recordingreviewsEdited by Tom Moore

J. S. Bach Goldberg VariationsAndreas Staier, harpsichord Harmonia Mundi HMC 902058 (CD and DVD) www.harmoniamundi.comThe first time I heard Andreas

Staier in a live concert was during anearly music festival. I was tired andfelt that a whole recital of solo harp-sichord music was more than I couldbear. But time went by fast, andStaier’s playing kept me nailed tothe chair. The man had passion andintelligence, coupled with a rivetingstage presence—the kind thatmakes you want to meet the artistand have tea with him. After that, Ibegan to buy his CDs and was oftenmoved, amazed, and entertained.So, there, it is out in the open: I can-not profess to be a dispassionatecritic. According to Bach’s biographer,

Johann Nikolaus Forkel, “CountKaiserling was often ill and hadsleepless nights. At such times,Goldberg, who lived in his house,had to spend the night in anantechamber, so as to play for himduring his insomnia.… Once theCount mentioned in Bach’s presencethat he would like to have someclavier pieces for Goldberg, whichshould be of such a smooth and

somewhatlivelycharacterthat hemight bea littlecheeredup by

them in his sleepless nights. Bachthought himself best able to fulfillthis wish by means of Variations...”Whether true or false, this storyhelped to shape the posterity of thepiece.While much praised, the Gold-

berg Variations was played less oftenin concert than many other key-board works of J.S. Bach (1685-1750). Evidently this had to do withits length, which could take over awhole recital, and also with its inti-mate nature, intellectually challeng-ing in its intricate twists and turns,rather than any soporific qualities! Ithas been a well-regarded gem and afavorite among keyboard players,

but perhaps not really a crowdpleaser. Notwithstanding the “livelycharacter” that Forkel mentions asthe Count’s wish, there is a shroudof melancholy that envelops thetheme from the start and thatremains undispelled even in thefrizzier variations, or the noble ones.In its long-winded search for itself,the Goldberg Variations seem torequire a small audience, in anintimate setting. Once recordings were available,

they became the natural medium forthe work, and there are countlessexamples of artists who made theGoldberg Variations a goal to reachin their maturity. For the listener, itrepresented a quiet pleasure to behad at home, late in the evening, inorder to clear the mind of the pettyworries of the day and set it into amore spiritual frame for the night.Most of the recordings I cherishtend to be delicate, pensive, andsad—journeys deep into the interpreter’s soul.Knowing Staier’s inclination

towards the brilliant and the ener-getic, I hardly imagined that hewould take a meek or broodingapproach. A lively touch was only tobe expected, but even I was sur-prised to be faced with such a vigor-ous, loud, and vibrant sound. Muchof this can be credited to the instru-ment chosen for the recording, asturdy and impressive harpsichord(made by Anthony Sidey, after Hass),with a huge tone and a widepalette; and some of it can be attrib-uted to the miking—very close tothe soundboard, making us feel attimes as if we were inside the instru-ment. Make no mistake, however;these are all Staier’s personal choicesand they perfectly match his vision. Is this bad? Well, it jolts the ear a

bit in the beginning, especially if youare in the suave music mode. Butafter the initial shock, it capturesanother dimension of the work, onedisplayed with flair and conviction. Ihad the impression of hearing acompletely different composition,the kind that sends sparks flying. Itwon’t replace my former image ofthe Variations, one of serenity andacceptance. But it is personal, inter-esting, and gripping in its own way.This is a full-blooded performance,

one that most certainly will not lullyou to sleep. On the other hand, itmay make you re-shape your notionsabout sonority, intentions, and stylein Bach. The accompanying bonus DVD

(About Bach’s Goldberg Variations, afilm by Christian Leblé) is as close asmost of us will ever get to meetingStaier and having tea with him. Itpermits us to hear him talk aboutthe music he loves with intelligenceand affection and is a welcomeaddition to the package.—Laura Rónai

J. S. BachDie Kunst der FugeGavin Black, harpsichord;George Hazelrigg, harpsichordCD or download available fromwww.theartofthefugue.comBach’s music is set apart from

that of his contemporaries by bothits extraordinary compositional skilland its uncanny empathy with thelistener. The latter is most evident inthe great sacred works such as theSt. Matthew Passion, the Magnificat,the B Minor Mass, and all thoseastonishing cantatas. His composi-tional mastery of harmony, form,and above all counterpoint is bestevidenced in the keyboard worksand the collections MusikalischesOpfer and Die Kunst der Fuge (TheArt of the Fugue). This excellentrecording of Bach’s last and mostintriguing work is delightful, insight-ful, and extremely well executed andrecorded.As an art form, the fugue has

become the terror of entering grad-uate music students and a Holly-wood staple for meaningful drama.This recording reminds us that thefugue can also be fun; each subjectentrance, permutation, or mutation,each harmonically winding episode,should fill us not only with profoundrespect for Bach’s craft but alsoimpress us with his genius fordrama. By using the same subjectfor every fugue in Die Kunst derFuge, Bach offers a double serving;each new fugue demonstratesextraordinary skill, at the same timegratuitously playing with and grati-fyingly delighting our intelligence.Much scholarly ink has flowed to

explain how Bach meant this work

to be performed instrumentally andwhat is to be done about the unfin-ished final fugue. The performers,George Hazelrigg and Gavin Black,director of the Princeton Early Key-board Center, have made an excel-lent choice in dividing the contra-puntal voices between two larger-model German harpsichords. Bydoing so, they clearly bring out eachvoice through registration, colorshifts, and a healthy dose of the lutestop. Even the complex mirrorfugues and the famous unfinishedfinal fugue on three subjects—hereabruptly ended—have a pristine clar-ity. However, to credit the instru-ments alone is a disservice to

Messrs.Black andHazelrigg,who ablyphrase andshape theindividualvoices and

employ a transparent and accessiblestructural approach to each separatefugue and canon. The result is to give Die Kunst

der Fuge a lightness of touch miss-ing from many other recordings andto remind us that, for all his north-ern Teutonic sobriety, Bach can be alot fun to listen to as well.—Lance Hulme

