Is a quarterly bulletin of the Toronto Early Music Centre (TEMC). Opinions expressedin it are those of the authors and may not be endorsed by the Toronto Early Music Centre. Unsolicited manuscripts, letters, etc. are welcome, as is any information aboutearly music concerts, events, recordings and copies of recordings for review. Thedeadline for the the next issue (December ’11–February ’12) is November 10, 2011. Subscription is free with membership to the Toronto Early Music Centre. For ratesand other membership benefits, please call 416­464­7610, send e­mail totemc@interlog.com or write to us at the Toronto Early Music Centre (TEMC), PO Box714, Station P, Toronto, ON M5S 2Y4. Web site: http://www.interlog.com/~temc.

Frank Nakashima, President Michael Lerner, SecretaryKathy Edwards, Treasurer

John Edwards Jenni Hayman Paul Jenkins Michael LipowskiSheila McCoy Janos A. Ungvary

Toronto Early Music CentreBoard of Directors

The TEMC gratefully acknowledges the support of the City of Toronto through the TorontoArts Council, the Church of the Holy Trinity, Montgomery’s Inn, and its own members andthe following generous donors:

• $10­$49 •Simone Desilets, Fred & Ursula Franklin, Patricia Hanley, Alison Healing, Marion Jewell,David Keenleyside, Peter Newton, Jean Nichols, D.L. Parker, Scott Paterson, HelmutRentschler,

• $50­$99 •Janet & Roger Beck, Jim & Rachael Boles, Linda Deshman, Margaret Huggett, AlisonMelville, Dr. Mary Sidgwick, Irene & Sidney Smith, Robert Temkin,

• $100+ •Sonja Dass, Gregory Kirczenow; Joyce Allen , Tamara Bernstein, Sara Blake, John Ferth,John Gillies & Anne­Marie Prendiville, Ron Greaves, Roger Greenwald, Christine Haggarty,Balfour Halevy, Patricia Hiemstra, David Klausner, Hirotaka Kogure, Anie Lafrance,Michael Lerner, Michael Lipowski, Blair MacKenzie, Susan Middleton, Rodoljub.Milankov, Tim Moody, Frank Nakashima, Frank Nevelo, John Newton, Christopher Palin,Greg Pastic, Bruno Ramirez, Stuart C. Rogers, J.L. Schachner, Merrilea Shields, KarenWaisglass,

Toronto Early Music News

Contents of Vol. 28 no. 2

Contributors: Frank Nakashima; Paul­James Dwyer FEditor: Frank NakashimaGraphic Designer: Sam Brushett

News Item....................................................................................4IMPORTANT NOTICE.......................................................................4Speak Up......................................................................................4TEMC Phn #..................................................................................4Email News and Updates.................................................................5TEMC Renewal...............................................................................5TEMC News Online.........................................................................6Dolmetsch Recorders for Sale..........................................................7The TEMC Vocal Circle....................................................................7Prima La Musica............................................................................8TEMC Renewal Form......................................................................9Toronto Early Music Players Organization.........................................10Calendar of Forthcoming Events.....................................................10Delightfully Baroque.....................................................................10Musical Interlude.........................................................................11TBSI Orchestras and Choirs...........................................................11The Grand Finale..........................................................................11Musically Speaking.......................................................................12Vocal Circle.................................................................................12CD Reviews.................................................................................13

4 Toronto Early Music News Volume 28, No. 2

News Items

IMPORTANT NOTICE!

Please note that this is the FINAL newsletter to be publishedin this format. Future issues will be available online at our

website (or perhaps by e­mail on request – yet to bedetermined). We regret any inconvenience and disappointment

this may cause. The prohibitive cost of publishing thisquarterly newsletter is approximately $2,000 per year and,particularly at this time, we feel that this money could be

better used for other purposes. If you have any questions orconcerns, please feel free to contact me at any time –

frank.nakashima@gmail.com OR by calling 416­464­7610(and leave a message!). Thank you! FN

Speak Up!

The Toronto Early Music NEWSwelcomes your commentary!Please include your name, city ofresidence, e­mail address, and phonenumber with allcorrespondence.Send to:Toronto Early Music Centre,PO Box 714, Station P.O.Toronto, Ontario M5S 2Y4e­mail: frank.nakashima@gmail.comThe Toronto Early Music NEWS reservesthe right to edit letters for clarity, style,

Toronto Early Music Centre sTelephone 416-464-7610

Please note, if you haven’t already, that theNEW telephone number for the Toronto EarlyMusic Centre is 416­464­7610. Looksfamiliar? It’s my telephone number. The planis to save some money for the organization.Feel free to call me anytime! ~ FrankNakashima

5Toronto Early Music NewsVolume 28, No. 2

Email News And UpdatesIf you would like to be notified ofupcoming concerts, early music news, andupdates, by e­mail, just let me know bycontacting me at my NEW address –frank.nakashima@gmail.com – and I’lladd you to my list. Try it. Just make surethat my e­mail address is included in yourlist of “contacts” so that the junk mailfilters don’t block me out. Keep up to datewith this special service. If you don’t likeit, or if there’s more than you can handle,don’t worry. It’s just as easy to cancel.

