere expression to illuminate
their intensely personal character;
the composer even stipulated that
his manuscripts be destroyed upon
his death, asserting that no other
performer could correctly interpret
them. Rousset’s poignant performance lends the pieces an air of sublime mystery. On the whole, he plays
with a discerning sense of metrical
freedom—tempered by somewhat
livelier tempi than other recent
recordings—which serves to enunciate delicate phrasal structures and
prevent somber moments from
becoming incoherent or dull.
Rousset chose an appropriate
instrument for this performance.
Constructed in 1652 (roughly concurrent with Froberger’s Parisian
journey), it is one of only six surviving harpsichords created by the celebrated Flemish builder Johannes
Couchet, grandson of Hans Ruckers,
patriarch of the famed dynasty of
harpsichord builders. The instrument
exhibits a rich and resonant tone
evenly throughout its range, its
magnificent timbre well-served by
the excellent sound quality of this
recording. Froberger exploited the
20
harpsichord’s full compass, and
Couchet’s instrument responds well,
from the melancholy of the low tessitura in the Allemanda of Suite II to
the famous C major “ascent to heaven” that concludes the “Lament on
the loss of Ferdinand IV” in Suite XII.
This attractive collection is a tribute to both Froberger’s emotive and
eloquent suites and Rousset’s vivid
and learned artistry.
—Jeffrey Palenik
Joseph Haydn
Orlando Paladino
Marlis Petersen, Tom Randle, Pietro
Spagnoli, Magnus Staveland;
Freiburger Barockorchester, René
Jacobs, director; Nigel Lowery and
Amir Hosseinpour, stage directors:
Oper Unter den Linden (Berlin)
Euro Arts 2057788 (2 DVDs)
www.euroarts.com
Although this work lacks the
inspired genius of Mozart, it is unfair
to Haydn (1732-1809) to imply that
his most performed opera is in any
way inferior. The vocal and instrumental writing are masterful, and if
the libretto falls short of Da Ponte,
the hallmarks of Haydn’s personal
style—sudden Neapolitan chord
shifts, for example—make for a
delightful work. Orlando Paladino is
a dramma eroicomico, a satirical
opera seria, which allows Haydn to
employ the entire spectrum of operatic writing, from comic folksonglike melodies to dramatic bravura
coloratura passages.
René Jacobs’s direction is typically fresh and balanced, and the Freiburger Barockorchester performs
with humor
and lightness
of touch. To
say the cast is
uniformly
excellent is
not to
detract from
each singer‘s
individual
appeal. All
roles are wonderfully cast and performed with attractive voices and
dramatic craft. As for the direction,
this reviewer saw derivative Peter
Sellars-influenced Regietheater overshadowing excellent performances.
Eighteenth-century characters scurry
about in 21st-century flea market
costumes on a Tim Burton night-
Winter 2010 Early Music America
mare Christmas-tree market set.
Why, during Pasquale’s Leporelloesque aria, must we be diverted
from excellent singing by frenetic
gesticulations? The irony of this sort
of stage direction is unnecessary in
an already genre-mocking work.
The cinematography rightly
varies close-ups and full-stage viewings. The DVDs have no supplemental biographies or commentaries. I
would have liked a discussion with
Jacobs on his use of pianoforte in
the recitatives and some musicological musings about an excellent performance of an unjustly neglected
opera.
—Lance Hulme
Josef Myslivecek
Complete Wind Octets
and Quintets
L’Orfeo Bläserensemble
Carin van Heerden, director
CPO 777 377-2
www.cpo.de
One of many musicians who left
Bohemia in the 18th century to pursue musical careers in various European cities, Josef Myslivecek (17371781) ended up being the only one
to gain renown in the birthplace of
opera, a genre to which he contributed prolifically. Affectionately
nicknamed “Il Boemo” by Italian
music lovers, who were quick to
embrace the composer’s fiery music
but reluctant to master his exotic
name, Myslivecek spent the greater
part of his life in Italy, where his dramatic works enjoyed acclaim in illustrious opera houses in such cities as
Naples and Venice. It was in Bologna
that Myslivecek developed a warm
friendship with the Mozarts, father
and son, and it is from their correspondence that readers can glean,
along with some of the more gossipy details of Myslivecek’s life, the
high regard in which both held
his music.