Heinrich Ignaz Franz von Biber

Mensa Sonora; BattaliaBaroque Band, Garry Clarke, directorÇedille Records CDR 900000 116www.cedillerecords.orgThat Heinrich Ignaz Franz von

Biber (1644-1704) has not remaineda household name on the level ofother Baroque luminaries is an injus-tice to one of the most talented andversatile composers of that era. Itmay be that his relative obscurity isdue, like Corelli’s, to his belongingto the middle Baroque, a timebefore the full maturity of the com-positional techniques that mark theperiod and remain its legacy. In anycase, the Salzburg-based Bohemianwas reportedly the greatest violinistof his time, particularly known forthe many virtuoso violin works, suchas the Mystery Sonatas and Harmo-nia artificiosa-ariosa, that employ

16 Winter 2010 Early Music America

Early Music America Winter 2010 17

scordatura (retuning the strings toallow greater harmonic and contra-puntal flexibility). His phenomenaloutput ranges from the profundityof the Missa Salis burgensis to thehumor, flash, and panache of theBattalia heard on this CD. Andrew Manze’s 1995 Gramo-

phone award-winning release, Biber,Violin Sonatas, helped to redress thegap in public awareness of Biber’s

music. ThisCD from theChicago-basedBaroqueBand addsto his justifi-ably growing

reputation. The six Mensa sonorathat comprise the first part of theCD are “sonorous table” partitaswritten for Biber’s patron the Arch-bishop of Salzburg and were intend-ed to accompany formal dining.Unlike the more virtuosic solosonatas, these partitas do not usescordatura, instead concentrating onmelodic development and harmonicand formal ingenuity. The BaroqueBand provides a truly musical andprecise musical interpretation, mak-ing me regret I am not able to expe-rience their Chicago concerts. Theensemble uses multiple performerson each part, which creates animpression of grandeur not heard inother recordings. Each Mensa sonara has its indi-

vidual appeal. Collectively they aredelightful for the connoisseur, but Ido wonder whether they are a littletoo much the same to appeal as aset to the casual listener. In any case,the final selection is a perfect anti-dote. The well-known Battalia is abattle piece typical of the period butextraordinary in its use of extremedissonances and scraps of folksongto represent the battle between theEuropean West and Turkish East. Iplayed Battalia for my first yearmusic theory students. They wereenthralled. I have heard a number ofrecordings of this raucous, splashy,and yes, perhaps a little trashy,work, but the Baroque Band’s per-formance has become my favorite.—Lance Hulme

Anna BonLa virtuosa di VeneziaLa Donna Musicale,Laury Gutierrez, directorLa Donna Musicale LA10104www.ladm.orgAnna Bon (c.1738-after 1770)

was the daughter of highly success-ful figures in the world of opera: her

mother was a singer and her fathera scenographer. This gave her theopportunity, not open to manywomen in the 18th century, toreceive a stellar professional musiceducation at the Ospedale dellaPietá (the same institution whereAntonio Vivaldi taught for manyyears) and to pursue a vocation asharpsichordist and composer. Itseems she spent her early years trav-eling as a harpsichordist with herparents to courts across Central andEastern Europe. Although her exactitinerary remains unknown, she wascertainly engaged at the court ofFrederick the Great’s brother-in-law,the Margrave of Brandenburg-Bayreuth, and then at the Esterhazycourt (within a year of Josef Haydn’sappointment there as Kapellmeister). The members of La Donna Musi-

cale have devoted themselves tounearthing and performing music byearly modern female composers,and they make a sympathetic casehere for Bon’s music. Most of thechamber works on this recording,which Bon composed early in herlife, have been explored on discbefore, but here the group experi-ments with the instrumentation ofall the works, with attractive results.Two of the three sonatas for fluteinstead feature the violin (which alsosubstitutes for the flute in the Diver-timento) and pardessus de viole,respectively, with the viola da gamba

joining thefortepianoas contin-uo instru-ment. Thedecision touse mem-bers of the

viol family—one as a melody instru-ment and one as bass accompani-ment—is unusual for music com-posed so late in the 18th century,but it is fitting in light of the factthat even as the viol was abandonedsouth of the Alps, it enjoyed a finalefflorescence in Germany well intothe last quarter of the century. Inthis case, the caressing tones of theviol family suit the subduedgalanterie of these works perfectly. The vocal works are all first

recordings, with Julianne Baird lend-ing her lovely soprano to two of thethree sacred pieces. The attention-grabbing heart of the disc is theoffertory Ardete amore, an urgentexhortation to the faithful to “burnwith love” in praise of God. Martialhorns, a flurry of restless figurationson the strings, and continuallyshape-shifting tempi set a theatrical

ATMACLASS IQUE .COM

Nobil DonnaMusic at the Barberini Palace

Suzie LeBlancSoprano

La Nef

Giovanni-Felice SancesGiovanni Girolamo Kapsberger

Stefano Landi Marco Marazzoli

Giovanni Battista Vitali Benedetto Ferrari Bernardo Storace

Girolamo FrescobaldiLuigi Rossi

Giovanni Pierluigi da PalestrinaRiccardo Rognoni

ACD

2 26

05

Phot

o: T

ara

McM

ulle

n/ A

TMA

18 Winter 2010 Early Music America

New from Plectra MusicNew from Plectra MusicWorld Premiere Recording of the 1627 Ioannes Ruckers Harpsichord

Complete Harpsichord WorksElizabeth Jacquet de La Guerre

Available December 2010

www.plectra.org

Lost in Time PressNew works andarrangementsfor recorder ensemble

Compositions byFrances BlakerPaul AshfordHendrik de RegtHarold Owenand others

Inquiries:Corlu CollierPMB 3092226 N Coast HwyNewport, Oregon 97365www.lostintimepress.comcorlu@actionnet.net

Early Music America Winter 2010 19

stage for the vocalists, who exploitthe frequent dynamic changes intheir parts to great dramatic effect.These are excellent performances ofdelightful music by an enigmaticcomposer.—Berna Can

Dr. John BullComplete Works for Keyboard, Volume IMahan Esfahani, Peter Watchorn, harpsichordsMusica Omnia MO0301www.musicaomnia.orgThis excellent two-CD set is the

first release in a projected series ofthe complete keyboard works ofcomposer, virginalist, organ builder,and early-Baroque bad boy Dr. John

