recording reviews - early music america · da gamba, and harpsi-chord con-tinuo; despite the...

Early Music America Fall 2010 17

recordingreviewsEdited by Tom Moore

Claude-Bénigne Balbastre Music for Harpsichord Elizabeth Farr, harpsichord Naxos 8.572034-35 (2 CDs)www.naxos.com

Claude-Bénigne Balbastre (1727-1799) was one of the most celebrat-ed French harpsichord composers ofhis time. As Elizabeth Farr writes inher informative liner notes, Balbastrewas a student of Jean-PhilippeRameau and Pierre Février in Paris.

He per-formed togreatacclaim inthe ConcertSpirituel, thefamousParisian con-

cert series, and was lauded as wellby Charles Burney in his The PresentState of Music in France and Italy(1771). Writing in the years preced-ing the French Revolution, Balbastrepublished his Pièces de clavecin in1759. As was the fashion of thetime, his pieces are musical portraitsdedicated to friends, patrons, andother members of the nobility;together they offer a virtual socialhistory of the ancien régime. Thisrecording features the 17 piecescontained in that volume, as well asa handful of works chosen fromLivre contenant des pieces de differ-ent genre d’orgue et de clavecin of1749 (Versailles manuscript 264).Other works complete this two-CDset, including Balbastre’s transcrip-tions of four movements fromRameau’s opera Pygmalion and thewell-known “Marche des Marseilloiset l’air Ça-ira,“ composed in 1792and based on the most popularpatriotic tunes of post revolutionaryFrance.

Elizabeth Farr, associate profes-sor of harpsichord and organ at theUniversity of Colorado, captures atonce Balbastre’s grandeur, brilliance,and charm. In this unique recording,Farr plays a large harpsichord with1x16', 2x8', 1x4', and two buff stops.The sheer power of the 16' makes astunning effect in such pieces as “Lade Caze“ and “La Suzanne” andcontrasts with the delicacy of thetwo buff stops, used to charmingeffect in the Gavotte Rondeau in G

Minor, among others. An award-winning keyboardist, Farr plays with delicacy, nuance, and dazzlingvirtuosity, giving new life to thesewonderful works. —Charlotte Mattax Moersch

Dieterich Buxtehude VII Suonate, Op. 1 Purcell Quartet (Catherine Mackin-tosh, Catherine Weiss, violin;Richard Boothby, viola da gamba;Robert Woolley, harpsichord) CHAN 0766 www.chandos.net

This wonderful recording ofseven ensemble sonatas by DieterichBuxtehude (c.1673-1707) reflectsthe Purcell Quartet’s new, refreshingapproach to late 17th-century Ger-man chamber music. The sonatasincluded on this disc comprise Bux-tehude’s opus 1 sonata set, pub-lished in 1694(?) in Hamburg, oneof two major publications by thecomposer during his lifetime—per-haps this was an attempt to tap intothe growing public market for smallchamber works for instruments atthe end of the 17th century, thanksto Arcangelo Corelli’s trio sonatapublications in the 1680s and1690s. Buxtehude’s sonatas demon-strate a transition from sectional,pre-tonal composition to the stylisticfeatures characteristic of the highBaroque: counterpoint-dominatedtextures, separate, tonally closedmovements, and highly idiomatic

instrumentalwriting.Each sonatais scored forviolin, violada gamba,and harpsi-chord con-

tinuo; despite the possibilities for allthree instruments to participate inthe counterpoint, the texture islargely a due. Buxtehude composedvirtuoso, contrapuntal lines for theviolin and viola da gamba ratherthan emulating Corellian trio texturewith the inclusion of the harpsichordin the counterpoint. Also unlikeCorelli, who was influential in stan-dardizing sonata movements, Buxte-hude’s sonatas have no standardform and instead have a seeminglyhaphazard range of movement

types. Even so, these works reflectBuxtehude’s organic compositionalapproach, especially noticeable in the fluid transitions between sections, harmonic unity, motivicconstruction, and mastery of counterpoint.

The seven sonatas of Op. 1 maynot be the foremost compositions intheir genre, but each is an agreeablemixture of liveliness and melancho-lia, clearly evoking Baroque affec-tions in their style, all of which isexpertly brought out by the PurcellQuartet’s performances. The versatil-ity of the English ensemble high-lights the virtuoso versatility of themusic itself—this is heard especiallyin Sonata No. 2, a work that createsmusical tension out of the unexpect-ed tempo shifts between largos andallegros. Sonata No. 6 includes atotal of 14 separate sections/move -ments, again a tribute to Buxte-hude’s ability to compose a varietyof movements that still work together organically.

The Purcell Quartet brings tothese works their most professionaland clear interpretations of the late17th-century German instrumentalrepertory. Each instrumental line isdistinctly heard on all tracks; thisdisc is not overproduced, as so manyrecordings of early music seem to benowadays (including other record-ings of these particular sonatas).Instead, in almost 30 years as anensemble, the musicians, like Buxte-hude himself, have found a delicateblend of traditional performanceand modern interpretation that doesnot sacrifice musicality for historicalperformance practice. The balancebetween instruments is beautiful;the harpsichord is never overwhelm-ing, but Robert Woolley always pro-vides a solid continuo accompani-ment that sustains the rhythmicdrive and discretely fills in the har-monies. Although he plays Baroquecello on many of the Purcell Quar-tet’s recordings, Richard Boothbymatches the virtuosity and refine-ment of the violinist with his viola dagamba playing. Catherine Mackin-tosh and Catherine Weiss each playa handful of sonatas, but their simi-lar styles of playing showcase theircamaraderie as musicians. PerhapsMackintosh is more dramatic and

bold, especially in Sonata No. 6.Indeed, on this recording the PurcellQuartet displays their brilliance as anensemble; this disc is yet anotherreminder of why the group contin-ues to be one of the foremost early music ensembles after nearly30 years. —Alison DeSimone

William Byrd Infelix ego The Cardinall’s Musick; Andrew Carwood, directorHyperion CDA67779 www.hyperion-records.co.uk

This disc is the final installmentin a series of recordings by The Cardinall’s Musick devoted to theLatin church music of William Byrd

(c.1540-1623). Herethe Gram-my-winningEnglishensembleexplores aselection of

Byrd’s works from the 1591 Can-tiones Sacrae, rich with madrigalisticwriting for between four and sixvoices, plus a set of Propers for thefeast of All Saints and, to close, themagisterial 12-voice Infelix ego.