The quintets, for pairs of oboes
and horns with bassoon, are appealingly tuneful works, though their
brevity allows for little thematic
development. The oboes frequently
carry the cantabile passages, while
the bassoon, which in most movements plays a busy supporting role
in the background, moves in for its
jocular close-up in the Quintet in G
Major, and the excitable horns muscle their way to prominence in the
Quintets in D, F, and E-flat. The
unadulterated happiness of these
quintets is a chief source of their
charm, and it gives one pause to
consider that Myslivecek most likely
composed them in the last months
of his life, when he was disfigured
by illness, facing public rejection of
his latest works, and reduced to
poverty.
The octets are more substantial
musically, and the instrumentalists
are often asked to test their
endurance and agility, which the
members of the L’Orfeo Wind
Ensemble
handle with
consummate
skill and
sense of
ease, the
horn players
deserving
special mention for their sharply
robust intonation. The kaleidoscopic
variety that Myslivecek imparts to
texture in these octets stops short of
extending to mood; all movements
are resolutely cheery affairs in the
major mode. Tantalizingly brief
glimpses of deeper waters flicker at
unexpected points in several movements, such as the last two of the
first octet and first two of the third
octet, but they are quickly abandoned in favor of a suaver brand of
entertainment.
—Berna Can
Oswald von Wolkenstein
Songs of Myself
Andreas Scholl, countertenor,
Kathleen Dineen, soprano;
Shield Of Harmony,
Crawford Young, director
Harmonia Mundi HMC 902051
www.harmoniamundi.com
Tyrolian poet and composer
Oswald von Wolkenstein (c.13771445) is a key transitional figure in
music history in more ways than
one. Musically, his songs marked a
transition from minnesanger (early
lyric love songs and poetry) to meistersinger. And textually, he seemed
to be moving from bardic verse to
stream-of-consciousness poetry.
Reading the texts of many of his
songs feels a bit like reading the
diary of a lusty, grumpy old man.
We even know what he looks
like; his portrait with one eye closed
is almost the iconic image of a
Medieval troubadour. He lost the eye
when the merrymaking got out of
hand at a carnival, which tells you a
lot about him.
Oswald came from a noble family and went out into the world at
First complete recording of
The Songs of Philip Rosseter
TIMOTHY NEILL JOHNSON, Tenor
TIMOTHY BURRIS, Lute
Review of Part I:
“The Maine-based duo of Timothy Neill Johnson and
Timothy Burris brings a natural rapport and gentle
delivery to these songs. Johnson's lines are silky and warm;
Burris's accompaniment is placed simply and gracefully.”
— Early Music America Magazine
The Songs of
Philip Rosseter, Part I
The Songs of
Philip Rosseter, Part II
TIMOTHY NEILL JOHNSON, Tenor
TIMOTHY BURRIS, Lute
TIMOTHY NEILL JOHNSON, Tenor
TIMOTHY BURRIS, Lute
La Donna’s new release
Anna Bon: La virtuosa di Venezia
This CD includes a variety of unique instrumental combinations
that bring out the vivid qualities of Anna Bon’s expressive,
humorous, and virtuosic
music. It also contains
world-premiere recordings
of three fascinating vocal
pieces attributed to Bon,
featuring extraordinary
period ornamentation by
internationally acclaimed
soprano Julianne Baird.
The enclosed booklet
provides new biographical
information about the
composer.
“Their best to date, it captures the sumptuous beauty
inherent in Anna Bon’s music. Their performance is a
high-caliber tour of a lesser-known, yet excellent composer
from the early Classical Era.”