Have You Been Wondering If Your TEMC Membership Has Expired?If you can’t remember, or if you’ve lost your membership card, just give me a call 416­464­7610 and leave a message, or send me an email: frank.nakashima@gmail.com – I’ll checkyour membership status and then let you know. If your membership has expired, and youwould like to renew, please fill out the form at the back of this newsletter and mail it to:PO Box 714, Station P Toronto ON M5S 2Y4 –Make sure to include your cheque or credit card number.We now accept American Express.

If you would like to make a payment by telephone (using any credit card – Visa,MasterCard, or American Express), please cal me, Frank Nakashima, at 416­464­7610,leave a message to tell me the best time to call you back. Thank you very much!

6 Toronto Early Music News Volume 28, No. 2

Toronto Early Music NEWS online

1. Go to the website www.interlog.com/~temc ; then, select"Publications";2. At the bottom of the page, under “TEMC News Electronic Issues”you will be instructed to “Please <click here> to access themembers only web page for TEMC News issues.” Poke that <clickhere> button.3.This message will pop up:"The members­only page is password protected. Do you want tocontinue?"You are given a choice of "OK" and "cancel". If I were you, I’d choose“OK.”You will then be asked to enter a password, and that password is“temcnews.”4.“Thank you, please enter” Click on “OK”Choose, from the list, the issue that you would like to read.For some users, after choosing OK, another pop up message will say"Sorry, that password is incorrect. You will now be returned to thePublications page."

I have been advised that by using Mozilla Firefox (rather than InternetExplorer) you may find it easier to access the newsletter.If you have Mozilla Firefox, and are still having difficulty, go to the topof your screen and select “Tools,” then “Options,” then “Security,” then“Exceptions,” then type “http://www.interlog.com” in the box“Address of web site” and click “Allow.” Then “Close.” That should doit.If you have the Internet Explorer browser, try doing the following:Go to “Tools” in the drop­down menu at the top of your screen.Then select “Internet Options” to “Security” to “Trusted Sites” andthen “Sites.”

In the box, “Add this website to the zone” type in“http://www.interlog.com”If you are totally confused, and none of these things above seem tohelp, just contact me, frank.nakashima@gmail.com and I’ll send youThe Secret Link by e­mail (provided that you’re a TEMC member in goodstanding). Okay?

7Toronto Early Music NewsVolume 28, No. 2

Dolmetsch Recorders For SaleHandmade between 1971­72by Arnold Dolmetsch Ltd.Soprano recorder in CBS 3499 # 16451Made from rosewood, with tonalclarity and strength.Good condition. $300.00Alto recorder in FBS 3499 # 17545Made from kingwood (rare andexpensive wood) for soloinstruments of unsurpassedbeauty.Good condition. $ 450.00Tenor recorder in CBS 3499 # 16454Made from tulip or satinwood, ofexotic beauty producing warmand strong tone.Never has been used. $ 650.00Phone: 1­705­254­6165By email: l.bornyi@ontera.net

The TEMC Vocal Circle

The Toronto Early Music Centre’s“Vocal Circle” usually takes placeon the last Monday of the month,at 7:30 p.m.NEW LOCATION: 96 Barker Avenue,Toronto M4C2N62 blocks N of Mortimer (note:becomes Lumsden on E side ofWoodbine), 1 block W of WoodbineAdmission to this circle is FREE tomembers of the TEMC. Otherwise,the cost is $5.00 per session fornon­members.Theoretically, the Vocal Circle wasmeant to be a symposium or forumfor historical choral/vocalperformance but, in actuality, it is anon­performing, recreationalreading group. This is intended tobe a certified stress­free,musically­friendly environment.While musical training and vocalability is helpful, anyone who hasan interest in this fascinating, little­known, and rarely­performedrepertoire to drop in and trysinging, or even just listen!Please note that this is a scent­free environment. Please refrainfrom wearing cologne, perfume,aftershave, or scented products.Thank you.

If you have any questions, pleasefeel free to call me, FrankNakashima, anytime at (416) 464­7610. Also, please try to keep meinformed as to your voice type andyour intentions to attend (or not)so that I can conscientiously planthe evening’s singing.One more session this season:June 25.The Vocal Circle sessions willresume in the Fall, beginning onMonday, September 24.