The music is varied and alivefrom first note to last, with anappealingly gestural and breezy feel-ing throughout. Cadences areplaced with great intelligence andcare but also with a sense of totalease. The phrases seem to ripple andbounce between the singers; there’sa sense of elasticity even when thetime doesn’t actually bend.

One of the things that makesthis recording stand out is the richdetail of the acoustic treatment. Thesound is natural and resonant. Thesingers are individually present in themix, clearly delineated in a satisfyingway that allows the listener to heareach of them as a real person,singing. The music never becomesan abstraction; you can at once per-ceive it as a living experience in therecording session and imagine itshuman reality in Byrd’s day. You canhear the musicians hearing eachother, right there as they play, whichI think is a hallmark of all the bestmusic-making.

At first I found the sound of thesopranos overly bright. Their tone isevocative of the purity of boy sopra-no voices but suited up with adultpower and intent; a hint of stridencyat times gives the music a strongforward edge that sacrifices beautyfor beauty’s sake in favor of some-thing more pointed and, in the end,perhaps more compelling. Thattonal quality also allows for morecontrast with the four selections onthe album that are limited to malevoices (all the altos being men),since the performances on thosepieces tend towards a warmer,smoother blend.

Infelix ego is a setting of a textby Girolamo Savonarola, a centurybefore Byrd, probing the question ofguilt and judgment prior to his exe-cution. The dramatic center of thepiece is the remarkable extendedclosing passage that follows a mas-sive, seemingly final cadence. Thetext cries, “I shall plead for yourmercy.” The singers carry the phrasethrough a flood-tide of harmony,arriving at the last possible momentspent and saved on the shores theysought. —Shulamit Kleinerman

Bellerofonte CastaldiBattaglia d’amoreIl Furioso; David Dolata, directorToccata Classics TOCC0081 www.toccataclassics.com

This fine new release includessongs of love with BellerofonteCastaldi’s settings of his own poetryand virtuoso duos for theorbo andtiorbino (published in Modena in1622 and in Venice in 1623). Thelyrics of this period are raw, emo-tional, direct, and sometimes pas-sionate to the extreme. They matchthe twisting columns and surgingfull-blown draperies of the dramaticsculpture and paintings of early17th-century Italian Baroque art.However, the classical influences ofthe Renaissance and Mannerist peri-ods were not totally done awaywith. There is an element of restraintthat holds the performer in check.True, the lyrics swing wildly throughall the human emotions, and themusic descriptively carries the powerof these texts, but in the end propri-ety still carries the day in that theparoxysm of emotion is rarelyreached.

This new recording has internal-

ized all of the above and presents itto the listener’s ears with a directand intimate sound that is highlycharged with anticipation.The CDcontains 16 songs for tenor and/orsoprano (lyrics by the composer) andfour instrumental pieces. Of thesefour works, three are duos for ther-obo and tiorbino and one is a harp-sichord composition entitled “Can-

zon quintadettaBellero-fonte,“penned byFrescobaldi.This key-board piece

is preserved only in manuscript andis receiving its first recording, beauti-fully played by Neil Cockburn on anItalian instrument built by GianpaoloPlozner (A=440, 1/6 comma mean-tone). The performers on this discare internationally known masters intheir respective fields and most havebeen published; the collaborationincludes artists from Italy, the U.S.,Scotland, and Canada.

Careful thought has gone intothe choice of repertoire, program-ming, placement of the micro-phones, preparation and rehearsalof this disc, and the five voices(three sopranos and two tenors) uti-lized. From the outset we are treatedto a concert from this “free-spirit”composer as he might have present-ed it. Castaldi (1580-1649) is all butunknown in our own day. It seemshe was something of a lone-wolf inhis own, so his reputation is still ineclipse and undervalued. OriginalItalian and English translations ofthe song texts are included withthese world premier recordings,along with a fine in-depth essay byDavid Dolata, associate professor atFlorida International University, enti-tled, “Bellerofonte Castaldi: Com-poser, Lutenist, Poet and Adventur-er.” This disc is an excellent introduc-tion to a long-lost Italian artisticgenius and a highly polished projectworthy of your attention. —Paul-James Dwyer

Franz Joseph Haydn The Complete Masses Trinity Choir; REBEL Baroque Orchestra; J. Owen Burdick, Jane Glover, conductors NAXOS 8.508009 (eight CDs) www.naxos.com

18 Fall 2010 Early Music America

RECORDINGreviews


Who really knows Haydn? Such a productive composer, and oversuch a long life-span (1732-1809),stretching from the High Baroque tothe beginnings of the Romantic peri-od. And who really knows his mass-es? Haydn and Mozart were the lastcomposers for whom settings of themass were an important part oftheir oeuvre, and yet it is rare tohave the opportunity to hear theseworks, whether in concert perform-ance or in their original context inthe Catholic liturgy, certainly bycomparison with the instrumentalworks by these masters.

Of the works in this well-filledbox, at least five have been stapleson recordings since the beginning ofthe LP era: the Nelsonmesse,Paukenmesse, Harmoniemesse,Schöpfungsmesse, and Theresien-messe (nos. 9 and 11-14 in theHoboken listing). These are all sub-stantial works of about 40 minutes

each inlength, alldating fromclose to theend ofHaydn’s life(between1796 and

1802, after the master’s two suc-cessful visits to London). This is alsothe period which saw the produc-tion of the two great oratorios in theHandelian tradition, The Creationand The Seasons. The writing com-bines the best of operatic writing(solos and ensembles), Handelianfugal counterpoint, and brilliantwriting for strings, brass, and tim-pani. In their qualities, these massesare superior to the often less-than-committed writing for the church byMozart and more congenial to thevoice than the few sacred works byBeethoven. The high points, whichare not few, can be simply exhilarat-ing (my personal favorite: the There-sienmesse, with writing that sweepsthe listener along and modern, chromatic fugue subjects [“Et vitamventuri”]).