Bull (c.1562-1628). Therehas been along lagbetween therecordingand releaseof this set. I

hope that future re leases will bemore timely, since a comprehensivecollection of this great composer’sworks is long overdue.Bull’s colorful biography belies

the seriousness of his compositionaloeuvre. Very early on he enjoyed thepatronage of Elizabeth I and laterJames I, but he was forced to fleeEngland, having sired a child out ofwedlock. His career and life ended atAntwerp Cathedral, where heclaimed refuge as a rather dubiousrecusant Catholic. These colorfulhighlights, including a possible stintas spy, are contrasted with anOxford doctoral degree, a profes -sorship at Gresham College, andconsistently erudite and musical production.Were one to judge Bull’s works

by the examples in the FitzwilliamVirginal and Parthenia, it might betempting to regard him as a sort ofElizabethan Oscar Peterson—popu-lar dance suites ornamented by run-ning scales. But much of Bull’s out-put reflects far more complex com-positional approaches, includinginventive variations and grand con-trapuntal works. These CDs includeworks from the more popular publi-cations, and this reviewer happilyawaits the more involved works insubsequent releases. Music Omniaowner Peter Watchorn is not only a

performer and scholar but also aninstrument builder. He trades offperformances with Mahan Esfahani,presently artist-in-residence at NewCollege, Oxford. Both interpretersprovide excellent and particularlycrisp interpretations, using threeharpsichords, each modeled on adifferent instrument. It would take afar more nuanced ear than mine todifferentiate between the threeequally fine instruments or, for thatmatter, between these two talentedkeyboardists. Notable in the actualrecording is the lack of action noise,a particular benefit from having aharpsichord builder as producer andperformer.—Lance Hulme

William Byrd Gradualia (1607)Ensemble Plus Ultra (Grace Davidson, Sally Dunkley, ClareWilkinson, Warren Trevelyan-Jones,Thomas Hobbs, Matthew Brook,Jimmy Holliday, Michael Noone,director); Robert Quinney, organ; Musica Omnia MO0302www.musicaomnia.orgOne of the joys in listening to

new recordings of early music iscoming across a group that under-stands one-on-a-part singing.Ensemble Plus Ultra is definitely agroup that fits the bill, and for avariety of reasons. First of all, theseven singers featured on this discblend exceptionally well together,creating a rich, mellow, and unifiedsound. Secondly, they sing with clar-ity, both in the imitative sections andin the more homophonic ones; thelistener can clearly hear where eachindividual singer is in the mix, andthat transparency is most welcome,especially when the music is as com-plex as that written by William Byrd(1540-1623). While the group could have cho-

sen any of Byrd’s 109 pieces fromthe Gradualia, the ones selectedhere are those he wrote for thefeasts of Saints Peter and Paul andfor the Blessed Sacrament and Cor-pus Christi. A setting of the Englishpoem “Why do I use my paper, inkand pen” is included, featuring thegorgeously warm voice of alto ClareWilkinson, accompanied by RobertQuinney on organ. Byrd originallyset the poem for five voices, but Ihave more frequently heard it per-formed as a solo with viol consort.

The organ was an excellent choice,working exceptionally well with thetimbre of Wilkinson’s voice, andsince it is featured on a number ofsolo fantasias interspersed amongstthe vocal numbers, it unifies thevocal and instrumental portions ofthe recording. Bookending theseworks are two more Latin motets,his Circumspice Hierusalem andVenite exultemus Domino, bothhighlights of the disc.In the liner notes, Michael

Noone gives an amazingly detaileddiscussion of the cultural milieu inwhich these pieces were written—the tense years of the English Refor-mation, in which any hint of Catholi-cism was grounds for arrest and per-haps even execution. Despite therisks, Byrd continued to associatewith Jesuits and publish Catholiccompositions (or Catholic-lite, seeingas how at times the text was tooprovocative and only the incipitswere given), often treading perilous-ly close to treason by doing so.Noone urges that the listener hearthe pieces within this context, as“virtuosic cries for justice and free-dom.” While I would agree that theperformance is beautifully virtuosic, I

can’t quitesay that itreminds meof a cry forfreedom. Forthat, I’dneed moreedge, more

bite, more dynamic contrast, morerage—but that might be asking forsomething a little too anachronistic.Instead, the recording is a glimpseof secret music in a hidden chapel. Itis sensitive and nuanced, able to slipeasily in and out of the differentmetrical moments that Byrd givesus, nicely bouncy in the joyousmoments and gently grieving in thesad ones. It’s a most welcome con-tribution to the catalogue of Byrdrecordings, both for its scholarshipand its musicality.—Karen Cook

Pierre FévrierPièces de clavecinCharlotte Mattax Moersch, harpsichordCentaur CRC 3084/3085 (2 CDs)www.centaurrecords.comUnless you are a harpsichordist,

the name of Parisian keyboard mas-

ter Pierre Février (1696-1760) hasprobably never come to your atten-tion. His 1734 volume of pieces wasrepublished in facsmile as early asthe mid-1970s; the second volume(probably from 1735) was longthought to be lost (Grove still lists it

thus), butwas redis-covered andrepublishedabout 10years ago. Inaddition tothese two

books, there are three cantatas tohis credit that survive. It is surprising, given the high

quality of the music, that CharlotteMattax Moersch is the first to releasea collection devoted to Février.Although most of his contempo-raries were moving in the directionof a simpler, more Italianate music,these works still retain a high level ofseriousness (even if only one suiteopens with the traditional alle-mande). Mattax brings this musicacross with style, the sort ofpanache that can make listenersthink that only French Baroquemusic is the pinnacle of good tasteand refinement. At times she pushesthe music as far as it can go; forexample, in La Delectable, markedtrès gracieusement, the motion isstretched to the uttermost. Thesound and tuning of the 2009instrument by John Philips, after anoriginal by Dumont, are marvelousand beautifully captured. —Tom Moore

Johann Jakob FrobergerSuites Nos. 2, 7, 8, 9, 10, & 12Christophe Rousset, harpsichordNaïve/Ambroisie AM 148 www.naive.frGenerally recognized as the first

great German harpsichord compos-er, Johann Jakob Froberger (1616-1667) travelled extensively, facilitat-ing the widespread dissemination ofhis works and making him a figureof enduring international repute. Hisinfluence extended well beyond hisgeneration to composers such asBuxtehude, Pachelbel, Handel, andJ.S. Bach; even Mozart andBeethoven copied his works. But itwas through a contemporary thathis voice established its mostunadulterated stylistic legacy.Around 1652, Froberger traveled toParis and captivated an impression-able Louis Couperin. In turn, the ris-ing French composer infused hisburgeoning national style with fea-tures of the German’s music.

