Recording Reviews
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Recording reviews David R. M. Irving others, accompanied by a lively continuo group contain- ing harp, theorbo, viol, and harpsichord or organ. I have Italian (and related) instrumental to admit that I was not quite sure what to expect when I first put this disc in the player; however, I was quickly music of the 17th century won over by the astounding virtuosity of Adam Woolf in executing so deftly and cleanly the sorts of fast diminu- The recordings reviewed here present a whole panoply tions that challenge players of treble instruments such as of repertory, styles, genres and instrumentations from violin and recorder, and by the sheer beauty of his per- the Italian seicento (as well as Italian-inspired tradi- formance in the slower works. It was wonderful also to tions). From violin sonatas accompanied by one plucked hear the assured and rhetorical playing of keyboardist instrument to ensembles with a veritable menagerie of Kathryn Cok—especially on the organ, which she really continuo instruments—and from strict interpretations makes speak. The other members of the continuo ensem- Downloaded from of notation to improvised inventions—we can hear that ble (Siobhán Armstrong on harp, Nicholas Milne on viol early Italian instrumental music provides endless inspira- and Eligio Luis Quinteiro on theorbo) do a splendid job tion for performers and audiences alike. Although many in accompanying an instrument that they would rarely discs reviewed here come from the familiar world (for this support as a solo line; Nicholas Milne also contributes a reviewer) of string-playing, we will begin with recordings stunning performance of the solo line of Ortíz’s recercada http://em.oxfordjournals.org/ that feature some fine performances on wind instruments. segunda in track 6. The liner notes provide some interest- In Il Giardino del mondo: Giovanni Paolo Cima ing context to the construction of this programme: Woolf and his contemporaries (Pan Classics pc 10226, rec 2010, cleverly combines the 19th-century concept of ‘songs with- 64′), the Basel Baroque Consort indulges the listener in a out words’ with the 17th-century conception of the sack- stimulating survey of works by Cima, Alessandro Grandi but (and cornett) as instruments that closely imitated the and Tarquinio Merula. With the sonorous voice of coun- human voice. Hence there is a combination in this pro- tertenor Doron Schleifer and the articulate recorders of gramme of pieces with vocal or instrumental lines played Anna Fusek and Janine Jonker accompanied by a colour- by the sackbut, and of vocal lines which he plays decorated ful ensemble made up of varying combinations of viola with diminutions. In the notes, Woolf also reminds us of at 07988000 on September 25, 2012 da gamba, lirone, archlute, organ and harpsichord, the the close relationship of the sackbut with voices and with beautiful recorded acoustic allows the performers to luxu- plucked instruments. He points out that the descriptions riate in this sumptuous and at times quixotic repertory. by Praetorius, Mersenne and others of virtuoso sackbut Various instrumental and vocal works by Giovanni Paolo players do not add up when we consider the absence of Cima, selected from his important collection Concerti extant music for the solo sackbut; Woolf convincingly ecclesiastici (1610), find an ideal complement in the pieces demonstrates the possibilities that exist in reconstructing by Merula, instrumental and vocal (from his Canzoni the repertory for this instrument, by arranging and adapt- overo Sonate concertate, op.12) and four vocal works ing 17th-century works. In sum, this is a thoughtful and by Grandi (from his volumes of motets). It is both dis- innovative disc, which exhibits not only the expressive tinctive and refreshing to hear early Italian vocal works and technical capabilities of the sackbut, but also the crea- accompanied by recorders rather than violins; these play- tivity and artistic determination of this performer. ers really understand how to support and emulate the We hear more of this instrument on The Renaissance voice with their fine breath control. The ensemble work trombone (Querstand vkjk1012, rec 2010, 64′). This disc is really exemplary, with perfectly synchronized phrasing is the first of a four-volume set entitled ‘The Historical and tastefully executed ornamentation. This disc is highly Trombone’, featuring Ercole Nisini, who is accompanied recommended. here by members of the ensemble Instrumenta Musica. I Adam Woolf’s album Songs without words (SFZ Music found this recording slightly less compelling than Adam sfzm0510, rec 2009, 60′) treats us to the relatively rare Woolf’s, perhaps because Nisini seems less vocal-like in and yet revelatory sound of the sackbut playing the solo his playing. Nisini’s performance is both accomplished lines of some popular and some less well-known works and technically assured—don’t get me wrong—but to my by Monteverdi, Castello, Fontana, Frescobaldi, Schütz and ears it sounded far closer to the ideal of modern trombone Early Music, Vol. xl, No. 2 © The Author 2012. Published by Oxford University Press. All rights reserved.. 