The performances, recorded overthe years 2001-2008 by the choir ofTrinity Church, Wall Street, NewYork, with REBEL Baroque Orchestra,under the batons of J. Owen Burdickand Jane Glover, are exceptional. Thesound of the choir is clean and clear,with the sopranos and altos sobright that I was convinced that thiswas one of the best ensembles ofboy trebles I had ever heard (until Ichecked the booklet). The brillianceof the orchestra’s execution is every-thing one would expect from REBEL,

one of our best period ensembles.The various vocal soloists (too manyto list here) are entirely capable. Thecombination of the performancesand the sound of the space in whichthey were were recorded (excellentengineering) mean that this is a col-lection to be treasured, a monumentfor Trinity Church, for New York, andfor early music fans nationally to beproud of. Bravo! —Tom Moore

Johann Nepomuk Hummel Sonatas/La ContemplazioneSusan Alexander-Max, fortepianoChandos CHAN 0765www.chandos.net

Johann Nepomuk Hummel(1778-1837) was one of the mostimportant pianists of his day, a fig-ure whose impact on the Romanticschool of piano playing cannot beoverstated. However, if one walkedinto any conservatory today andasked the students if they knew anyworks by Hummel, it is fairly safe tosay that only violists and trumpeterswould have an answer. Hummel is afigure who has, to some extent, fall-en through the cracks of the canon,a fate that’s befallen many transi-tional figures in music history. Hum-mel’s music, as illustrated on thisdisc, falls clearly between the Classi-cal and Romantic periods; however,listeners unfamiliar with his workwill be surprised at just how fartowards the future it points. Wehear strains that could have beenpenned by Schubert, Chopin, orSchumann, and indeed each ofthese composers owe him a stylisticdebt. Hummel’s rival for pianisticsupremacy in his native city of Vien-na was none other than Beethoven,but in Hummel we see the trueseeds of Romantic pianism.

Though Hummel’s ties to Mozartare often cited (he studied withMozart as a boy and also lived withthe family), it is important to notethat he also studied with JanLadislav Dušek (1760-1812) inPrague and Muzio Clementi (1752-1832) in London. These last twocomposer-pianists were championsof a very different style of pianoplaying from that found in Vienna, astyle that is often referred to as the“London School.” This style, whichfavors large chordal textures andlong legato lines, went on tobecome predominant. Viennesecomposers tended to use more lin-ear textures and wrote in a muchmore “speech-like” manner, with apreponderance of short slurs. Thisdivergence in style also reflects the

La Donna’s new releaseAnna Bon: La virtuosa di VeneziaThis CD includes a variety of unique instrumental combinationsthat bring out the vivid qualities of Anna Bon’s expressive,

humorous, and virtuosicmusic. It also containsworld-premiere recordingsof three fascinating vocalpieces attributed to Bon,featuring extraordinaryperiod ornamentation byinternationally acclaimedsoprano Julianne Baird.The enclosed booklet provides new biographicalinformation about thecomposer.

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differences between instrumentsfound in both cities: the Englishpiano, whose dampers are less effi-cient and therefore always leavesome “after-ring,” has a rather volu-minous sound, whilst the Viennesepiano, with its crisp damping andsmaller hammers, leads to a more“speaking” way of playing and amore penetrating tone.

Hummel’s own views on thesetwo types of pianos is illuminating:“Piano-fortes, generally speaking,are constructed on two differentplans, the German or ‘Vienna’, as itis termed, and the English: the for-mer is played upon with great facili-ty as to touch, the latter with con-siderably less ease…. The Germanpiano… allows the performer toimpart to his execution every possi-ble degree of light and shade,speaks clearly and promptly, has around fluty tone, which in a largeroom contrasts well with the accom-panying orchestra…. To the Englishconstruction, however, we must not

refuse the praises due, on the scoreof its durability and fullness oftone.” It seems clear that Hummelfavored Viennese instruments, but itis precisely his dual lineage andfamiliarity with both instrumentsthat led him to be an importantarbiter of change in piano-playingfor the following generation.

Susan Alexander-Max, the NewYork-born pianist based in England,plays a beautiful example of the kindof Viennese piano Hummel wouldhave known, a six-octave instrumentbuilt in 1814 by Joseph Brodmannin Vienna and now housed at theMusée de la musique in Paris. Theinformative liner notes state that thepiano was in playing condition withits original parts prior to its restora-tion by Christopher Clarke, but areplica of the original action wasmade for preservation purposes.

The question of restoration canbe a thorny one, and to this review-er’s ears the upper regions of thepiano sometimes sound a bit stri-

dent. This is most noticeable in thefirst piece on the disc, the Sonata inE-flat Major, Op. 13, No. 6. Thataside, the instrument has all thewonderful characteristics one looksfor in such a piano: a colorful “mod-erator” or céleste, an effective unacorda, and a distinct tonal differencebetween the bass, middle, andupper registers. This piano also has abassoon stop, which Alexander-Max,

like manypianists,chooses notto use. (Thebassoon stop slips athin piece of paper

between the hammers and strings,creating a buzzing effect that manyhave not quite found a way to useconvincingly.)

Alexander-Max is particularlywell-qualified to take on Hummel’smusic, not only because of her for-midable technique, but also becauseshe has recorded three discs ofClementi’s early sonatas for theNaxos label. Her program is a goodsampling of Hummel’s work and willtherefore be a welcome introductionfor those unfamiliar with his pianomusic. The opening sonata, written

around 1805 and dedicated toHaydn, shows the stylistic trendsthat influenced Hummel and revealshow far ahead of his time he reallywas. The opening of the secondmovement, with its sensual harp-likechords followed by a choralemelody, is a perfect example ofHummel’s stylistic amalgamation.Throughout the work we hear pas-sages that could easily have beenwritten by Schubert and Chopin,bringing home the fact that nogenius works in a vacuum! Indeed,Hummel had personal contact withboth composers. Schubert andHummel were on friendly terms, asevidenced by Schubert’s dedicationof his epic final piano sonatas, D.958-960, to Hummel, and in 1828,Chopin met Hummel in Poland dur-ing one of Hummel’s concert tours.