8 Toronto Early Music News Volume 28, No. 2

Prima la musica

Please allow me to quickly introduce you to a fantastic newcatalogue of "urtext" performing editions of Renaissance(soon to include music by de la Rue, Josquin, Clemens nonPapa and Gombert), Baroque (17th­century Italian church music) andearly Classical music ­ the company is "Prima la musica" (Brian Clark &Carlos Munoz Cutino) and the website is:http://www.primalamusica.com

Reasonably­priced and faithfully computer­set, these editionsare an excellent source of beautiful early music. Please visitthe website. Look at the catalogue. Order directly from thepublisher, or from me.

"There are many fine musicologists and editors out there, but only afew of them have a gift for finding the pieces that really live in aconcert; Brian has got that."­ Simon Carrington, former King's Singer, founder and directorof the Yale ScholaCantorum.

Frank T. Nakashima

416­464­7610

frank.nakashima@gmail.com

Distributor for:

Theodore Presser Co. ­ www.presser.comAnne Fuzeau Productions – www.annefuzeau.comStudio Per EdizioniScelte ­ www.spes­editore.comPrima la musica ­ www.primalamusica.comJohn Walker Tuning Forks ­ www.granton.co.ukParaclete Press ­ www.paracletepress.comBroude Brothers Ltd "Performers Facsimiles" can be viewed on theSheet Music Plus website:http://www.sheetmusicplus.com/publishers/Broude­Brothers/6?se=1827

9Toronto Early Music NewsVolume 28, No. 2

Toronto Early Music Center

Membership Application/Renewal FormP.O. Box 714, Station P, Toronto, Ontario M5S 2Y4416­464­7610

New Renewal (expiry date)___________________(Memberships lasts a full 12 months from the date you join)

Name:_______________________________________Address:_____________________________________City:___________ Province:_____________Postal Code:___________ Email:_______________Phone (day):____________ (eve):_______________

Category of Membership:

Organization­$40(Receive newsletters and reduced advertising rates, only)Family­$35 (please list names)______________________________________________________________________________________________________________________________________________________________________________Individual­$25 Student/Unwaged­$15I include a donation $_______________TEMC is a registered charity # 11926 6401 RR0001A tax receipt will be issued

Total Enclosed: $______________

Payment Method:Cheque Visa Mastercard American Express

Card#:__|__|__|__|__|__|__|__|__|__|__|__|__|__|__|__| Exp. Date: ___/___MM/YYSignature:____________________________________

10 Toronto Early Music News Volume 28, No. 2

June

3 Sunday 2:30 to 5 p.m Toronto Early Music Players Organization(T.E.M.P.O)Friends’ Meeting House60 Lowther Ave Toronto, ON(north of Bedford Rd. exit, St. George SubwayStation)<zFundraising Tea and Silent Auction. Members ofT.E.M.P.O. will perform throughout the afternoon. .,.Admission by donation.416­245­3413Bring your cash and chequebooks!

4 Monday 8:00 pm

Calendar of Forthcoming Events

Delightfully BaroqueTafelmusik Baroque Orchestra

and Chamber Choir

Trinity­St. Paul's Centre427 Bloor Street West(Just W of Spadina)

Tafelmusik Baroque Orchestra and ChamberChoir perform in the opening concert of theTafelmusik Baroque Summer Institute.www.tafelmusik.org/tbsiFREE

11Toronto Early Music NewsVolume 28, No. 2

9 Saturday 12:00 noon

Musical InterludeTBSI Faculty

Walter HallFaculty of MusicUniversity of Toronto80 Queen's Park

A casual noon­hour concert of baroque chambermusic by members of the TBSI Faculty, a part ofthe Tafelmusik Baroque Summer Institute. , , , .www.tafelmusik.org/tbsiFREE

TBSI Orchestras and ChoirsDirected by Jeanne Lamon and IvarsTaurinsWalter HallFaculty of MusicUniversity of Toronto80 Queen's Park

Participants of the Tafelmusik Baroque SummerInstitute. , , , . .www.tafelmusik.org/tbsFREE

13 Wednesday 1:00 pm

The Grand Finale

Concert of Tafelmusik BaroqueSummer Institute

Grace Church on­the­Hill300 Lonsdale Road, Toronto, ON

The TBSI participants and faculty perform together in abaroque extravaganza!Free and general admission to all TBSIconcerts.Tickets are required for this event. The tickets arefree, but must be obtained in advance. They will be madeavailable to the public on Monday, June 11 starting at 10 amin person only, at the Tafelmusik Box Office at 427 BloorStreet West. Maximum of two tickets per person.TBSIParticipants and full­time Auditors do not requiretickets.www.tafelmusik.org/tbsi FREE

16 Saturday 7:30 pm

12 Toronto Early Music News Volume 28, No. 2

17 Sunday 2:30 pm

Musically Speaking

Jubilate!Music for Queen Elizabeth I

St. David’s Anglican Church49 Donlands Avenue, Toronto, ONA one­hour program of historical performanceat St. David’s Anglican Church. This intimatesetting is conveniently located across from theDonland subway station (on the Bloor­Danforthline).“Jubilate! Music for Queen Elizabeth I”featuring The Cardinal Consort of Viols (SaraBlake, Linda Deshman, Sheila Smyth,Valerie Sylvester) who will pay tribute to thefirst Queen Elizabeth with appropriately Englishmusic of William Byrd, Anthony Holborne,John Dowland, Orlando Gibbons and JohnBull , an “English Consort” if you will, in honourof the Queen’s Diamond Jubilee, with specialguest singer, Frank Nakashima.