RECORDINGreviews

Froberger did incorporate somecodified French customs into hisharpsichord suites; he particularlyadmired Chambonnières’s composi-tions. But thanks to the success ofCouperin and his followers, Froberg-er’s own stylistic contributionssound as if they have a decidedly“French” dialect: the complex har-monic progressions in the Alle-mande of Suite X, the jarringchordal juxtapositions in theCourante of Suite IX, and the metri-cal ambiguity in the opening

“Lament” ofSuite XII, atechnique thatbecame themodel forCouperin’sunmeasuredpreludes. Not

surprisingly then, in this latest albumof Froberger’s harpsichord suites,Christophe Rousset, who has record-ed critically acclaimed performancesof works by Couperin, Rameau, andLully, makes a comfortable and ele-gant transition within the FrenchBaroque tradition.The profound introspection of

Froberger’s suites demands a skilledand sincere expression to illuminatetheir intensely personal character;the composer even stipulated thathis manuscripts be destroyed uponhis death, asserting that no otherperformer could correctly interpretthem. Rousset’s poignant perform-ance lends the pieces an air of sub-lime mystery. On the whole, he playswith a discerning sense of metricalfreedom—tempered by somewhatlivelier tempi than other recentrecordings—which serves to enunci-ate delicate phrasal structures andprevent somber moments frombecoming incoherent or dull. Rousset chose an appropriate

instrument for this performance.Constructed in 1652 (roughly con-current with Froberger’s Parisianjourney), it is one of only six surviv-ing harpsichords created by the cele-brated Flemish builder JohannesCouchet, grandson of Hans Ruckers,patriarch of the famed dynasty ofharpsichord builders. The instrumentexhibits a rich and resonant toneevenly throughout its range, itsmagnificent timbre well-served bythe excellent sound quality of thisrecording. Froberger exploited the

harpsichord’s full compass, andCouchet’s instrument responds well,from the melancholy of the low tes-situra in the Allemanda of Suite II tothe famous C major “ascent to heav-en” that concludes the “Lament onthe loss of Ferdinand IV” in Suite XII.This attractive collection is a trib-

ute to both Froberger’s emotive andeloquent suites and Rousset’s vividand learned artistry. —Jeffrey Palenik

Joseph Haydn Orlando PaladinoMarlis Petersen, Tom Randle, PietroSpagnoli, Magnus Staveland;Freiburger Barockorchester, RenéJacobs, director; Nigel Lowery andAmir Hosseinpour, stage directors:Oper Unter den Linden (Berlin)Euro Arts 2057788 (2 DVDs)www.euroarts.comAlthough this work lacks the

inspired genius of Mozart, it is unfairto Haydn (1732-1809) to imply thathis most performed opera is in anyway inferior. The vocal and instru-mental writing are masterful, and ifthe libretto falls short of Da Ponte,the hallmarks of Haydn’s personalstyle—sudden Neapolitan chordshifts, for example—make for adelightful work. Orlando Paladino isa dramma eroicomico, a satiricalopera seria, which allows Haydn toemploy the entire spectrum of oper-atic writing, from comic folksong-like melodies to dramatic bravuracoloratura passages.René Jacobs’s direction is typical-

ly fresh and balanced, and the Frei -burger Barockorchester performs

with humorand lightnessof touch. Tosay the cast isuniformlyexcellent isnot todetract fromeach singer‘sindividualappeal. All

roles are wonderfully cast and per-formed with attractive voices anddramatic craft. As for the direction,this reviewer saw derivative PeterSellars-influenced Regietheater over-shadowing excellent performances.Eighteenth-century characters scurryabout in 21st-century flea marketcostumes on a Tim Burton night-

mare Christmas-tree market set.Why, during Pasquale’s Leporello-esque aria, must we be divertedfrom excellent singing by freneticgesticulations? The irony of this sortof stage direction is unnecessary inan already genre-mocking work.The cinematography rightly

varies close-ups and full-stage view-ings. The DVDs have no supplemen-tal biographies or commentaries. Iwould have liked a discussion withJacobs on his use of pianoforte inthe recitatives and some musicologi-cal musings about an excellent per-formance of an unjustly neglectedopera.—Lance Hulme

Josef MyslivecekComplete Wind Octets and QuintetsL’Orfeo BläserensembleCarin van Heerden, directorCPO 777 377-2 www.cpo.deOne of many musicians who left

Bohemia in the 18th century to pur-sue musical careers in various Euro-pean cities, Josef Myslivecek (1737-1781) ended up being the only oneto gain renown in the birthplace ofopera, a genre to which he con-tributed prolifically. Affectionatelynicknamed “Il Boemo” by Italianmusic lovers, who were quick toembrace the composer’s fiery musicbut reluctant to master his exoticname, Myslivecek spent the greaterpart of his life in Italy, where his dra-matic works enjoyed acclaim in illus-trious opera houses in such cities asNaples and Venice. It was in Bolognathat Myslivecek developed a warmfriendship with the Mozarts, fatherand son, and it is from their corre-spondence that readers can glean,along with some of the more gos-sipy details of Myslivecek’s life, thehigh regard in which both held his music. The quintets, for pairs of oboes

and horns with bassoon, are appeal-ingly tuneful works, though theirbrevity allows for little thematicdevelopment. The oboes frequentlycarry the cantabile passages, whilethe bassoon, which in most move-ments plays a busy supporting rolein the background, moves in for itsjocular close-up in the Quintet in GMajor, and the excitable horns mus-cle their way to prominence in the