The Sonata in F Minor, Op. 20,written circa 1807, is extremely strik-ing, full of romantic yearning in thefirst movement and virtuosic fire inthe last. The second movement isgorgeous and stately, with the sec-ondary theme a study in soulfulness.Interestingly, this work was dedicat-ed to the Viennese virtuosa Mag-dalena von Kurzböck, who alsoreceived a dedication from Haydn,the brilliant Sonata in E-flat, Hob.

RECORDINGreviews

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52. Alexander-Max is more than upto the task, dispatching the finalewith brio. Both of the sonatas onthis disc have finales that feature afugal section, and it is fascinating tonote that Beethoven did not writesuch a movement until 1816, withthe composition of his Sonata in AMajor, Op. 101. We cannot knowwhether Beethoven knew these earli-er works, but given that they wereboth active in Vienna at this time,it’s hard to imagine he didn’t. Theyhad a collegial rivalry, and Hummelwas a pallbearer at Beethoven’sfuneral.

The final work, “La Contem-plazione,” Op. 107, No. 3, is from aset of six bagatelles published in1825. As the title would suggest, itis an inward-looking and poeticwork. Again, various threads ofwhat is to come in the future can beheard. A chord progression at theopening has a hint of the last move-ment of Schubert’s Sonata in AMajor, D. 959, written in 1828, andlater there is a surging melody witha rippling accompaniment of thetype found in music by Chopin andSchumann. Alexander-Max turns in aparticularly sensitive and sumptuousreading, with masterful use of themoderator and una corda pedals;

she creates wonderful gossamerclouds of sound. This particularcolor combination is only availableon the Viennese fortepiano: neitherthe English pianos of the period nor our modern pianos have moderators.

Throughout, Alexander-Max’sthorough understanding of both themusic and the piano for which itwas written makes a compellingcase for this music and will certainlygive listeners a new appreciation ofthis pivotal composer. One hopesshe will continue this explorationand record some of Hummel’s pianoconcertos in the future! —Sylvia Berry

Wolfgang Amadeus Mozart Arias for Male Soprano Michael Maniaci; Boston Baroque; Martin Pearlman, director Telarc TEL-31827-02 www.telarc.com

In his first recording with BostonBaroque, Michael Maniaci offers lis-teners a singular treat: an album ofrarely performed arias written forcastrati by Mozart (1756-1791).These heroes of the 17th and 18thcentury are given voice again asManiaci, a true male soprano, per-

forms selections from Idomeneo,Lucio Silla, La clemenza di Tito, andExsultate, jubilate. During the Classi-cal era, singers were the true focusand stars of operatic performances,and “a composer’s skill was judgedlargely on his ability to display andutilise [sic] the vocal potential of therespective singers” (Gottfried Kraus,from his liner notes for Mozart’sLucio Silla, Philips 422 532-2 CD).Well-known, gifted castrati ofMozart’s day were employed to per-form his works, and he wrote eachcharacter for a specific singer. Never-theless, Maniaci’s consistentlysuperb performance imbues eachcharacter with unique expression.

As the bereaved son in Ido -meneo, Maniaci expresses Ida-mente’s grief and bewilderment athis father’s scorn in a hauntingsweetness of tone (“Ah qual gelido”and “Il padre adorato”). As Cecilio,he expertly negotiates the ornamen-tations, cadenzas, and coloraturapassages in Lucio Silla, dreamingfirst of reunion with his wife(“Dunque sperar poss’io” and “Iltenero momento”) and then promis-ing her faithfulness even in death(“Ah se a morir mi chiama”). Theslower tempo of “Deh, per questoistante solo” in La clemenza di Tito

allows Maniaci, as Sesto, to showoff his flexibility, while “Parto, ma tuben mio” pairs him with a virtuosicclarinet (Nina Stern). This instru-ment, comparatively new inMozart’s day, gambols with thevocal line, aiding Sesto in enticinghis lover to forgive him. The selec-tions from Exsultate, jubilate are exe-cuted with a light touch, displayinga barely contained, passionate joy.

Boston Baroque, directed byMartin Pearlman, gives a wonderfulperformance, not only in their richaccompaniment of Maniaci but also

in twoorchestralovertures(Idomeneoand Laclemenza diTito). Withtheir period

instruments, they bring to fruitionMozart’s realization of the orchestraas equal partner with the voice. Theproduction quality is excellent, andthe accompanying liner notes givedetailed information on the lives ofthe castrati in the 17th and 18thcenturies. This album would be awonderful addition to any classicallibrary. —Heather Strohschein

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Sigismund Ritter vonNeukomm Neukomm no Brasil Rosana Lanzelotte, fortepiano;Ricardo Kanji, flute Biscoito Fino BC 234 www.biscoitofino.com.br

Sigismund Neukomm (1778-1858) remains a little-known figureof the Romantic era, but he was per-haps one of the most distinguishedof European musicians to visit thethen-colony of Brazil, arriving therein 1816 with the Duke of Luxem-bourg at a time when the Por-tuguese royal family, having left Por-tugal to save their skins fromNapoleon, was still in residence in

Rio deJaneiro. Therepertoire onthe disc,originally forflute orpiano orboth (with

the exception of the opening sonatain which a violin is paired with thepiano) was almost all written in Riobetween 1819 and 1821. The fanta-sy for unaccompanied flute datesfrom Paris in 1823.

Neukomm was born in Salzburgand was a favorite student ofHaydn, so it is not surprising thatthe chamber music represented hereis serious and of high quality. Flutistsshould be particularly happy tomake the acquaintance of the solofantasy, an extended work in onenine-minute span, with the conclud-ing maggiore making reference tothe tune that would go on to be thenational anthem of Brazil. Therecording is by two of Brazil’s lead-ing performers on period instru-ments, Rosana Lanzelotte and Ricar-do Kanji, and not only are the per-formances first-rate for bothkeyboard and flute, the recordedsound is seductively round andclose. Two of the scores can be

found in modern editions atwww.musicabrasilis.com.br/ partituras.php. —Tom Moore

John Sheppard Media vita Stile Antico Harmonia Mundi HMU 807509 www.harmoniamundi.com

It’s been more than 20 yearssince the Tallis Scholars recorded thedense, hypnotic antiphon Media vitaby John Sheppard (c.1515-1558). Itwas a groundbreaking recording atthe time. This disc by the youngBritish group Stile Antico is no lessso—in part because it is a sign thatthe torch has passed to a youngergeneration of singers.