– Bernard Gordillo, Harmonia Early Music podcast.
For more information and to
hear samples of the CD,
please visit www.ladm.org
2CD set available for $20 at
www.cdbaby.com/Artist/MusicsQuill
Tickets are on sale now!
Learn more at
by Agostino Steffani (1654–1728)
June 12–19 2011, Boston, MA
June 24–25 2011, The Berkshires, MA
Paul O’Dette & Stephen Stubbs, Musical Directors
Gilbert Blin, Stage Director
Anna Watkins, Costume Designer
Caroline Copeland & Carlos Fittante, Choreographers
Lenore Doxsee, Lighting Designer
Philippe Jaroussky, Anfione Amanda Forsythe, Niobe
WWW.BEMF.ORG
JUNE 2011
FESTIVAL & EXHIBITION
Join us in Boston for the
most exciting Early Music
experience in North America.
Hear distinguished artists
and ensembles in over 100
concerts, try out exquisitely
crafted instruments at the
world-famous Exhibition,
shop at the one-of-a-kind
BEMF CD Store, and more.
DON’T MISS
the North American premiere of this operatic masterpiece
featuring breathtaking sets, elegant costumes, dazzling Baroque stage machinery, and
showcasing some of the finest musicians and dancers in early music today.
Early Music America Winter 2010
21
René Slotboom
bowed instruments
www.reneslotboom.nl
think beyond the score
HISTORICAL PERFORMANCE
PRACTICE FACULTY
Julie Andrijeski
Baroque Violin, Baroque Dance
Peter Bennett
French Baroque Music,
Organ & Harpsichord
Francesca Brittan
19th-century Music, Fortepiano
Ross W. Duffin
Early Music Performance Practices
Debra Nagy
Historical Double Reeds & Collegium
David Rothenberg
Medieval & Renaissance Music
DEGREES
BA, MA, DMA, and PhD
in Historical Performance Practice
CONTACT
216.368.2400
[email protected]
music.case.edu
2010-2011 Kulas Visiting Artists
Ellen Hargis, Nina Hinson, Janet Youngdahl,
René Schiffer, Marc Destrubé, and Shira Kammen
think beyond the possible
SM
22
Winter 2010 Early Music America
RECORDINGreviews
age 10. War service may have taken
him as far as Asia. After his father’s
death, he tried to extend his own
lands but proved to be rather hamfisted at it. From 1415 on, he was in
the service of the German Emperor
Sigismund, who sent him on various
diplomatic missions. He eventually
became involved in a series of legal
disputes with other landowners, and
ended up spending some time in
jail. Finally, he was forced to retire
from politics. He then lived the life
of a country
squire, but,
as his songs
make clear,
he hated it.
(“I am
caught in
marriage,
which makes me miserable very
much against my will,” he opines in
“Durch Barbarei, Arabia.”)
Andreas Scholl is perhaps the
perfect singer for such personal
songs. Each song is a mini-monodrama, and Scholl totally immerses
himself in each character. He sings
with absolute conviction, embodying profoundly almost any emotion.
He makes Oswald’s complaints seem
like real blows to the heart, rather
than merely blows to the ego.
Most of the songs are single
melodies, although Scholl does have
one duet with the lovely soprano
Kathleen Dineen. We also get to
hear Scholl in both his voices—
countertenor and baritone—as he
creates a world of character and
emotion. The quartet Shield Of Harmony accompanies him with sensitivity and gusto and really shines on
the few instrumental tracks.
This CD was recorded in St.
Valentine’s Church in Kiedrich,
where both Scholl and his father
sang as a choirboys and where his
sister also sang.