Admission by donation (pay­what­you­can).

Vocal Circle

96 Barker AvenueToronto, ONRecreational reading of early choral music.Ability to read music is desirable, but notessential.For more information, call 416­464­7610.

17 Sunday 2:30 pm

13Volume 28, No. 2

CD Reviews

Vol. 1 H.I.F.Biber&C.H. BiberSonatas for trumpets, strings, and continuoEnsemble “Pian& Forte”.Antonio Frigé, organ& directionGabriele Cassone, natural trumpetRoberto Falcone, violinDM8001

This disc features repertoire from father Heinrich Ignaz Franz(1644­1704) and son Carl Heinrich (1681­1749). Ensemble“Pian& Forte” is a 12­member group directed from the organby Antonio Frigé. This is an eclectic mix of compositions for 1­4trumpets and one sonata for 2 violins & continuo (H.I.F. Biber). Themoods are varied on this CD, from technically demanding, tohumourous and tender. Frigé has wisely tried to give a balanced

Reviews By Paul­James DwyerDelizie Musicale Serieswww.dynamic.itThe recording label, Dynamic Sri, based in Genova, Italy, is the majorItalian label for early music. Delizie Musicale is their extensive seriesof re­releases of high quality recordings from their catalogue. Beloware seven reviews from the series. The entire series can be seen ontheir website and are reasonably priced.

14 Volume 28, No. 2

Vol. 6 Cesare NegriMaestro di Ballare, Le Gratied’Amore (1602)Ensemble La FolliaDM8006

Ensemble La Folia is a seven­member group with the followinginstrumentation: Paolo Biordi, soprano & bass viola da gamba,Paolo Faldi, recorders, soprano & alto bombardons, PaoloFanciullaci, cornetto, violone, MarzioMatteoli, lute, Mauro Morini, tenortrombone, Daniele Poli, renaissance guitar and Andrea Perugi,harpsichord. The CD has 18 selections with a total time of 52:23.

The composer Negri was nicknamed “The Trombone”, a famousprofessor of dance.Together with Marco Fabritio daSermoneta,he was one of the greatest dancing masters in16th­17thcentury Italy. Born in Milano in 1536, he died there after1604. Like most of his contemporaries, he assembled the results of hiswork in a treatise, both theoretical and practical. The first edition waspublished in 1602 in Milano as Le Gratied’Amore. The reprint (1604),with the added sub­title Nuove invention di Balli, is divided into threeparts. Most of the compositions were signed by Negri but there is also acertain “M. Stefano” mentioned. CD includes an excellent essay byFlaviaSparapani.

Vol. 7 Lorenzo AllegriLe Suites MediceeGran Consort Li Stromenti,Gian Luca Lastraioli, lute & directionDM8007

This recording features the 1618 work Il primolibrodellemusiche, with eight ballo of Le SuitesMedicee. GranConsort Li Stromenti is an 18­member group, who work withmusicologist, PieroGargiulo, who also penned the superior CD notes.The instrumentation includes 3 violins, 1 tenor & 2 bass viols, violone,2 recorders, cornet, trombone, organ, harpsichord, 2 lutes, baroqueguitar, theorbo and percussion.

Lute virtuoso Allegri (?1567­1648) was a Florentine genius atthe court of the Medici and considered the most importantinstrumental composer in the first half of the 17th century. Hisnickname was “LorenzinodelLiuto” and he was keeper of the ducalcourt instruments from 1622 to 1637. The only two extant copies of hisPrimo LibrodelleMusiche, a collection of eight Balli, are in libraries ofPisa and Florence. These works were performed at the Medici courtbetween 1608 and 1615. The CD is a through reconstruction of thesuite, to use Allegri’s own words, to the “Wide Ocean of the Noble andGenerous”. An excellent performance, lively and scholarly.