Media vita is the fourth CDfrom this amazing, Grammy-nomi-nated group of six women and eightmen. Their albums have been chart-ing on Billboard, they toured withSting as part of his John Dowlandproject, and they have won a host ofprizes. They perform without a con-ductor and they reconstruct andprepare their own performing edi-tions. Critics have been falling overthemselves to praise Stile Antico’stone, blend, intensity, style, dynam-ics, phrasing, insight, historical

sense—justabout every-thing thatmakes anearly musicvocal groupgreat—and Iwillingly join

that heap. In fact, this CD isextremely difficult to review becauseit is, well, perfect. Even the engi-neering is perfect—just the rightamount of natural reverb and slowdecay on the sound.

Media vita, the antiphon, isSheppard’s 25-minute plea for apeaceful demise (it begins, “In themidst of life, we are in death.”). It’s

an intense, wickedly difficult piece.The beginning, in particular, is sodense that it washes over you inwaves, almost like a group ofTibetan monks chanting. As sung byStile Antico, you are transportedinside the music, swept up by itstranscendence.

The CD also includes three Eng-lish anthems, a setting of The Lord’sPrayer, and a Latin responsory(Gaude, gaude, gaude Maria virgo)and hymn (Te Deum). In each, StileAntico cuts to the heart of the textand music, presenting both aspectsperfectly sung, perfectly felt, perfectin every way. —Beth Adelman

Georg Philipp Telemann Twelve Fantasias

and Other Works Aldo Abreu, recorder; SuzanneStumpf, transverse flute; The Musicians of the Old Post Road Bressan Records 0901 www.cdbaby.com/cd/aldoabreu

In the liner notes to this 2009release by Aldo Abreu, Steve Zohnplaces Telemann’s fantasias forunaccompanied flute squarely with-in their cultural milieu—written in1730s Hamburg, they were amongstthe earliest of their kind, followingHotteterre and Bach, but because ofboth their novelty and their musicali-ty, they quickly grew in popularity.And, as was typical not just of thetime but particularly of Telemann(1681-1767), who often providedalternate scoring in his publications,Abreu performs the fantasias, alongwith Telemann’s Concerto in E Minorand two short works by Quantz andPepusch, on recorders.

But these are not just anyrecorders—the disc is inspired, asAbreu states, by a concert he gave inwhich these works were performedon a variety of different styles andsizes of recorders, imbuing the fan-tasias with a delightful array of tonecolors and individual personalities.This disc is a re-creation of sorts, inthat he has obtained permissionfrom the Von Huene Workshop touse their collection of historicalinstruments and modern copies.Each, as Abreu points out, has itsown quirks, faults, and unique fea-tures. Some work exceptionally wellin high registers but not in low ones,or vice-versa, while others have quitedistinct timbres, and most have limitations in certain keys.

Knowing this makes listening tothe disc both enjoyable and chal-lenging, for the listener is at timesasked to determine whether a dubi-

ous moment is a flaw of performeror of medium—or whether it is aflaw at all. For example, Abreu con-sciously uses a bass by ThomasBoekhout for Fantasia No. 8 in GMinor, despite the fact that it hasclumsy and overly loud keys. I actu-

ally quiteenjoyed thatsort of extraambience inmost of theperform-ance, butthere are a

few moments in the second move-ment where the lower register isoverwhelmed by clacking sounds.That is an issue that can be chalkedup to personal choice and historicalaccuracy, but the same cannot besaid of several moments where thehighest register doesn’t speak verycleanly, such as the Allegro of theFantasia No. 3 in D Minor, or a smallnumber of places where the lowestpitches are a bit overblown. Fortu-nately for the listener, I think, suchmoments are few, and they lendindividuality and character to thefantasias.

And all questions of instrumentsaside, Abreu certainly does add hisown flair; his approach to tempi andrhythm is tasteful and appropriatelyflexible, his breath control and artic-ulation are very nice, and his orna-mentation of each movement iswell-suited to its affect withoutbeing either overly dramatic or toounderstated. I personally would loveto hear him perform these fantasiason modern instruments, simply tosee how his approach might differ.

A nod must be given to theacoustics of the church in which thisdisc was recorded and to the soundengineers. The amount of reverbera-tion is lovely and especially well-suit-ed to the faster movements of thefantasias, which are often meant toimitate the sound of multiple instru-ments playing together polyphoni-cally (listen to the first Allegro of theFantasia in E-flat Major for a perfectexample). It was also a wonderfulspace for the concerto, which fea-tures Suzanne Stumpf and the Musi-cians of the Old Post Road.

Abreu states that this work waschosen for inclusion on the discbecause the ivory Scherer alto had aperfect counterpart, an ivory Scherertransverse flute. This concerto istruly one of the disc’s highlights—like ivory itself, it is smooth and pol-ished without being overly sparkly,with a rich warm sound that never


RECORDINGreviews

Continued on page 51

Early Music America magazine welcomes news of recent re cordings.Please send CDs to be considered for review and pertinent informationto Tom Moore, Recording Reviews Editor, c/o Early Music America, 2366Eastlake Ave. E., #429, Seattle, WA 98102; [email protected] Music America cannot guarantee the inclusion of every CD sentfor review. All reviews reflect the personal opinions of the revieweronly. Label web sites are supplied with each review to assist readerswho are unable to locate discs through Amazon.com, CDBaby.com,ArkivMusic.com, or other outlets.