Quintets in D, F, and E-flat. Theunadulterated happiness of thesequintets is a chief source of theircharm, and it gives one pause toconsider that Myslivecek most likelycomposed them in the last monthsof his life, when he was disfiguredby illness, facing public rejection ofhis latest works, and reduced topoverty. The octets are more substantial

musically, and the instrumentalistsare often asked to test theirendurance and agility, which themembers of the L’Orfeo Wind

Ensemblehandle withconsummateskill andsense ofease, thehorn playersdeserving

special mention for their sharplyrobust intonation. The kaleidoscopicvariety that Myslivecek imparts totexture in these octets stops short ofextending to mood; all movementsare resolutely cheery affairs in themajor mode. Tantalizingly briefglimpses of deeper waters flicker atunexpected points in several move-ments, such as the last two of thefirst octet and first two of the thirdoctet, but they are quickly aban-doned in favor of a suaver brand ofentertainment. —Berna Can

Oswald von WolkensteinSongs of MyselfAndreas Scholl, countertenor, Kathleen Dineen, soprano; Shield Of Harmony, Crawford Young, directorHarmonia Mundi HMC 902051www.harmoniamundi.comTyrolian poet and composer

Oswald von Wolkenstein (c.1377-1445) is a key transitional figure inmusic history in more ways thanone. Musically, his songs marked atransition from minnesanger (earlylyric love songs and poetry) to meis-tersinger. And textually, he seemedto be moving from bardic verse tostream-of-consciousness poetry.Reading the texts of many of hissongs feels a bit like reading thediary of a lusty, grumpy old man. We even know what he looks

like; his portrait with one eye closedis almost the iconic image of aMedieval troubadour. He lost the eyewhen the merrymaking got out ofhand at a carnival, which tells you alot about him.Oswald came from a noble fami-

ly and went out into the world at

20 Winter 2010 Early Music America

RECORDINGreviews

Early Music America Winter 2010 21

June 12–19 2011, Boston, MAJune 24–25 2011, The Berkshires, MA

Paul O’Dette & Stephen Stubbs,Musical DirectorsGilbert Blin, Stage DirectorAnna Watkins, Costume DesignerCaroline Copeland & Carlos Fittante, ChoreographersLenore Doxsee, Lighting Designer

by Agostino Steffani (1654–1728)

JUNE 2011FESTIVAL & EXHIBITIONJoin us in Boston for themost exciting Early Musicexperience in North America.Hear distinguished artistsand ensembles in over 100concerts, try out exquisitelycrafted instruments at theworld-famous Exhibition,shop at the one-of-a-kindBEMF CD Store, and more.

DON’T MISS the North American premiere of this operatic masterpiecefeaturing breathtaking sets, elegant costumes, dazzling Baroque stage machinery, andshowcasing some of the finest musicians and dancers in early music today.

Tickets are on sale now!

Amanda

Forsythe,Niobe

Philipp

eJaroussky,Anfione

Learn more atWWW.BEMF.ORG

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.

For more information and to hear samples of the CD,

please visit www.ladm.org

“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 composerfrom the early Classical Era.”

– Bernard Gordillo, Harmonia Early Music podcast.

TIMOTHY NEILL JOHNSON, TenorTIMOTHY BURRIS, Lute

The Songs of Philip Rosseter, Part II

The Songs of Philip Rosseter, Part I

TIMOTHY NEILL JOHNSON, TenorTIMOTHY BURRIS, Lute

2CD set available for $20 at www.cdbaby.com/Artist/MusicsQuill

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

First complete recording of The Songs of Philip Rosseter

TIMOTHY NEILL JOHNSON, TenorTIMOTHY BURRIS, Lute

22 Winter 2010 Early Music America

René Slotboombowed instruments

www.reneslotboom.nl

think beyond the possible SM

HISTORICAL PERFORMANCE PRACTICE FACULTY

DEGREES

think beyond the scoreJulie Andrijeski Baroque Violin, Baroque DancePeter Bennett French Baroque Music, Organ & HarpsichordFrancesca Brittan 19th-century Music, FortepianoRoss W. Duffin Early Music Performance PracticesDebra Nagy Historical Double Reeds & CollegiumDavid Rothenberg Medieval & Renaissance Music

2010-2011 Kulas Visiting ArtistsEllen Hargis, Nina Hinson, Janet Youngdahl, René Schiffer, Marc Destrubé, and Shira Kammen

216.368.2400

info@music.case.edu

music.case.edu

BA, MA, DMA, and PhD in Historical Performance Practice

CONTACT

Early Music America Winter 2010 23

age 10. War service may have takenhim as far as Asia. After his father’sdeath, he tried to extend his ownlands but proved to be rather ham-fisted at it. From 1415 on, he was inthe service of the German EmperorSigismund, who sent him on variousdiplomatic missions. He eventuallybecame involved in a series of legaldisputes with other landowners, andended up spending some time injail. Finally, he was forced to retirefrom politics. He then lived the life

of a countrysquire, but,as his songsmake clear,he hated it.(“I amcaught inmarriage,

which makes me miserable verymuch against my will,” he opines in“Durch Barbarei, Arabia.”)Andreas Scholl is perhaps the

perfect singer for such personalsongs. Each song is a mini-mon-odrama, and Scholl totally immerseshimself in each character. He singswith absolute conviction, embody-ing profoundly almost any emotion.He makes Oswald’s complaints seemlike real blows to the heart, ratherthan merely blows to the ego. Most of the songs are single

melodies, although Scholl does haveone duet with the lovely sopranoKathleen Dineen. We also get tohear Scholl in both his voices—countertenor and baritone—as hecreates a world of character andemotion. The quartet Shield Of Har-mony accompanies him with sensi-tivity and gusto and really shines onthe few instrumental tracks. This CD was recorded in St.