—Beth Adelman
Georg Phillipp Telemann
Ouverture & Concerti
Alexis Kossenko, traverso, recorder;
Georges Barthel, traverso; Jane
Gower, bassoon; Alfredo Bernadini,
oboe; Lidewij van der Voort, violin;
Judith Maria Olofsson, cello; Holland
Baroque Society
Channel Classics CCS SA 28409
www.channelclassics.com
The Holland Baroque Society’s
latest CD, their second on Channel
Classics, explores Telemann’s
changeable style via four concerti
grossi and one ouverture. A flexible
and energetic ensemble, the society
appoints a new artistic leader for
each project it presents. This time it
is the accomplished Alexis Kossenko,
who plays flute and recorder with
a sweet sound and remarkable
articulation.
The disc’s liner notes, translated
into four languages, offer a quick
biography of Telemann (1681-1767)
and a brief but useful description of
each work and its context in this
thoughtfully constructed program.
The promise is that, although each
concerto is in the traditional fourmovement form, each has its unique
character—and the performance
does not disappoint. The soloists are
treated quite differently in each
work, from virtuosic passagework to
expressive melody to opposing
instrumental groupings.
Perhaps the most striking piece is
the Concerto in G Major for two traversi and bassoon, TWV 54:G1,
which opens with the wind concertino in both the first and second
movements. The string ripieno is
especially jarring the first time this
happens. Jane Gower’s bassoon
playing is agile and expressive in
both this work and in the Concerto
in F Major for recorder and bassoon,
TWV 52:F4. Other works include the
Concerto in D Major for two traversi,
violin and cello, TWV 53:D6, and the
Concerto
in B-flat
Major for
two traversi, oboe,
and violin,
TWV
53:B2. The
disc opens with the Ouverture in E
Minor, TWV 55:e3. This work contains the only character piece, “Les
Cyclopes,” which is particularly
successful.
The orchestral accompaniment is
shapely and interesting, with snappy
articulation and fabulous intonation
throughout. The soloists are wellmatched and simpatico. Germanstyle French music presents interpretational challenges, and despite
some rather heavy notes inégales,
the Holland Baroque Society does an
excellent job of making it dance.
Indeed, what makes this CD a success is not its programmatic con-
cept—one would expect a collection
of concerti grossi with varying
instruments to have a certain degree
of compositional individuality—but
that it is really good music performed by what is clearly a topnotch ensemble.
—Heather Miller Lardin
Double bassist and viol player
Heather Miller Lardin is artistic director of NYS Baroque in Ithaca, New
York. She recently received her DMA
in Performance Practice from Cornell
University.
Tomás Luis de Victoria
Lamentations of Jeremiah
The Tallis Scholars
Peter Phillips, director
Gimell Records CDGIM 043
www.gimell.com
The Tallis Scholars once more
deliver in Tomás Luis de Victoria’s
Lamentations of Jeremiah. This
album commemorates the Scholars’
50th recording with Gimell records
and the recording label’s 30th
anniversary. Praised as Music Web
International’s “Recording of the
Month,” the disc “can be said very
fairly to be a celebration of the core
virtues of both the label and of the
Tallis Scholars.…” The group, founded in 1973 by Peter Phillips, is
known for their pioneering work in
promoting Renaissance vocal music,
and their interpretation of Victoria’s
Lamentations does not disappoint.
The authorship of the Old
Testament Book of Lamentations is
disputed. Tradition, however, has
credited the source of the lamentations to Jeremiah, a 6th-century
prophet living in the Holy Land.
Known as the “Weeping prophet,”
Jeremiah was witness to Jerusalem’s
destruction and Babylonian exile in
586 B.C.E. The “Lamentations is a
description of a desolate Jerusalem
after the armies of Babylon have
plundered and destroyed it”
(essortment.com).
Jeremiah warned the people to
repent their wicked ways, but his
pleas fell upon deaf ears. After
“God’s judgment,” Jeremiah grieved
for the people and urged them to
remain faithful to God, who would
someday deliver them. The musical
interpretation of such devotion to a
wayward people and their loving,
yet vengeful God requires a deft
hand. Inspired by Spanish polypho-
ny’s “fierceness” and “mysticism”
and Palestrina’s intense restraint,
Victoria (c.1548-1611) creates in the
Lamentations an entreaty of desperation and resignation, using tight
harmonies to create urgency and
bleak acquiescence. The Tallis Scholars’ soaring sound and flawless intonation realize this perfectly.