15Volume 28, No. 2

Vol. 11 Antonio VivaldiThe Best of La Cetra II6 Violin Concertos from Autograph ManuscriptsL’Artedell’Arco, Giovanni Guglielmo, violin &directionDM8011

Vivaldi dedicated two collections to Emperor Karl VI, bothentitled La Cetra, a symbol of the Hapsburgs’ love for music.The first one was published in Amsterdam in 1727 as Opus 9.The second collection is kept as an original manuscript in Vienna. Thetwo groups are somewhat similar– bothhave twelve concertos. Two ofthe concertos in the Part II found their way into print as Op. 11, in1729. The style of Part II is now referred to as “of late maturity” andcharacterised by an abundance of tutti, complex solos, frequentLombard rhythms, and slow tempos (allegro non molto or andantemolto), as well as by intense lyricism. Scholars find echoes of pre­romantic classicism in them, some of his finest work.

Concertos No. 2in G major RV189, No. 3 in C minor RV202, No.4 in F major RV286, No. 5 in B minor RV391 (con violinscordato), No. 10 in E major RV271 (L’amoroso), No. 11 in Eminor RV277(Il Favorito), from La Cetra II (1728) constitutes therepertoire on this CD. Violin virtuoso Guglielmo, leads a band of 3violins, 2 violas, cello, double bass, theorbo and harpsichord.

Vol. 13 G. A. Brescianello (1690-1758)Sonatas for GallichoneTerrel StoneDM8013

The compositions on this CD are very fine. Stone, who pennedthe CD essay, is a renowned virtuoso on this little known 18thcentury gallant instrument. Repeated listening of this disc hasonly furthered my enjoyment of it and his spirited playing. It containsnine sonatas (3­5 movements each) covering the major keys (B flat, B,C, F, G). Possibly born in Florence, Giuseppe Antonio Brescianello madehis career as a violin virtuoso in Germany (invited, while in Venice, bythe Elector of Bavaria, to emigrate to Munich), before settling down tonumerous posts at the ducal court of Würtemberg, Stuttgart, where hedied.

16 Volume 28, No. 2

Vol. 15, J.F. Fasch, J.C. Graupner, J.G.GraunConcertos­Arias­SonatasCollegium Pro Musica,Stefano Bagliano, recorder& directionSuzanne Kelling, mezzo­sopranoFabrizioCipriani, violin

Graupner and Fasch, were contemporaries of J.S. Bach andactive in the same part of Germany; Graun was born inWahrenbrück circa 1702 and died in Berlin in 1771. He was theyounger brother of the more famous Carl Heinrich Graun, the notedopera composer. Our Johann Gottlieb worked most of his life at thecourt of Fredrick II of Prussia, where he almost exclusively dedicatedhimself to instrumental music. All three composers musical language isfluent, lively, and their instrumental writing distinctly virtuosic. All threeare currently being focused on, in the concertizing and recording scenesin Germany, Italy, and Eastern Europe.

Recorder virtuoso Bagliano leads this group of seven musicians:recorders, transverse flute, viola, double bass and harpsichord.Mezzo­soprano Kelling has a distinctive voice, perfect for thisrepertoire.

As for his instrument, American born Stone writes: “In manyaspects, the gallichone is similar in construction to the lute.The form of the body is very similar to that of a lute with nineribs, the string length is from 66 to 75 cm, the neck is rather long witha convex fingerboard often with ten frets…The barring of thesoundboard consistently follows a radical pattern below the bridge,unlike the lute….” This CD is generous in timing at 73:07 and what apleasure to the ear! Stone has focused on a little­known instrumentthat deserves a place in today’s early music instrumental lexicon.

17Volume 28, No. 2

Vol. 21 J.F. Fasch& J.C. GraupnerConcertos for Bassoon and OrchestraCapellaSavaria, PálNémeth, flute & directionPaolo Togon, baroque bassoonDM8021

These compositions are in the “gallant” style that becameprevalent around 1730 with its gradual relinquishment ofcontrapuntal writing, a taste for delicate, pleasure­filled bucolicmelodies, and soft dance rhythms. In northern Germany, the old styledied very slowly, with the “gallant” taking on a very peculiar form, quitedifferent from those that developed in France and Italy. In Germany,the two styles were blended more than the new supplanting the olderone. The language that prevailed blended Bach’s mastery of form witha lighter musical approach where the pleasure of making music tookprecedence over respect for the rules or display of erudition. It is in thisspiritual and cultural context that Graupner and Fasch lived andworked. Their revivals are only now being accomplished, as theromantic era sneered at the pre­classical period as facile fluff that wasworthless and to be totally dismissed. This CD proves both thesecomposers have a unique voice of great beauty, thought, and variety.

CapellaSavaria is Hungary’s best­known baroque orchestra,based in the northern city of Szombathly. Togon plays aninstrument copied by O. Cottet, Boutigny (1995) after T.Prudent, Paris (1760). His is superlative under the assured direction ofPálNémeth. CapellaSavariahave recorded other works by Fasch underthe baton of Mary Térey Smith, who lives in the USA.