Valentine’s Church in Kiedrich,where both Scholl and his fathersang as a choirboys and where hissister also sang. —Beth Adelman

Georg Phillipp TelemannOuverture & ConcertiAlexis Kossenko, traverso, recorder;Georges Barthel, traverso; JaneGower, bassoon; Alfredo Bernadini,oboe; Lidewij van der Voort, violin;Judith Maria Olofsson, cello; HollandBaroque Society Channel Classics CCS SA 28409www.channelclassics.comThe Holland Baroque Society’s

latest CD, their second on Channel

Classics, explores Telemann’schangeable style via four concertigrossi and one ouverture. A flexibleand energetic ensemble, the societyappoints a new artistic leader foreach project it presents. This time itis 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 quickbiography of Telemann (1681-1767)and a brief but useful description ofeach work and its context in thisthoughtfully constructed program.The promise is that, although eachconcerto is in the traditional four-movement form, each has its uniquecharacter—and the performancedoes not disappoint. The soloists aretreated quite differently in eachwork, from virtuosic passagework toexpressive melody to opposinginstrumental groupings. Perhaps the most striking piece is

the Concerto in G Major for two tra-versi and bassoon, TWV 54:G1,which opens with the wind concerti-no in both the first and secondmovements. The string ripieno isespecially jarring the first time thishappens. Jane Gower’s bassoonplaying is agile and expressive inboth this work and in the Concertoin F Major for recorder and bassoon,TWV 52:F4. Other works include theConcerto in D Major for two traversi,violin and cello, TWV 53:D6, and the

Concertoin B-flatMajor fortwo traver-si, oboe,and violin,TWV53:B2. The

disc opens with the Ouverture in EMinor, TWV 55:e3. This work con-tains the only character piece, “LesCyclopes,” which is particularly successful. The orchestral accompaniment is

shapely and interesting, with snappyarticulation and fabulous intonationthroughout. The soloists are well-matched and simpatico. German-style French music presents interpre-tational challenges, and despitesome rather heavy notes inégales,the Holland Baroque Society does anexcellent job of making it dance.Indeed, what makes this CD a suc-cess is not its programmatic con-

cept—one would expect a collectionof concerti grossi with varyinginstruments to have a certain degreeof compositional individuality—butthat it is really good music per-formed by what is clearly a top-notch ensemble.—Heather Miller Lardin

Double bassist and viol playerHeather Miller Lardin is artistic direc-tor of NYS Baroque in Ithaca, NewYork. She recently received her DMAin Performance Practice from CornellUniversity.

Tomás Luis de VictoriaLamentations of JeremiahThe Tallis ScholarsPeter Phillips, directorGimell Records CDGIM 043www.gimell.comThe Tallis Scholars once more

deliver in Tomás Luis de Victoria’sLamentations of Jeremiah. Thisalbum commemorates the Scholars’50th recording with Gimell recordsand the recording label’s 30thanniversary. Praised as Music WebInternational’s “Recording of theMonth,” the disc “can be said veryfairly to be a celebration of the corevirtues of both the label and of theTallis Scholars.…” The group, found-ed in 1973 by Peter Phillips, isknown for their pioneering work inpromoting Renaissance vocal music,and their interpretation of Victoria’sLamentations does not disappoint.The authorship of the Old

Testament Book of Lamentations isdisputed. Tradition, however, hascredited the source of the lamenta-tions to Jeremiah, a 6th-centuryprophet living in the Holy Land.Known as the “Weeping prophet,”Jeremiah was witness to Jerusalem’sdestruction and Babylonian exile in586 B.C.E. The “Lamentations is adescription of a desolate Jerusalemafter the armies of Babylon haveplundered and destroyed it” (essortment.com). Jeremiah warned the people to

repent their wicked ways, but hispleas fell upon deaf ears. After“God’s judgment,” Jeremiah grievedfor the people and urged them toremain faithful to God, who wouldsomeday deliver them. The musicalinterpretation of such devotion to awayward people and their loving,yet vengeful God requires a defthand. Inspired by Spanish polypho-

ny’s “fierceness” and “mysticism”and Palestrina’s intense restraint,Victoria (c.1548-1611) creates in theLamentations an entreaty of desper-ation and resignation, using tightharmonies to create urgency andbleak acquiescence. The Tallis Schol-ars’ soaring sound and flawless into-nation realize this perfectly. Three lamentations each are pre-

sented for Maundy Thursday, GoodFriday, and Holy Saturday. Each

begins witha Hebrewletter of thealphabetand con-cludes withthe admoni-tion:

“Jerusalem, Jerusalem, turn to theLord your God.” Through carefullycontrolled dissonances and efferves-cent harmonies, each lamentationspeaks of despair and the hope forrenewal.Also included on this album are

the Lamentations for Maundy Thurs-day of Juan Gutiérrez de Padilla(c.1590-1664)—“The best-knownrepresentative of the Spanish schoolof composers in Mexico.” Gutiérrez’sLamentations provide a worthy con-trast to Victoria’s work. This six-voicesetting explores avenues of aug-mented intervals and soaringmoments of homophony. The onlypossible complaint is the Scholars’sacrifice of consonants; often thetext is lost within the lofty melodies. —Heather Strohschein

Matthias WeckmannWie liegt die Stadt so wüsteCantus CöllnKonrad Junghänel, directorHarmonia Mundi HMC 902034www.harmoniamundi.comUntil recently, the musical legacy

of Matthias Weckmann (c.1616-1674) has been absorbed into thehistory of 17th-century North Ger-man composers; many CDs featurehis vocal music alongside works byDieterich Buxtehude, Heinrich Schei-demann, and Georg Böhm. Whilethese albums present a contextualperspective on the musical works byNorth German composers of thetime, Konrad Junghänel and CantusCölln offer Baroque devotees a won-derful alternative. Their newest dischighlights Weckmann’s most poign -ant contributions to the sacred vocalconcerto, a 17th-century genreknown for its musical depictions ofreligious texts. The three sacred con-certos included on this disc—Wie

RECORDINGreviews

Continued on page 57

CARL PHILIPP EMANUEL BACH�he �omplete �orks

RECENTLY PUBLISHED VOLUMES

“Kenner und Liebhaber” Collections IEdited by Christopher Hogwood

---- (xxxii, pp.) .*

“Kenner und Liebhaber” Collections IIEdited by Christopher Hogwood

---- (xxxii, pp.) .*

Keyboard Concertos from Manuscript Sources IEdited by Peter Wollny

---- (xxviii, pp.) .*

Keyboard Concertos from Manuscript Sources VIIIEdited by Elias N. Kulukundis and David Schulenberg

---- (xxiv, pp.) .*

Arias and Chamber CantatasEdited 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.