A Two-Year Advanced Program in Period Instrument Performance• Master of Music or Graduate Diploma• Full-Tuition Scholarships Guaranteed• Annual Residencies and Master Classes by Jordi Savall, William Christie,

members of Les Arts Florissants, and others• Exceptional Performance Opportunities

Fall 2011 AdmissionApplication deadline December 1, 2010Auditions in Paris and New York, Early 2011

For Information and Application:Juilliard Admissions, 60 Lincoln Center Plaza, New York, NY 10023 • (212) 799-5000

www.juilliard.edu/historicalperformance

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Joseph W. Polisi, President

FACULTY

MONICA HUGGETTArtistic Directorand Violin

Cynthia RobertsViolin

Phoebe CarraiCello

Robert NairnDouble Bass

Sandra MillerFlute

Gonzalo RuizOboe

Dominic TeresiBassoon

Kenneth WeissHarpsichord

Robert MealyChamber Music Coach

JuilliardHistorical Performance

J_HistPerf_EMA2011_ColorAd_C2.qxd:J_HistPerf_EMA2011_ColorAd_C2 3/19/10 3:59 PM Page 1


stoops to being precious. One of the most enjoyable

aspects of the liner notes is theinclusion of pictures and detaileddescriptions of these instruments,which include a fourth flute (sopra-no in B-flat) by Thomas Stanesby, Jr.,and a voice flute by Peter Bressan.It’s a special recording, and a specialartist, that provides such thoroughdetail for the listener and, betterstill, gives credit to such beautiful(and still playable) historical instru-ments. Both for the musicalitydemonstrated on the recording and for it being a “historical docu-ment of sound,” this disc is highlyrecommended. —Karen Cook

Silvius Leopold WeissLute Sonatas, Vol. 10 Robert BartoNAXOS 8.572219 www.naxos.com

This new release in the completeSilvius Leopold Weiss (?1686-1750)lute sonata series contains twosonatas (No. 28 and 40) and atombeau, all from Weiss’s middleperiod. Sonata No. 28 in F Major,“Le fameux Corsaire,” is a lyrical anddescriptive masterpiece. The open-ing Allemande has softly undulatingchords, after an opening that sug-gests a smooth and silent embarka-tion. A Courante follows, swiftlypainting a picture of relentlesswaves splashing on shores; the jour-ney begun. The third movement is aBourrée, suggesting the industry of

the on-decksailors. Thefourth, aSarabande,finds theship floatingaimlessly ona placid

body of water, perhaps in full sum-mer heat, with its hint of rubato.Other passages in the six-movementwork suggest speeding over theseas, the excitement of boardingship, the anticipation of disembark-ing at the end of a trip, storms onthe horizon and the endless expanseof the elements (water and sky), andthe mind turning to the timelessnessand ennui of being at sea formonths at a time.

The beautifully measured andhaunting bass lines of the Tombeau

sur la mort de M. Comte de Logymake it an 11-minute gem. It wasdedicated to Count Johann AntonLogy von Losinthal, who in his daywas hailed as “the Prince of theLute.” Barto excels as a sensitive andeloquent interpreter of Weiss, acomposer who championed aninstrument that declined in populari-ty during the course of his own life-time. The life dedication to the luteof both composer and interpreter is almost palpable. One relishes the commitment of Barto directly, making this recording all the morecherished.

Barto, a graduate of the Univer-sity of California, San Diego, contin-ued his studies in Europe on a Ful-bright scholarship. He is regularly onthe faculty at Lute Society of Ameri-ca events and has given masterclasses in Japan, Sweden, Italy, andSpain. This recording was made in2008 in Gloucestershire, England;Barto plays a Baroque lute byAndrew Rutherford, a well-knownbuilder based in New York. If youhave not yet acquired any of thediscs in this series, Vol. 10 is anexcellent place to get a taste of itsquality, dedication, and freshness.—Paul-James Dwyer

COLLECTIONS

Crowning Glory: Zappa Symphonies

New Dutch Academy Orchestra;Simon Murphy, conductor PentaTone Classics PTC 5186 365 www.pentatonemusic.com

When contrasted with their late-Baroque predecessors and early-Romantic successors, it is temptingto find early Classical composerssomewhat insipidly obvious. Thisway of thinking fails to appreciatethat Enlightenment audiences wereexpected to comprehend a musicalperformance, and it imposes a per-sonal musical esthetic on a time ofpositive, collective art. This recordingof mid-18th-century Dutch courtmusic is an antidote to these mis-conceptions: the optimistic extrover-tism of the early Classical period isgiven full evidence in superbly crispperformances.

Australian-born Simon Murphyhas unearthed compositions fromDen Haag during the cosmopolitanreign of Willem V (1751-1795). The

guest list includes a young Mozart, aMannheim symphonist son, and anumber of excellent Dutch, German,and Italian composers.

Alongside energetic symphoniesof the Vivaldi-like Christian ErnstGraf (1723-1804) and the moresturdily Germanic Friedrich Schwindl(1737-1786) are two hybrid sym-phonies of Italian-born cellistFrancesco Zappa (fl.1763-1788).

Both Largomovementscontain lyri-cal solo pas-sages for theinstrumentunlike thevirtuosic fire-

works of a typical concerto. CarlStamitz (1745-1801) continues thefamily’s tradition for audacious sym-phonic techniques. But even at agenine, Mozart (1756-1791) standsout as superior. Symphony No. 5 dis-plays superb Italianate melodicmaterial. The concert aria “Conser-vati Fedele” is a foretaste of theoperatic feast of his mature years.

The New Dutch Academy deliv-ers clean, deft performances. CellistCaroline Kang brings out thewarmth of the solo lines, and sopra-no Elizabeth Dobbins employs a nicetouch of mezzo color. The jacketnotes should contain more biogra-phical information and less advertis-ing for an ensemble that can affordto rest on its laurels. —Lance Hulme

Lamentations Nordic Voices Chandos Chaconne 0763 www.chandos.net

The lamentations from the Bookof Jeremiah are sung during theoffice of Tenebrae on the last threedays of Holy Week. Tenebrae (literal-ly translated as “shadows” or “dark-ness”) refers to the darkness of thechurch as candles are extinguishedas a remembrance of Christ’s pas-sion. The chief Renaissance churchcomposers all wrote Tenebraelamentations and responses, so thisrecording by Nordic Voices, whichfeatures music by Tomás Luis de Vic-toria (1548-1611), Don Carlo Gesu-aldo (c.1560-1613), Giovanni Pier-luigi da Palestrina (1525/26-1594),and Robert White (c.1538-1574),just scratches the surface of thegenre.