TabarinadesMusique pour le théâtre de TabarinLes BoreadesFrancis Colpron, flute & directionATMAClassiqueACD22658www.atmaclassique.com

This CD contains fifteen composers from the late 1 6th- early1 7thcenturies: Lambert Beaulieu, Jean d’Estrée, Michael Praetorius,Vincenzo Ruffo, JehanPlanson, Thomas Lupo, André Péchon,

Guil laume Dumanoir, Jacques Arcadelt, Thomas Créquil lon, Girolamodella Casa,Pierre Guédron, Antoine Boësset, Fabrice Marin Caietain and Pierre-FrancisqueCaroubel.

The research that has gone into this CD is prodigious. Numerousarrangements (1 8) were also made by recorder-and-flutes virtuoso,Francis Colpron, for the generous 27 tracks on the recording. Not to

mention the 1 4 musicians on the disc, the names of whom read like an all-starscast of the Montréal early music community.

18 Volume 28, No. 2

This programme is a tribute to the Japanese people in theaftermath of the Fukushima nuclear disaster and the tsunami.In it, the artists create a true dialogue between the spiritualmusic of Japan and the Hispanic world at the time of St. FrancisXavier’s arrival in Japan (1549). Originally recorded in 2006 to markthe 500 anniversary of the saint’s birth, the project had its beginningsin a concert in 1996 at the Abbey de St. Florent­le­Vieil festival.Montserrat Figueras sings Psalms, sung by the saint while in Japan,which were later published in Japan for the tiny Christian community in1605. In 1613, Christianity was banned in the country with a furiouspersecution following. The ManualeadSacramentawas handed downthrough the following centuries clandestinely under the generic name ofPrayer.

The CD has 19 selections with a running time of 60:00. AJapanese folding screen, with a reproduction of a late 16thcentury painting of Portuguese sailors and Jesuitsdisembarking or walking near the shore in a Japanese landscape, formsthe packaging of this CD, a beautiful presentation in booklet form,another innovative idea from Alia Vox.

The Japanese artists on this hauntingly beautiful CD includeIchiro Seki, shakuhachi; Yukio Tanaka, canto &biwa; HiroyukiKoinumashinobue&nokan; Masako Hirao, tenor viola dagamba; plus 15 European musicians under Savall’s direction, andfeaturing the inimitable voice of Figueras. A fascinating encounter ofancient oriental/occidental cultures and traditions, which remind us thatmusic has always been the language of the soul and the heart.

The central figure of al l this effort was a predecessor of Molière, Tabarin,whose real name was Jean Salomon (circa 1 584-1 633), a theatricalgenius of comedy, farce, caricature, mockery and opera buffa. Between

1 61 9 and 1 625,Tabarin and his companywere the theatrical troupe attached to theexiled Queen Mother, Maria de Médicis, at her chateau Blois. Thereafter, theysettled in Paris in the Place Dauphine unti l he retired in 1 628. He was tragical lyassassinated in 1 633 near his country home in circumstances which were neverunravelledand his murderers never came to justice. His art was a skil lful blend ofsong, music, skit, and salesmanship – achest was kept at the one side of thestage to sell opiates, balms, drugs, syrups, and potions for the street theatrecrowds who flocked to his performances. Such was his fame that he is credited asbeing a major influence on the great master of French 1 7thcentury comedy,Molière.

Colpron has brought to l ife a lost artistic genius and his musicalrepertoire. Tabarin’s story would make a great screenplay, operal ibretto, or play, and the soundtrack is ready and waiting, thanks to

Francis Colpron and his group Les Boréades.

Hispania & Japan DialoguesLa CapellaReial De Catalunya&Hespèrion XXIJordiSavall, viol & directionALIA VOXAVSA9883www.alia­vox.com

19Volume 28, No. 2

C. MonteverdiArie e Lamenti&MadrigaliGuerrieri et AmorosiLa CapellaReial De CatalunyaMonserratFigueras, JordiSavallALIA VOXAVSA9884A+B, 2 CDs

Ensemble La Folia is a seven­member group with the followinginstrumentation: Paolo Biordi, soprano & bass viola da gamba,Paolo Faldi, recorders, soprano & alto bombardons, PaoloFanciullaci, cornetto, violone, MarzioMatteoli, lute, Mauro Morini, tenortrombone, Daniele Poli, renaissance guitar and Andrea Perugi,harpsichord. The CD has 18 selections with a total time of 52:23.

The composer Negri was nicknamed “The Trombone”, a famousprofessor of dance.Together with Marco Fabritio daSermoneta,he was one of the greatest dancing masters in16th­17thcentury Italy. Born in Milano in 1536, he died there after1604. Like most of his contemporaries, he assembled the results of hiswork in a treatise, both theoretical and practical. The first edition waspublished in 1602 in Milano as Le Gratied’Amore. The reprint (1604),with the added sub­title Nuove invention di Balli, is divided into threeparts. Most of the compositions were signed by Negri but there is also acertain “M. Stefano” mentioned. CD includes an excellent essay byFlaviaSparapani.