�e Wilhelm Friedemann Bach Collected Works Edition is also available through our website.

Phone orders: () -Web orders: www.cpebach.org* �ese prices are for direct sales only

Early Music America Winter 2010 57

liegt die Stadt so wüste, Weinenicht, and Zion spricht—are high-lights of North German music duringthe mid-17th century, and the per-formance given by Cantus Cölln is atestament to both the talents of thegroup as well as to Weckmann’scompositional mastery.The three works differ in orches-

tration and musical style. Wie liegt,the first track on the album, is a set-ting of the Lamentations of Jeremi-ah, and Weckmann’s approach tothis piece emphasizes both personaland collective grief. Johanna Kos -lowsky’s performance as the sopra-no soloist is appropriately emotion-al: she treats her solo as a theatricalrole, creating anticipation anddrama through her use of orna-ments and dynamics (her ornamentsin her second solo are extraordi-nary). Wolf Matthias Friedrich, thebass soloist, provides a lovely coun-terpoint to the soprano; althougheach sings separately to express per-sonal sorrow, they join together atthe end of the lament in a com-pelling exaltation of God. In Weinenicht, the orchestra takes up expres-sions of grief; in contrast to Wieliegt, the orchestra cultivates con-trasting themes of lament throughintensely chromatic passages, sus-pensions and sequences, and vari-eties of orchestration (including aninterlude of fanfares that connotes abattle). My favorite piece, the settingof Zion spricht, opens with an affec-tive sinfonia full of dissonance and

chromati-cism. Thesingersare treat-ed as onevoice,singingtogether

or presented in point of imitation asechoes. In each sacred concerto, thesingers perform with a pious devo-tion to musical detail (especiallyregarding ornaments) and religiousaffect. As Peter Wollny’s liner notestell us, these three sacred concertos,found in the Lüneburg autographscore, were composed just afterWeckmann’s wife died of the plaguein Hamburg in 1663; perhaps, asWollny suggests, these laments areWeckmann’s own outpouring ofsorrow.

This disc also includes chambervocal music and two canzonas fea-turing Bruce Dickey on cornett andSimen Van Mechelen on trombone.These pieces, generally shorter andwith more focused affect, illustratethe variety of musical styles thatWeckmann included in his sacredmusic, including imitation, danceforms, and virtuoso vocal writing.This disc is a wonderful addition

to the catalogue of sacred music ofthe 17th century, especially becauseWeckmann’s work has been ratherneglected. Overall, the balance onthe CD is wonderful, something thatis noticed especially during momentswhen the continuo organ (played byCarsten Lohff) cuts through themusical texture. There were a fewmoments, especially during basssolos, when the group drowned out the singer. Despite this minorflaw, Konrad Junghänel and CantusCölln have done a wonderful jobputting together an album thatshowcases Weckmann’s expertise atcomposing affective and dramaticvocal music.—Alison DeSimone

COLLECTIONS

Bolivian Baroque, Vol. 3—Music from the Missions and La PlataFlorilegium, Ashley Soloman, director; Arakaendar Bolivia Choir;James Johnstone, organChannel Classics CCS SA 28009www.channelclassics.comIt’s been eight years since my

“Music in the New World” storyappeared in the Winter issue of thismagazine. At that time the reper-toire was dominated by the seminalrecordings of Gabriel Garrido andhis Ensemble Elyma on the FrenchK617 label. Interest in the music hasgained some momentum since then,and in recent recordings the reper-toire has been championed by Jef-frey Skidmore and Ex Cathedra(Hyperion) and Ashley Solomon’sFlorilegium (Channel Classics).Thanks to Father Piotr Nawrot’sexhaustive research in the archivesof the Bolivian missions, Solomonand company present a program ofvillancicos, polychoral liturgicalmusic, a trio sonata by an anony-mous native composer, and key-

board works by Domenico Zipoli(1688-1726).Villancicos by Juan de Araujo

(1646-1712), Sebastián Durón(1660-1716), Roque Jacinto deChavarria (1688-1719), and Diegode Casseda (fl.1673-94) are sprin-kled throughout the program. Allare performed with the right bal-ance of rhythmic pop and tender-ness. The liturgical works are the

MissaOctavoTono byTomás deTorrejón yVelasco(1644-1728) and

an anonymous Salve a 8. The Velas-co is a nice find that showcasessome delicate writing for the smallvocal group and a richly sonorousmassed choir sound for the fullensemble. Zipoli’s organ music isplayed by James Johnstone on theinstrument at the Mission Church ofSanta Ana, the sole surviving 18th-century organ in the Chiquitania.The organ has a marvelously grainyand pungent sound. The nativecomposer’s trio sonata (Nawrotrefers to them as “Sonatas chiqui-tanas”) is a charmer and features aparticularly galante-styled closingminuette.Much of the heavy lifting is done

by the young voices of the Arakaen-dar Bolivia Choir, the ensemblefounded by Solomon. As heard onearlier volumes, the choir’s brightyouthful sound is very pleasing,despite an occasional bout of me -andering pitch. Florilegium’s per-formances are terrific and do muchto make this series a fine addition to the genre.—Craig Zeichner

Music from the Court of BurgundyCiaramella, Adam Knight Gilbert and Rotem Gilbert, directorsYarlung 05785www.yarlungrecords.comWhen a group plays or records

early music, there are two ways to

go about it. One is to treat themusic as a historical artifact to bepreserved as accurately as possible,and the other is to interpret themusic in the way we understand itscontemporaries to have done. Agroup can definitely do both if it hasthe skill, and Ciaramella has it inspades.On this latest release, Ciaramella

presents an exciting conglomerationof music from the 15th century. Itmight as well be a study indichotomies—sacred vs. secular,soothing vs. raucous, vocal vs.instrumental, loud(s) vs. soft(s). Butco-director Adam Knight Gilbert’sliner notes place the repertorysquarely within the multifacetedmilieu of the Burgundian court, inwhich these categories were flexible,if ever really present. So each pieceis rendered as it might possibly havebeen done in the 15th century,when form, and every other determinant, followed function. Musically, the recording is excel-

lent. The individual melodic line is soimportant in music of this era, and itis especially clear here in the

recorderpieces,where theclose mikingdescribed inthe linernotes allowsthe listener

to hear not only every single lineequally distinctly, but even the tiniestof hasty breaths. Rhythmically, thismusic is quite challenging, butrather than feeling as if there aretapping toes and frantic counting,the performances come off sound-ing playful. “Una panthera” and thethree settings of “Comme femmedesconfortee” are my personalfavorites; if Ciconia or Agricola werejazz, they’d be deep in the groove. Jazz isn’t too far removed from

some of the music of this era—per-formers of that era would have beenexpected to improvise, often takingfamiliar tunes of the day andreworking them or embellishingthem. In that vein, Gilbert treats the