325 performance, with a heavier tone all round and a slightly On the disc Con Chitarrone (Challenge Classics more sustained and legato rendition of diminutions. cc72369, rec 2010, 75′), the Leupold Trio mixes canzo- The programme features works by Bartolomé de Selma nas, sonatas and a romanesca by Frescobaldi, Castello, y Salaverde, Diego Ortíz, Giovanni Battista Bovicelli, Gabrielli, Bertali, Marini, Rosenmüller and Cima with Francesco Rognoni-Taeggio, Giovanni Bassano and two solo lute works by Gregory Howet and John Dowland, Monteverdi, alongside an impressive ‘Improvisation finishing the programme with a cello sonata by Vivaldi super Ave Maris Stella’ by Nisini. A special mention (rv44) and Corelli’s violin sonata op.5 no.12 La Follia. The must be made of the splendid dulcian-playing of Monika liner notes present the group as a trendy, contemporary Fischaleck; it is colourful, articulate and expressive. From collective of musicians who got together at an interna- my personal perspective, I found the addition of some tional guitar festival; and yet the writer (who is not one (very metronomic) playing of percussion to certain of the musicians in the group) seems to have missed a works—especially those by Spanish composers—slightly trick or two, claiming that ‘the trio discovered a gaping intrusive. Still, I look forward to hearing the future hole in our harpsichord-dominated early music practice. volumes in the projected four-disc set (which promise Violin or cello sonatas with a chitarrone accompanying, to visit ‘The Baroque Trombone’, ‘The Classic [sic] who does that? Nobody. But why not?’ This seems an odd Downloaded from Trombone’ and ‘The Romantic Trombone’), and I suspect point to make. I have lost count of the number of fantastic that the completed set will be a valuable addition to the performances of a bowed string instrument accompanied collections of lovers of early brass instruments. by a plucked string instrument; it is a commonplace com- As an expedient segue from wind instruments to string bination. Still, the writer of the notes is indeed correct in instruments, let us turn to Theresa Caudle’s impressive pointing out later that there is some greater flexibility in http://em.oxfordjournals.org/ performance with her ensemble Canzona on Violino o touring and performing with a chitarrone rather than a Cornetto (Nimbus Alliance ni 6234, rec 2008, 74′). Caudle harpsichord. The notes are clearly intended for a reader- demonstrates convincingly the interchangeability of the ship that is new to early music, and the disc is likely to violin and cornett as solo instruments in 17th-century be marketed successfully at festivals of contemporary and Italian repertory, using each instrument alternately to play popular music. The packaging aside, however, the perfor- a selection of sonatas and canzonas by Cima, Frescobaldi, mances are assured and artistic, and no doubt make for a Fontana, Castello, Marini, Uccellini and Cazzati. She great presentation of 17th-century instrumental music to then rounds off the programme on violin with works by audiences who are not familiar with the field. at 07988000 on September 25, 2012 Stradella and Corelli. In these days of increasing speciali- The next disc, Ombra e luce: Modena 1665 (Raumklang zation, it is refreshing to hear a performer who is equally rk2905, rec 2009, 63′) demonstrates how expressively adept on two utterly different instruments. And it is quite and successfully violin sonatas can be accompanied by a clear that her experience on one instrument informs her plucked string instrument—in this case Georg Kallweit on expression on the other: Caudle’s phrasing on the violin violin with Björn Colell on theorbo and Baroque guitar. really ‘breathes’, for instance, while her tonguing on the The programme opens with Uccellini’s thrilling Sonata cornett is very articulate and sometimes quite pointed seconda a Violino solo detta ‘La Luciminia contenta’ (from (rather like a good attack with the violin bow at the right his op.4), and continues with popular and less well-known moment). Obviously, though, a work like Biagio Marini’s works for violin and continuo by Maurizio Cazzati, Sonata per sonar con due corde (op.8) needs to be played Giuseppe Colombi, Giovanni Battista Vitali, Giovanni on the violin, because of the double-stopping it entails. Maria Bononcini, Arcangelo Corelli and Benedetto Another work, Cima’s Sonata per violino e basso (1610), is Ferrari, as well as a solo guitar work by Ludovico Roncalli highly popular with recorder players and cornettists, but (from his Capricci Armonici sopra la chitarra spagnola). since it is the first known sonata specified for the violin, A resonant acoustic, as well as deft and articulate passage- it has become a hallowed work for players of that instru- work by the violinist and crisp accompaniment on the- ment; Caudle performs it here on the violin.