Sieur De Sainte-ColombeConcerts À DeuxViolesEsgalesWieland Kuijken&JordiSavallALIA VOXAVSA9885A+Bwww.alia­vox.com

This recording is the definitive recording for this composers’work performed by the two greatest artists of our generationfor their instrument. It sings from start to finish. Their mutualrespect for Sainte­Colombe and each other is self­evident. Kuijkenplays an anonymous early 18thcentury basse de viole and Savall playsan anonymous late 17th century French basse de viole. The repertoireis as follows: Tome I: ConcertXXVIIBourrasque, ConcertXLVIII LeRaporté, ConcertXLI Le Retour, Concert XLIV Tombeau Au Les Retrets,Concert LIV La Dubois. From Tome II: Concert VIII La Conférence,Concert XLII Le Reporté, Concert III Le Tendre, Concert LI LaRougeville.

20 Volume 28, No. 2

La Sublime Porte Voix d Istanbul1430-1750

Hespèrion XXIJordiSavall, DirectionALIA VOXAVSA9887www.alia­vox.com

DimitrieCantemir (1673­1723) is the central figure in this CDproject. His story is the stuff of epic legends. Cantemir was arenowned historian, man of letters, and musician/composerwho lived half of his life in Constantinople (approximately 22 years)until the sultan allowed him to accede to the throne of hisnativeMoldavia which was under Ottoman rule. After ruling only a fewmonths (November 1710 – July1711), he lost the throne and had toflee after he tried to win a war of independence (fighting alongside ofPeter The Great) from the Turks. He ended his days in Russia at thecourt of the tsars. There, he concentrated on writing on a wide varietyof subjects including literature, theology, music, philosophy, andhistoriography. He wrote a History of the Ottoman Empire, firstpublished in London, 1735, and highly praised in Europe.

Obviously receptive to Istanbul’s open, tolerant spirit while helived there, he has left behind numerous compositions thatremained in the countries music life for decades after hisdeath.

The reign of Ahmed III (1703­1730) was known as “the TulipEra,” a time of unprecedented cultural and artistic progress inthe Ottoman world. Cantemir’s enthusiasm for Turkish music isreflected in his fame as performer on the tanbur (long­necked lute) aswell as composer. He was the author of a book entitled Kitab­Iilm üMusiki(circa 1700) which contained a theoretical section and 366 workstranscribed using a system of notation that he himself invented.

Other composers represented include: HaceAbdulkandirMeragi(1350?­ 1435), Tanburi Mustafa Cavus (1700?­1770),BahuriZade Mustafa Efendi (Itri) (1640?­1712). Also containedon the CD is music from other peoples of the Ottoman Empire:Armenian, Hebrew and Smyrnean compositions.

Sainte­Colombe is still a mystery to us. His private and musicallife is full of conjecture with numerous papers and articlesattempting to unravel more details of his life. Theories havecome and gone in the last twenty years.Maybe it was his own wish toremain silent, allowing his music do all the talking. The French filmTous Les Matins Du Monde made Sainte­Colombe and the viola dagamba somewhat famous, and Savall, of course, being the viol player,benefited considerably from the attention. Still, it is the haunting voicepar excellence, the intimacy and empathetic conversational qualities ofthese compositions that stands out when one listens to the greatmaster of 17thcentury French viol. Kuijken and Savall make theseworks live again!

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Cantos De Muierses En Las TresculturasEduardo Paniagua, directionPNEUMAM236702010www.pneumapaniaga.es

This is a compilation of 15 tracks taken from 14 differentrecordings, by Paniagua, of female voices from three cultures:Spanish Christians, Jews and Muslims in the Middle Ages. Theprosaic CD notes are in Spanish and English, complete with facilehistorical stereotypes, revisionism and anti­religious slant. Notes fauxpas aside, this recording is very beautiful, as is the cover image, adetail taken from one of the pages of Les Trés Riche Heures (1438) ofthe French Duc de Berry. The list of artists is prodigious and can beconsulted on the website.

Antonio VivaldiI l Progretto Vivaldi 2Sol Gabetta, cel loCappella Gabetta, Andres Gabetta, directionSONY Classical 88697932302www.sonyclassical.com

Sol Gabetta has recorded works of Italian composers taken fromthe music collection of SchlossWiesentheid, the home of cellovirtuoso and court diplomat Count Rudolf Franz Erwein vonSchönborn (1677­1754). Two of the original Vivaldi manuscripts and aworld premiere recording of the Giovanni Benedetto Platti (1697?­1763) Cello Concerto in D minor, WD657, were performed by thecount. He also brought Platti (who was a violin/oboe virtuoso) backfrom Italy when he returned from his own grand tour. The Platticoncerto features sophisticated technique in the concertante andfugalsections of the outer movements as well as cantabile melodies forthe solo cello in the central adagio, in this three movement work. Thereis no date given for the work.The adagio reveals a lyricism that isexquisite in its solo lines, prefiguring the brooding emotionalism of theearly Romantic era.