The dramatic nature of the textswas ideally suited to the highlyexpressive talents of church com-posers of the day and there is somesuperb music here. It’s no surprise

that the brilliant madrigalist Gesual-do would excel in the form. Hisintense settings of “Tristis est animamea“ and “Tenebrae factæ sunt“underscore the power of each wordand his is some of the most movingmusic on the disc. The settings ofVictoria and Palestrina are quitewell-known, and it’s interesting tohave them side by side on therecording. While Victoria’s dark-shaded settings are more daring, themore conservative Palestrina holdshis own with some taught counter-point. The sleeper of the collection isWhite’s massive Peccatum peccavitJerusalem, an 18-minute master-piece marked by interesting group-ing and regrouping of voices withinthe six-voice frame.

The Norwegian group sing beau-tifully and make a case for a smallensemble (three women and threemen) performing this repertoire. Theladies handle the pressing demandsof the high tessitura of White’smusic well, and the men aresonorous throughout. While I’m not

quite readyto step awayfrom thestellarrecordingsof theHilliardEnsemble

(Gesualdo), La Colombina (Victoria),or Musica Contexta (Palestrina), Ifind these performances by NordicVoices among the best available. —Craig Zeichner

Lamentations of Jeremiah Lay Clerks of St. George’s Chapel,Windsor Castle; Timothy Byram-Wigfield, conductor Delphian DCD34068 www.delphianrecords.co.uk

This recording traces settings ofthe Lamentations of Jeremiah duringthe turbulent reigns of Elizabeth Iand James I. The acrostic poemsbewailing the fall of Jerusalem wereused for Holy Week in continentalCatholic services but seldom so inBritain. The argument in the pro-gram notes that the choice of textreflects the composers’ “recusant”Catholic beliefs in Protestant Eng-land can be inferred, but as a com-poser, I find it a stretch to draw adirect line from biography to com-positional output.

More interesting is the composi-tional arc from Renaissance Tudormotet to Baroque Stuart madrigal.The Tallis settings are resplendentmodal counterpoint and contrastinterestingly with the early setting by

RECORDINGreviewsContinued from page 22

Byrd (c.1540-1623). This reflectsByrd’s mastery of advanced chro-maticism and includes a passage ofcascading dominants presagingCorelli. The remaining settings arefrom the Stuart period, containingthe emotional palette of Italianmadrigals. Osbert Parsley (1511-1585) was organist at St. George’s,the home of the performing ensem-ble. Alfonso Ferrabosco’s (c.1575-1628) setting is rich with dramaticoutbursts typical to the madrigal

style andItalian tem-perament.The final set-ting is areconstruc-tion of JohnMundy’s

(c.1555-1630) incomplete work,remarkable for its extended register.

The Lay Clerks of St. George’sChapel is the ubiquitous ensemblefor state occasions of the Royals andtheir professionalism is evident inevery gesture. A homogeneous tim-bre is uniform except for in theMundy, where the extreme upperrange forces any male voice to bemore present. The recording qualityis excellent and the CD uniformlyinteresting regardless of its sorrowful theme. —Lance Hulme

Polish Popular Music of the XVIIth Century

Greensleaves Chestnut Hall Music CHM091115 www.cdbaby.com/cd/Greensleaves

Although technically theOntario-based ensemble Green -sleaves is a trio consisting of Shannon Purves-Smith (viols andrecorders), Magdalena Tomsinska(lute), and Marilyn Fung (viola dagamba), it enjoys a number of guestinstrumentalists and vocalists whoadd variety and color to a charmingand very musical selection ofrecordings. Tomsin ska, the delicatelynuanced, Polish-born lutenist, hasreconstructed music from the Poloc-ki Manuscript, a 1680 collection ofregional dances, liturgical and secu-lar songs, and instrumental piecesedited by Jerzy Bugaj, for a CD that recommends itself for both the scholar and the more casual listener.

As an historical, political, and

cultural entity, Poland has been aconstant flux of borders and influ-ences. Early history associates thevast plains of eastern Europe withSlavic and Eastern Orthodox culture.By the time of the Polocki Manu-script, the domination of the Teu-tonic Knights and the formation ofthe Lithuanian-Polish Common -wealth advanced a more interna -tional character as represented bythe pavans, galliards, bergamaska,and other Western European danceforms found in the collection. Partic-ularly interesting is Pavana No. 76,which features excellent lute elabo-rations by Tomsinska. These westerninfluences are mixed with intrinsical-ly Polish songs and—what else?—polanaise dances offering a glimpseof a happily jumbled musical milieu.The love ballad “Im pilniey na twoie“is quite interesting, particularly forthe opportunity to hear sung Polish.However this reviewer wearies a bitfrom the Emma Kirkby-influencedvocal production, which seemsinappro priate for such passionatecomposition. A “Polonez” drawnfrom a separate manuscript standsout in part through the gentle harp-sichord texture provided by MichaelPurves-Smith in this otherwise rhythmically vigorous dance.

The recording also dispels twopotential misconceptions about“popular music.” First, the prejudicethat artistry only manifests throughcomplex music is contradicted bysubtle, well-executed performancesof the simple melody and bassfound in the manuscript. The heavyopen fifths that Fung employs in“Ach, meczek No. 187“ accentuate

the rusticquality ofthis southernPolish pieceas well asthe stylisticflexibility ofthe ensem-

ble. Second, disdain for occasionalmusic—music intended to accompa-ny, not dominate, an event—is mis-placed: the frank beauty of themelodic and rhythmic material in vir-tually every selection is quite captivating.

The ensemble’s stylistic mix ofPolish and international elementsand interpretation is complementedby works from other sources,


RECORDINGreviews

Season Highlights include:

Bach Mass in B Minor

Chopin on Period Pianowith Janina Fialkowska

Handel Dixit Dominus

Beethoven Symphony no. 9

Virtuoso Violin: Stefano Montanari Returns

CONCERTS IN TORONTO

Baroque Orchestra and Chamber ChoirJeanne Lamon, Music Director

Ivars Taurins, Director, Chamber Choir

1o.11C O N C E R T S E A S O N

Season Presenting Sponsor

Tickets and info at www.tafelmusik.org

think beyond the possible SM


Early Musicat Indiana University

at one of the world’s preeminent centers for early music in a major U.S. university. Develop historical performance skills in Medieval, Renaissance, Baroque, and Classical music. Earn an internationally recognized degree from a top-rankedschool of music. Join a growing number of distinguished alumni who performand teach around the world.

