The Spin Doctor Europadisc's Weekly Column
Early Music round-up: Some new and recent releases
19th October 2021
19th October 2021
More recently, and of similarly high artistic standard, a clutch of discs has focused on continental repertoires from central Europe. Stylus phantasticus (Reference Recordings FR742) explores the emergence of the ‘fantastic style’ in early Baroque music, from its Italian roots to its uptake in the Habsburg lands by such relatively familiar names as Biber and Schmelzer (repertoire that Harnoncourt and colleagues did much to champion over half a century ago). Violinist Tekla Cunningham is the star virtuoso here, in partnership with Pacific MusicWorks under the experienced direction of Stephen Stubbs; but it’s also a treat to hear the distinctive strains of the Baroque harp, whether solo or coupled with the Baroque guitar, in music by Giovanni de Macque and Francesco Corbetta. With its gaze focused further south, ‘Adriatic Voyage’ (Delphian DCD34260) brings together the voices of The Marian Consort (under Rory McCleery) with the instruments of The Illyria Conort (led by director Bojan Čičić), and we hear plenty from star cornettist Gawain Glenton in 17th-century music with a distinctly Venetian flavour, but which includes marvellous sacred works by such rarely-heard Adriatic Slavs as Vincent Jelich, Ioannes Lukacich and Giulio Schiavetto. And if that whets your appetite, you may also want to investigate ‘The Myth of Venice’, focussing on Glenton’s dazzling cornett playing alongside Silas Wollston on a variety of keyboards in 16th-century Venetian instrumental music by a host of famous and much less familiar composers (Delphian DCD34261).
Venice of a later era is the focus of a splendid new disc from violinist Adrian Chandler and his baroque ensemble La Serenissima. Their previous recording, including several of Vivaldi, have been widely praised (two of them winning Gramophone Awards), and this latest one, dedicated to music by Vivaldi’s contemporary Giuseppe Antonio Brescianello (c.1690-1758), is every bit as fine. The concertos and sinfonias that comprise his Opus 1 have a distinctly Vivaldian cut, but with an assured individuality and engaging solo violin writing (and playing!), while the Overture-Suite that closes the disc combines a venetian appeal with the world of the French Baroque overture-suite (and indeed Telemann’s contribution to the genre). Entitled ‘Behind Closed Doors’ (Signum SIGCD693), it’s eminently enjoyable for those who (like Chandler and his colleagues) want to explore away from the well-beaten track (or canal, if you will…).
Back to earlier English repertoire, and a new recording from the Ensemble Pro Victoria under Toby Ward is devoted to church and courtly works by Robert Fayrfax (1464-1521) from the early Tudor period (Delphian DCD34265). Much of Fyarfax’s music is familiar from the Eton Choirbook, but the big attraction is a reconstructed Credo from a mass written for the private wedding of Henry VIII Catherine of Aragon. The performances themselves are gloriously full-throated and characterful, a hugely welcome antidote for those who find many performances of the Tudor repertoire a tad too precious. As a single-disc tribute to Fayrfax on the 500th anniversary of his death, this ticks all the right boxes, and should be required listening for all who love English music of the Tudor era.
Another very tempting looking disc is ‘An Elizabethan Christmas’, featuring mezzo-soprano Helen Charlston and the viols of Fretwork, in music by Byrd, Anthony Holborne, Orlando Gibbons, Martin Peerson and Thomas Weelkes (Signum SIGCD680). A mixture of the reflective and the exuberant, on an intimate scale, this should be a firm favourite with anyone looking for a musically special festive treat. Meanwhile, recordings marking the 500th anniversary of Josquin’s death are continuing to appear, making up for infrequency (compared, for instance, with last year’s Beethoven bash) with excellent quality. ‘Josquin’s Legacy’, exquisitely sung by The Gesualdo Six under Owain Park, includes some of his greatest music (the meltingly transcendent Nymphes des bois he composed as a memorial to Johannes Ockeghem) alongside that of such contemporaries as Brumel, Isaac, Mouton, de la Rue and Willaert, as well as Ockeghem’s polyphonic tour de force Intemerata Dei mater (Hyperion CDA68379).