The featured Vivaldi works on this recording are the CelloConcerto in B flat major, RV423,Cello Concerto in G minor,RV416, Cello Concerto in A minor, RV420 and Cello Sonata inG minor, RV42. But the real star of this recording is not any of the fourVivaldi works recorded in a superb fashion, but rather the Leonardo Leo(1694­1744) Cello Concerto in D minor, a sparklingly beautifulcomposition from the contrapuntal genius whom Christophe Roussetand his group Les TalensLyriques have championed over the lastdecade.

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M.-A. CharpentierMusiques pour les comédies de MolièreLa Simphonie du Marais, Hugo Reyne, directionMusiques à la Chabotterie 65010www.simphonie­du­marais.orgwww.chabotterie.vendee.fr/Musiques­a­la­Chabotterie

This excellent tribute to Molière and Charpentier focuses on thestage music of Marc­Antoine, rarely­heard compared to hismyriad liturgical masterpieces that have found a secure placein today’s repertoire. Like Purcell, Charpentier is an exceptionalcomposer for the theatre. This CD is an overview of the entire oeuvrethat Molière and Charpentier created, including: the Overtures from LeDépitamoureux (H. 498, 1679), La Comtessed’Escarbagnas (H. 494,1672) and major sections of Le Mariageforcé (H. 494, 1672), LeMaladeimaginaire<avec les defences> (H. 495 &495a, 1673 & 1674),Le Sicilien(H. 497, 1679), with bonus excerpts fromLesFousdivertissants (H. 500, 1680) andBêtisier (3 miniaturemovements). All texts are given in French, there are no Englishtranslations of the libretti, probably for space considerations, but theCD essays appear in both English and French.

The overture from La Comtesse… is probably the first workCharpentier composed for the theatre, upon his return toFrance, from Rome. La Comtesse… was premiered before LouisXIV at St. Germain­en­Laye palace in 1671 with music by Lully. WhenMolière revived it the next year in Paris for the general public, togetherwith Le Mariageforcé, he commissioned Charpentier to supply newmusical interludes. Reyne writes in his fine CD notes, “The fact thatMoliere chose Le Mariageforcé, his first comédie­ballet with Lully in

The Leo concerto is in five movements: Andantino grazioso, Conbravura, Larghetto, con pocomoto, Allegro dimolto and ending in aFuga. Leo’s work was popular with composers into the early19thcentury. He was seen on the same level as Corelli and Jommelli,but his reputation went into a total eclipse soon after with theRomantic movement’s distaste for all things “Baroque”. He was directorof liturgical music and the Conservatoire di Sant’ Onofrio, Naples, andhas left behind approximately 500 compositions, including six celloconcertos. He deserves a real revival.

Cappella Gabetta, founded in December 2010, is a 12­memberchamber ensemble directed by violinist Andres Gabetta, thebrother of Sol. The French­Argentine Sol plays a Baroque cello(1781) built by Neapolitan maker, FerdinandoGagliano. She hasconcentrated, in her own career, on the little­known cello repertoire ofcomposers Johann Adolph Hasse and Platti. Cappella Gabettais madeup of musicians who have formerly worked with Ensemble Baroque deLimoges, Il GiardinoArmonico, and the Basel Chamber Orchestra. Theyconcentrate on the late Baroque and early Classical repertoire. Thishighly­polished first recording is fine start, for Sol and Andres Gabetta

and their new ensemble.

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1664, is significant indeed: It seems to demonstrate that he wantedto start all over again from the very beginning.” His artisticcollaborations with Lully had been suddenly and permanentlyterminated. There is also an excellent essay by the theatre historianJohn Powell, entitled Molière and Charpentier,www.personal.utulsa.edu/­john­powell/theater/.

The instrumentation follows the royal ordinances (August 12,1673) that Lully ambitiously secured from Louis XIV regardingmusical forces, plays, dancers, and orchestras in the whole ofFrance. A strategy that permanently damaged his reputation, markinghim as the arriviste who successfully and obsessively tried to destroyany potential musical competition. The CD utilizes three singers:counter­tenor, tenor, bass, while the instruments include: flute, oboe,three violins, archlute, guitar, harpsichord. Imagine the cheek of Reyneusing three singers instead of two and seven instead of the sixinstrumentalists legally allowed! Bravo, this marvelous recording bringsthe comedic genius of Molière and the gorgeous theatre music ofCharpentier back to life!

Notes