Three lamentations each are presented for Maundy Thursday, Good
Friday, and Holy Saturday. Each
begins with
a Hebrew
letter of the
alphabet
and concludes with
the admonition:
“Jerusalem, Jerusalem, turn to the
Lord your God.” Through carefully
controlled dissonances and effervescent harmonies, each lamentation
speaks of despair and the hope for
renewal.
Also included on this album are
the Lamentations for Maundy Thursday of Juan Gutiérrez de Padilla
(c.1590-1664)—“The best-known
representative of the Spanish school
of composers in Mexico.” Gutiérrez’s
Lamentations provide a worthy contrast to Victoria’s work. This six-voice
setting explores avenues of augmented intervals and soaring
moments of homophony. The only
possible complaint is the Scholars’
sacrifice of consonants; often the
text is lost within the lofty melodies.
—Heather Strohschein
Matthias Weckmann
Wie liegt die Stadt so wüste
Cantus Cölln
Konrad Junghänel, director
Harmonia Mundi HMC 902034
www.harmoniamundi.com
Until recently, the musical legacy
of Matthias Weckmann (c.16161674) has been absorbed into the
history of 17th-century North German composers; many CDs feature
his vocal music alongside works by
Dieterich Buxtehude, Heinrich Scheidemann, and Georg Böhm. While
these albums present a contextual
perspective on the musical works by
North German composers of the
time, Konrad Junghänel and Cantus
Cölln offer Baroque devotees a wonderful alternative. Their newest disc
highlights Weckmann’s most poignant contributions to the sacred vocal
concerto, a 17th-century genre
known for its musical depictions of
religious texts. The three sacred concertos included on this disc—Wie
Continued on page 57
Early Music America Winter 2010
23
CARL PHILIPP EMANUEL BACH
he omplete orks
RECENTLY PUBLISHED VOLUMES
“Kenner und Liebhaber” Collections I
Edited by Christopher Hogwood
 ---- (xxxii,  pp.)
.*
“Kenner und Liebhaber” Collections II
Edited by Christopher Hogwood
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.*
Keyboard Concertos from Manuscript Sources I
Edited by Peter Wollny
 ---- (xxviii,  pp.)
.*
Keyboard Concertos from Manuscript Sources VIII
Edited by Elias N. Kulukundis and David Schulenberg
 ---- (xxiv,  pp.)
.*
Arias and Chamber Cantatas
Edited by Bertil Van Boer
 ---- (xxxii,  pp.)
.*
Please see website for a complete list of available and forthcoming volumes.
All are cloth-bound and contain introductions and critical commentaries.
The Wilhelm Friedemann Bach Collected Works Edition
is also available through our website.
Phone orders: () -
Web orders: www.cpebach.org
* These prices are for direct sales only
RECORDINGreviews
Continued from page 23
liegt die Stadt so wüste, Weine
nicht, and Zion spricht—are highlights of North German music during
the mid-17th century, and the performance given by Cantus Cölln is a
testament to both the talents of the
group as well as to Weckmann’s
compositional mastery.