Two more striking recent releases deserve mention: Jacobus Regnart (c.1540-1599) is the latest composer to be treated to performance by the luxuriantly stylish Renaissance vocal ensemble Cinquecento in their continuing exploration of musicians with links to the Habsburg court of the period (Hyperion CDA68369). Their accounts of two masses by this figure who Lassus, no less, rated highly is a vital addition to the catalogue. So too is a four-disc collection of the complete works of the complete works (sacred and secular) of Antonio Zacara da Teramo, an enigmatic figure from the late Middle Ages whose contribution to music of the late 14th and early 15th centuries has only recently begun to come into focus (ALPHA640). The exceptionally vivid performances of La Fonte Musica under Michele Pasotti combine pioneering zeal and imagination with expertly focussed scholarship, and the sheer variety of Zacara’s music, often with a surprisingly modern flavour evidently connected with the ars subtilior of the period, is abundantly clear throughout. For dedicated early music lovers, as well as the musically adventurous and inquisitive, it’s an absolute must.
Orpheus Britannicus: A Giant of Early Music
24th November 2021
Among this year’s musical anniversaries and super-anniversaries (ranging from Stravinsky, Mario Lanza and Astor Piazzolla to Jan Pieterszoon Sweelinck and Josquin des Prez), one particular name carries special resonance for British early music lovers. 2021 marks both the centenary of the birth and 50th anniversary of the death of Robert Thurston Dart (3 September 1921–6 March 1971). Known professionally simply as Thurston Dart (and ‘Bob’ to his friends and colleagues), he was an enormously influential performer and academic... read moreread more
Faust emerges from the shadows
10th November 2021
For more than 200 years composers have been fascinated by the story of Faust, a scholar who, unsatisfied with life, bargains away his soul to the Devil in return for unlimited knowledge and pleasures. The consequences of this pact, for Faust, his loved ones and, most crucially, his soul, have proved endlessly fascinating for artists and philosophers alike, and of course the subject has very special resonances for any individual whose life is focussed on the creative process. The Faust of German legend goes back to the Middle... read moreread more
Mozart’s ‘Other’ Operas
2nd November 2021
More than two centuries after his death in December 1791, Mozart’s operas are steadfast centrepieces of the operatic repertoire, from the three Da Ponte operas (Le nozze di Figaro, Don Giovanni and Così fan tutte) to the Singspiels Die Zauberflöte and Die Entführung and the two mature opera serie, Idomeneo and La clemenza di Tito. All these works – composed in little more than the last decade of his life – have been fortunate on discs, from the pioneering Glyndebourne recordings under Fritz Busch and Vittorio Gui, to later... read moreread more
Farewell to Two Musical Greats
26th October 2021
Last week the world of classical music world lost two of the most outstanding artists of the past 50 years and more.
The greatly respected Dutch conductor Bernard Haitink passed away on 21 October at the great age of 92, just two years after stepping down from the podium. His last concerts, at the head of the Vienna Philharmonic in London and Lucerne, were of music by Beethoven and Bruckner, two composers with whom he had become closely identified over the course of his long career. Born in Amsterdam on 4 March 1929,... read more
Keeping the Politics out of it? Part 3: Music and Politics in the 20th Century and Beyond
14th October 2021
As we’ve already seen in previous instalments of this short series, music and social power structures have always been closely connected, whether it be the relationship between musicians and the church or court, or the dominant ideologies of nationalism in the 19th century. Lavish masses and motets redounded to the glory of God or to God’s sacred and secular representatives, while patriotic-style choruses, tone-poems and even art song were used (often co-opted in retrospect) to bolster ideas of national identity, cohesion,... read moreread more