RECORDINGreviewsContinued from page 23

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; recordings@earlymusic.org.Early 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.

listener to his own sets of divisionson “La Spagna” and arrangementsof other well-known songs.On the whole, this is some of the

best early music you can find. Fromthe standpoint of repertory, there’s adelightful mix of more- and less-familiar music, representing all thedifferent musical traditions at court.And as for Ciaramella, their superbsense of motion, rhythm, and phras-ing, combined with their rich sound,create a unified and exceptionallymusical recording.—Karen Clark

New New Nothing, or, English Country Dances of the Seventeenth CenturyShulamit Kleinerman, violin; Jacob Breedlove, Lee Inman, viole dagamba; Charles Coldwell, recorder;Ruthie Dornfeld, Arcana Ferfche, violins; and Lisa Michele Lewis, harpsichordJack Straw Productionswww.shulamitk.netOn this latest release from violin-

ist Shulamit Kleinerman, she pres-ents an eclectic group of countrydance tunes, the majority of whichare taken from John Playford’s 1651The Dancing Master.The recording itself is quite

decent—very clear and crisp, whichmakes it seem as though you’re inthe front row at a performance, orbetter yet, at a dance lucky enoughto feature such fine live music. Klein-erman is herself a dancer, which Ithink is evident in her choice oftempi for the tunes and the waythat the rhythms inherent in eachstyle of tune come forth in her play-ing. As a result, the music feelsinformal, spontaneous, welcoming,even familiar. I applaud, as always, the current

trend in environmentally friendlypackaging, although, of course, theproblem with not providing linernotes is that one has to be connect-ed to the Internet in order to accessthem at any given time. Kleinermanprovides a page of liner notes on herwebsite, but I wish these had beenincluded with the CD for those lis-teners who may not always botherto look them up online. Not only arethey short and succinct, but theyprovide valuable information aboutsome of the changes and additionsthat she’s made to the dance tunes

as they stand in the Playford book.For example, she has added her ownharmony parts to several of them,which of course is probably not faroff from the practice of the day inthe 1600s. However, slightly moreproblematic to my ear are thosetunes where she has altered a key inorder to link it with another similardance tune, or changed a few notesto heighten a sense of modalitymore common to much later Ameri-can string music. While Playfordpurists would most likely be able totell upon first listening that therewere changes made, others mayappreciate knowing this right off thebat. Her changes aren’t unmusical

by anystretch ofthe imagina-tion. In fact,some ofthem arequite imagi-native, 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 piecechosen from a different Playfordbook (The Division Violin). The resultis a very earthy and enjoyablemelange of dances.Almost all of the tunes presented

here are done so as duets. To thatend, Kleinerman has invited a largenumber of other musicians to sit in.Each of them adds something spe-cial to the disc; my personal favoriteswere the lovely recorder variationson “Scotch Cap/Hey Boys Up GoWe/Green Stockings,” the violinduets on “Maiden Lane/Pell-Mell/Europe’s Revels,” and of coursethe harpsichord on the most famousof the tunes, “Greensleeves.” If you like to country dance to

pre-recorded music, this surelywould be a very good recording tohave on hand. The biggest problemwith that, of course, is that if theperformers are there in person, thedance can continue ad infinitum,while with a CD you’re limited to therecorded length of the piece. Withthat said, however, I think that forthose active in English country danc-ing, this would be a fine recordingto have. And outside of a dancecontext, it’s quite pleasant to listento in its own right.—Karen Cook

58 Winter 2010 Early Music America

RECORDINGreviews

Available at VoxAmaDeus.org(610) 688-2800

Christmas motets, carols,dances & Noëls by Monteverdi,Gabrieli, Praetorius, Victoria,Corelli, Purcell & others,for voices & period instruments

Exceptional sound

on a new Lyrichord CD!

Vox Renaissance ConsortValentin Radu, Artistic Director & Conductor

NoëlRenaissance

Early Music America Winter 2010 59

EARLY MUSIC AT

CORNISH CORNISHSEATTLE

apply online atwww.cornish.edu/musicor call 800 // 726 // ARTS

commit to excellence Cornish College of the Arts offers a Bachelor of Music in Composition, Instrumental or Vocal Performance.

Stephen Stubbs, LUTE

Ingrid Matthews, VIOLIN

Byron Schenkman, HARPSICHORD

Margriet Tindemans, VIOLA DA GAMBA

Janet See, BAROQUE FLUTE

Maxine Eilander, HARP

Kris Kwapis, BAROQUE TRUMPET, CORNETTOCORNETTO

Cyndia Sieden, VOICE

Nancy Zylstra, VOICE

Ross Hauck, VOICEVOICE

Early Music ProgramOffering M.A. and D.M.A. degrees in Historical Performance and Ph.D. in Musicology and Early Modern Studies

USC Thornton School of Music FACULTY

Adam Knight GilbertProgram Director, Baroque Sinfonia and Collegium, Musicology Susan FeldmanBaroque Violin, Vielle, Baroque Sinfonia

Lucinda CarverHarpsichord and Continuo

William SkeenBaroque Cello and Viola da gamba

Shanon ZusmanViolone and Viola da gamba

Rachelle FoxVoice and Collegium

Rotem GilbertRecorder, Alta capella, Performance Practice

Paul ShermanBaroque Oboe and Oboe Band

Charles KosterBaroque Bassoon

Scott ShubeckLute and �eorbo

Bruce A. BrownMusicology