The three works differ in orchestration and musical style. Wie liegt,
the first track on the album, is a setting of the Lamentations of Jeremiah, and Weckmann’s approach to
this piece emphasizes both personal
and collective grief. Johanna Koslowsky’s performance as the soprano soloist is appropriately emotional: she treats her solo as a theatrical
role, creating anticipation and
drama through her use of ornaments and dynamics (her ornaments
in her second solo are extraordinary). Wolf Matthias Friedrich, the
bass soloist, provides a lovely counterpoint to the soprano; although
each sings separately to express personal sorrow, they join together at
the end of the lament in a compelling exaltation of God. In Weine
nicht, the orchestra takes up expressions of grief; in contrast to Wie
liegt, the orchestra cultivates contrasting themes of lament through
intensely chromatic passages, suspensions and sequences, and varieties of orchestration (including an
interlude of fanfares that connotes a
battle). My favorite piece, the setting
of Zion spricht, opens with an affective sinfonia full of dissonance and
chromaticism. The
singers
are treated as one
voice,
singing
together
or presented in point of imitation as
echoes. In each sacred concerto, the
singers perform with a pious devotion to musical detail (especially
regarding ornaments) and religious
affect. As Peter Wollny’s liner notes
tell us, these three sacred concertos,
found in the Lüneburg autograph
score, were composed just after
Weckmann’s wife died of the plague
in Hamburg in 1663; perhaps, as
Wollny suggests, these laments are
Weckmann’s own outpouring of
sorrow.
This disc also includes chamber
vocal music and two canzonas featuring Bruce Dickey on cornett and
Simen Van Mechelen on trombone.
These pieces, generally shorter and
with more focused affect, illustrate
the variety of musical styles that
Weckmann included in his sacred
music, including imitation, dance
forms, and virtuoso vocal writing.
This disc is a wonderful addition
to the catalogue of sacred music of
the 17th century, especially because
Weckmann’s work has been rather
neglected. Overall, the balance on
the CD is wonderful, something that
is noticed especially during moments
when the continuo organ (played by
Carsten Lohff) cuts through the
musical texture. There were a few
moments, especially during bass
solos, when the group drowned
out the singer. Despite this minor
flaw, Konrad Junghänel and Cantus
Cölln have done a wonderful job
putting together an album that
showcases Weckmann’s expertise at
composing affective and dramatic
vocal music.
—Alison DeSimone
COLLECTIONS
Bolivian Baroque, Vol. 3—
Music from the Missions
and La Plata
Florilegium, Ashley Soloman,
director; Arakaendar Bolivia Choir;
James Johnstone, organ
Channel Classics CCS SA 28009
www.channelclassics.com
It’s been eight years since my
“Music in the New World” story
appeared in the Winter issue of this
magazine. At that time the repertoire was dominated by the seminal
recordings of Gabriel Garrido and
his Ensemble Elyma on the French
K617 label. Interest in the music has
gained some momentum since then,
and in recent recordings the repertoire has been championed by Jeffrey Skidmore and Ex Cathedra
(Hyperion) and Ashley Solomon’s
Florilegium (Channel Classics).
Thanks to Father Piotr Nawrot’s
exhaustive research in the archives
of the Bolivian missions, Solomon
and company present a program of
villancicos, polychoral liturgical
music, a trio sonata by an anonymous native composer, and key-
board works by Domenico Zipoli
(1688-1726).
Villancicos by Juan de Araujo
(1646-1712), Sebastián Durón
(1660-1716), Roque Jacinto de
Chavarria (1688-1719), and Diego
de Casseda (fl.1673-94) are sprinkled throughout the program. All
are performed with the right balance of rhythmic pop and tenderness. The liturgical works are the
Missa
Octavo
Tono by
Tomás de
Torrejón y
Velasco
(16441728) and
an anonymous Salve a 8. The Velasco is a nice find that showcases
some delicate writing for the small
vocal group and a richly sonorous
massed choir sound for the full
ensemble. Zipoli’s organ music is
played by James Johnstone on the
instrument at the Mission Church of
Santa Ana, the sole surviving 18thcentury organ in the Chiquitania.
The organ has a marvelously grainy
and pungent sound. The native
composer’s trio sonata (Nawrot
refers to them as “Sonatas chiquitanas”) is a charmer and features a
particularly galante-styled closing
minuette.
Much of the heavy lifting is done
by the young voices of the Arakaendar Bolivia Choir, the ensemble
founded by Solomon. As heard on
earlier volumes, the choir’s bright
youthful sound is very pleasing,
despite an occasional bout of meandering pitch. Florilegium’s performances are terrific and do much
to make this series a fine addition
to the genre.