Study

ADDITIONAL RESOURCES

Lilly LibraryFocus RecordsChoral DepartmentMusicology DepartmentMedieval Studies InstituteThe Thomas Binkley Archive of Early Music RecordingsCenter for the History of Music Theory and LiteratureInternationally Renowned Guest ArtistsWFIU Public Radio (producer of Harmonia)Department of Ethnomusicology & Folklore

FACULTYPaul Elliott: Director, Early Music Institute; VoiceWendy Gillespie: Viola da gamba, Medieval bowed stringsMichael McCraw: Chair, Department of Early Music; Bassoon, RecorderNigel North: LuteStanley Ritchie: ViolinRichard Seraphino� : Natural HornElisabeth Wright: Harpsichord, FortepianoAdditional adjunct faculty

ENSEMBLESBaroque/Classical Orchestra | Pro Arte SingersConcentus (consorts of winds, strings, plucked instruments, and voices, performing in various combinations)Additional chamber music ensembles

AUDITION DATES AND INFORMATIONJan 14 & 15, 2011 | Feb 4 & 5, 2011 | Mar 4 & 5, 2011Phone: (812) 855-4088 | Fax: (812) 856-6086E-mail: [email protected] | Web: music.indiana.edu


arrangements, and even an originalcomposition. As with any goodmélange, the variety of elementsadds rather than detracts from adelightful collection of recordings.—Lance Hulme

Waytes: English Music for a Renaissance Band

Piffaro (Joan Kimball, RobertWiemken, artistic directors; GrantHerreid, Greg Ingles, Christa Patton,Priscilla Smith, Tom Zajac; Daphna Mor, guest artist) Navona NV5823 www.navonarecords.com

This disc was the first release of2010 for both Piffaro and Navonarecords and is the first in the well-known group’s 29 years together tobe completely dedicated to EnglishRenaissance music. The wait waswell worth it.

Piffaro is renowned for its multi-tude of instruments—recorders andlutes, sackbuts and krumhorns,harps and bagpipes, and more—allof which find a home on this disc.As the extensive liner notes (founddigitally on the CD itself!) describe,the English wait, or wind band, hadthe ability to perform a variety ofrepertory, whether vocal or instru-mental, and by the end of the 16thcentury, music was composedspecifically for such ensembles. Thepieces Piffaro has selected rangefrom dances and masques to bois-terous madrigals to more sedatemotets, all bookended by two trum-pet-like fanfares. The result is adelightful variety of timbre, tonecolor, style, and mood.

Before launching into accoladesfor some of the finer moments onthe recording, a brief word of admi-ration must be spoken for the splen-did acoustics. The album wasrecorded at The High Point inMalvern, PA, and it proves to be awonderfully reverberant, buoyantspace for these instruments. Thelouds are clear and unmuddied, thelutes are crisp, and the recorderssing. The only time in which the bal-ance is slightly off is on the “Anti-masque: The second witch’s dance,“when the timbre of the tabor isalmost enough to cover up thelutes. Otherwise, the blend is reallyquite lovely—listen to the anony-mous “Goddesses” back-to-backwith “La Bounette” for the perfect

example. The opening piece, a mar-tial madrigal by Thomas Weelkes,shows off the shawms and sackbutto their very best, and the recordersreally shine together on the worksby Bateson (1570-75[?]-1630) andMundy (c.1555-1630), although itseems as though in a very few placesthat the pitch sags just slightly onsome of the cadences. The samecould be said of the Tallis (c.1505-1585) “O nata lux de lumine,”which contains some of the juiciestEnglish cross-relations, brought outhere with aplomb. One of the bestmoments, though, is the anony-mous “French king’s masque,”which pairs lute and harp in a perfectly matched duet.

The liner notes tell us that it wascommonplace for members of the

wait to alsosing uponoccasion,and so Pif-faro featuresits ownGrant Her-reid as a

vocalist on two well-loved pieces,“The Indian weed is withered quite”and “Come sirrah Jack hoe.”Between the two, the second comesoff slightly better due to the stellarkrumhorn accompaniment, but inboth cases, as John Wesley wouldsay, Herreid sings lustily and withgood courage, to great result, andthe two pieces are a welcome andfun contrast to the rest of the disc.

Not only have they given us agem of a musical experience, specialkudos should be given to both Pif-faro and Navona for their discdesign. The CD is enhanced withplenty of special features, includingthe aforementioned digital linernotes and a 25-minute video profil-ing Piffaro. My only complaint, smallas it is, is that at least on my person-al computer, I was unable to enlargethe screen to make out some of thesmaller writing in the liner notes.That detail aside, it’s a beautifuldisc, both visually and musically—and environmentally-friendly toboot. The liner notes reveal thesense of fun, camaraderie, experi-ence, and detailed knowledge thatmake Piffaro both respected andloved in the early music community.Well done indeed. —Karen Cook

RECORDINGreviews

San Francisco

Renaissance Voices Todd Jolly, Music Director

The Music of Peace, Joy & Love Season 2010-11

The Music of P eace - Pax Aeternum The Requiem of Juan de Esquivel Barahona

October 30, 31 & November 7, 2010

Special performance:

The Boar’s Head We celebrate Twelfth Night to end the holiday season

with the music of Medieval & Renaissance England

January 15 & 16, 2011

The Music of Joy *** EMA 25th Anniversary Concert ***

Tomás Luis de Victoria’s “Missa Gaudeamus” with other

joyful music of the Renaissance & Early Baroque

March 19, 20 & 27, 2011

The Music of Love Jacquet de Mantua’s “Missa Ancor che col partire” with

Matthew Locke’s delightful masque “Cupid & Death”

August 13, 14 & 20, 2011

Visit our website for de tails:

www.SFRV.org

recording reviews - early music america · da gamba, and harpsi-chord con-tinuo; despite the...

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