—Craig Zeichner
Music from the
Court of Burgundy
Ciaramella, Adam Knight Gilbert
and Rotem Gilbert, directors
Yarlung 05785
www.yarlungrecords.com
When a group plays or records
early music, there are two ways to
go about it. One is to treat the
music as a historical artifact to be
preserved as accurately as possible,
and the other is to interpret the
music in the way we understand its
contemporaries to have done. A
group can definitely do both if it has
the skill, and Ciaramella has it in
spades.
On this latest release, Ciaramella
presents an exciting conglomeration
of music from the 15th century. It
might as well be a study in
dichotomies—sacred vs. secular,
soothing vs. raucous, vocal vs.
instrumental, loud(s) vs. soft(s). But
co-director Adam Knight Gilbert’s
liner notes place the repertory
squarely within the multifaceted
milieu of the Burgundian court, in
which these categories were flexible,
if ever really present. So each piece
is rendered as it might possibly have
been done in the 15th century,
when form, and every other
determinant, followed function.
Musically, the recording is excellent. The individual melodic line is so
important in music of this era, and it
is especially clear here in the
recorder
pieces,
where the
close miking
described in
the liner
notes allows
the listener
to hear not only every single line
equally distinctly, but even the tiniest
of hasty breaths. Rhythmically, this
music is quite challenging, but
rather than feeling as if there are
tapping toes and frantic counting,
the performances come off sounding playful. “Una panthera” and the
three settings of “Comme femme
desconfortee” are my personal
favorites; if Ciconia or Agricola were
jazz, they’d be deep in the groove.
Jazz isn’t too far removed from
some of the music of this era—performers of that era would have been
expected to improvise, often taking
familiar tunes of the day and
reworking them or embellishing
them. In that vein, Gilbert treats the
Early Music America magazine welcomes news of recent recordings.
Please send CDs to be considered for review and pertinent information
to Tom Moore, Recording Reviews Editor, c/o Early Music America, 2366
Eastlake Ave. E., #429, Seattle, WA 98102; [email protected].
Early Music America cannot guarantee the inclusion of every CD sent
for review. All reviews reflect the personal opinions of the reviewer
only. Label web sites are supplied with each review to assist readers
who are unable to locate discs through Amazon.com, CDBaby.com,
ArkivMusic.com, or other outlets.
Early Music America Winter 2010
57
Vox Renaissance Consort
RECORDINGreviews
Valentin Radu, Artistic Director & Conductor
Noël
Renaissance
Exceptional
sound
on a new
Lyrichord CD!
Christmas motets, carols,
dances & Noëls by Monteverdi,
Gabrieli, Praetorius, Victoria,
Corelli, Purcell & others,
for voices & period instruments
Available at VoxAmaDeus.org
(610) 688-2800
58
Winter 2010 Early Music America
listener to his own sets of divisions
on “La Spagna” and arrangements
of other well-known songs.
On the whole, this is some of the
best early music you can find. From
the standpoint of repertory, there’s a
delightful mix of more- and lessfamiliar music, representing all the
different musical traditions at court.
And as for Ciaramella, their superb
sense of motion, rhythm, and phrasing, combined with their rich sound,
create a unified and exceptionally
musical recording.
—Karen Clark
New New Nothing, or,
English Country Dances of the
Seventeenth Century
Shulamit Kleinerman, violin; Jacob
Breedlove, Lee Inman, viole da
gamba; Charles Coldwell, recorder;
Ruthie Dornfeld, Arcana Ferfche,
violins; and Lisa Michele Lewis,
harpsichord
Jack Straw Productions
www.shulamitk.net
On this latest release from violinist Shulamit Kleinerman, she presents an eclectic group of country
dance tunes, the majority of which
are taken from John Playford’s 1651
The Dancing Master.
The recording itself is quite
decent—very clear and crisp, which
makes it seem as though you’re in
the front row at a performance, or
better yet, at a dance lucky enough
to feature such fine live music. Kleinerman is herself a dancer, which I
think is evident in her choice of
tempi for the tunes and the way
that the rhythms inherent in each
style of tune come forth in her playing. As a result, the music feels
informal, spontaneous, welcoming,
even familiar.
I applaud, as always, the current
trend in environmentally friendly
packaging, although, of course, the
problem with not providing liner
notes is that one has to be connected to the Internet in order to access
them at any given time. Kleinerman
provides a page of liner notes on her
website, but I wish these had been
included with the CD for those listeners who may not always bother
to look them up online. Not only are
they short and succinct, but they
provide valuable information about
some of the changes and additions
that she’s made to the dance tunes
as they stand in the Playford book.
For example, she has added her own
harmony parts to several of them,
which of course is probably not far
off from the practice of the day in
the 1600s. However, slightly more
problematic to my ear are those
tunes where she has altered a key in
order to link it with another similar
dance tune, or changed a few notes
to heighten a sense of modality
more common to much later American string music. While Playford
purists would most likely be able to
tell upon first listening that there
were changes made, others may
appreciate knowing this right off the
bat. Her changes aren’t unmusical
by any
stretch of
the imagination. In fact,
some of
them are
quite imaginative, like
the unusual choice of pizzicato on
“An Old Man is a Bed Full of Bones,”
and the very interesting reprise of
“The New Hornpipe,” the only piece
chosen from a different Playford
book (The Division Violin). The result
is a very earthy and enjoyable
melange of dances.
Almost all of the tunes presented
here are done so as duets. To that
end, Kleinerman has invited a large
number of other musicians to sit in.
Each of them adds something special to the disc; my personal favorites
were the lovely recorder variations
on “Scotch Cap/Hey Boys Up Go
We/Green Stockings,” the violin
duets on “Maiden Lane/PellMell/Europe’s Revels,” and of course
the harpsichord on the most famous
of the tunes, “Greensleeves.”
If you like to country dance to
pre-recorded music, this surely
would be a very good recording to
have on hand. The biggest problem
with that, of course, is that if the
performers are there in person, the
dance can continue ad infinitum,
while with a CD you’re limited to the
recorded length of the piece. With
that said, however, I think that for
those active in English country dancing, this would be a fine recording
to have. And outside of a dance
context, it’s quite pleasant to listen
to in its own right.
—Karen Cook

USC Thornton School of Music
Early Music Program
FACULTY
Adam Knight Gilbert
Program Director, Baroque
Sinfonia and Collegium,
Musicology
Offering M.A. and D.M.A. degrees in Historical Performance
and Ph.D. in Musicology and Early Modern Studies
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Susan Feldman
Baroque Violin, Vielle,
Baroque Sinfonia
Lucinda Carver
Harpsichord and Continuo
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William Skeen
Baroque Cello and
Viola da gamba
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Shanon Zusman
Violone and
Viola da gamba
Rachelle Fox
Voice and Collegium
Rotem Gilbert
Recorder, Alta capella,
Performance Practice
Paul Sherman
Baroque Oboe and
Oboe Band
Charles Koster
Baroque Bassoon
Scott Shubeck
Lute and Theorbo
Bruce A. Brown
Musicology
Stephen Stubbs, LUTE
Ingrid Matthews, VIOLIN
EARLY MUSIC AT
Byron Schenkman, HARPSICHORD
Margriet Tindemans, VIOLA
CORNISH
SEATTLE
Janet See, BAROQUE
DA GAMBA
FLUTE
Maxine Eilander, HARP
Kris Kwapis, BAROQUE
TRUMPET, CORNETTO
Cyndia Sieden, VOICE
Nancy Zylstra, VOICE
Ross Hauck, VOICE
commit to excellence
Cornish College of the Arts offers
a Bachelor of Music in Composition,
Instrumental or Vocal Performance.
apply online at
www.cornish.edu/music
or call 800 // 726 // ARTS
Early Music America Winter 2010
59