Unseasonable Cantatas Provide Pleasant Listening

This seems like the wrong time to be releasing Christmas music, but, um, OK. Johann Philipp Käfer was one of the lesser-known German composers active in 17th-century Europe. He spent most of his career at the court of the Margraviate of Baden-Durlach. Käfer composed operas and other occasional works for the Margraviate. 

Unfortunately, he was soon overshadowed by his successor Johann Melchior Molter. And little of his music has survived. 

Which makes this such an interesting album. Käfer was a gifted composer and melodist. The album includes three cantatas written for Christmas. And each is a well-polished miniature. Käfer apparently had modest forces to work with, but he made the most of them. 

The ensembles have a clean, transparent sound. The counterpoint is engaging, yet easy to follow. And the trumpet lines are just gorgeous. This is the kind of music I'd like to hear at Christmastime in a church setting!

Also included are some other works by Käfer. Was Käfer a rival of Bach? No. But could he explore all the possibilities of the tunes he wrote? Oh, yes. And quite elegantly, too. 

This is a well-recorded album of music that I'm glad I heard. Listen with open ears and you may be, too.

Christmas Cantatas and Instrumental Music by Johann Philipp Käfer
La Protezione dell Musica; Jeroen Finke, director
Arcantus arc 24056

Tempesta di Mare Philadelphia Baroque Orchestra Finishes Fasch Series

 This is the fourth—and likely final—volume in this ambitious series. Johann Friedrich Fasch, a younger contemporary of Bach and Handel, was widely performed during his lifetime but fell into neglect after his death. Only a fraction of his many compositions have survived.

Since 2007, the Tempesta di Mare Philadelphia Baroque Orchestra has made a point of including at least one Fasch work in their concerts. This release, like the previous three volumes, features live performances.

Fasch spent most of his career as Kapellmeister at the court of Zerbst, in Saxony-Anhalt. In 1983, the town of Zerbst/Anhalt established the International Fasch Festival. This recording showcases performances from the 2023 festival.

Stylistically, Fasch stands at the transition to the style galante. His orchestrations are rooted in the High Baroque traditions of Telemann and Bach, yet his melodies possess a lightness and fluidity that anticipate Haydn and Mozart.

Tempesta di Mare delivers superb performances—no surprise, given their nearly 20-year commitment to discovering and premiering Fasch’s works. The ensemble's seamless blend and energetic approach bring out the elegance and vitality of his music. In this recording, Fasch leans more toward the style galante than the Baroque.

This is an outstanding recording and a remarkable series. I highly recommend all four volumes to anyone interested in Baroque music or in tracing the roots of the Classical era. It’s all here.

Johann Friedrich Fasch: Orchestral Works, Vol. 4
Tempesta di Mare Philadelphia Baroque Orchestra
Chandos CHAN 0829

William Christie and Justin Taylor revisit Gaspard Le Roux

I get it. Not everybody likes harpsichord music to begin with. I occasionally get a few disgruntled calls when I air some on my radio program. What would they think of music with two harpsichords?

I may find out -- I intend to air selections from this release. And why not? Performing are William Christie and Justin Taylor -- two of the best harpsichordists of their respective generations. 

And the music is first-rate, too. Gaspard Le Roux was a harpsichordist at the turn of the 18th century. His 1705 publication "Pieces de Clavessin" is unique. Gaspard provided supplemental music for each piece. Music that could be played by a trio, or by two harpsichords. 

William Christie first recorded this material in 1977 with Arthur Haas. Then as now some editing of the original material was necessary. As a team, Christie and Taylor present a fresh take on this material. 

The two instruments blend well together -- as do the players. Le Roux does more than just double lines. He thickens textures and adds counterpoint. The result is almost symphonic on some tracks. 

Christie and Taylor include some two-harpsichord arrangements of other contemporary composers. And wisely so. Hearing a Lully overture and a Marain piece provided welcome breaks. 

This is an album worth revisiting many times. Christie and Taylor are superb players, and they have a real chemistry. My next task is to seek out that Christie/Haas recording and do a little A/B listening. 

Recommended.

Conversation: Gaspard Le Roux
Suites pour deux clavecins
William Christie, Justin Taylor, clavecins
Harmonia Mundi HAF 8905337

Benjamin Alard Happily Performs Bach

Benjamin Alard's chronological traversal of Bach's harpsichord music continues. Volume 9 features music written while Johann Sebastian Bach was in Köthen. This album is subtitled "Köthen, 1717-1723 - The Happy Years." And rightly so. 

Leopold, Prince of Anhalt-Köthen, was a keen musician and appreciated Bach's talents. Bach was Leopold's Kapellmeister and could give his musical creativity free reign. This album features some of those efforts, including the English Suites and the Brandenburg Concerto No. 5 in D major.

Alard plays a 1740 triple-manual harpsichord made by Hieronymus Albrecht Hass. The instrument has five sets of strings and six registers. This allows Alard a great deal of expressive leeway.  The instrument can deliver dramatic changes in volume. Different registers have different timbres, providing contrast for contrapuntal passages.

And the recorded sound of the instrument is remarkably clean. There's no rattling of loose parts, no clack of keys. Just the sound of the plucked string. That pure sound is ideal for Alard's masterful playing. 

His technique seems flawless. And his choice of string and register combinations elevate these performances to a different plane. The music is as expressive as if played on a piano -- only in a more style-appropriate manner. 

A solid addition to this excellent series. 

Johann Sebastian Bach: The Complete Works for Keyboard, Vol. 9
Köthen, 1717-1723 - The Happy Years
Benjamin Alard, harpsichord
Marc Mauillon, baritone
Sien Huybrechts, flauto traverso; Anne Pekkala & Paul Monteiro, violinss; Samantha Montgomery, viola; Ronan Kernoa, bass violin
Harmonia Mundi HMM 902472.73
2 CD set

A Fresh Look at Vivaldi Concertos

Long-time readers know that I'm interested in the unusual. And the albums I review reflect that interest. Can any album of Vivaldi -- especially one that includes part of the "Four Seasons" -- possibly be unusual? 

Why, yes it can. Violinist Théotime Langlois de Swarte has created an insightful program of Vivaldi. It's a collection of violin concerti, but it's unlike any I've heard before. 

Most albums present an assortment of Vivaldi three-movement concerti. And they all have a homogenous sound.

Not here. The musicians perform in different combinations and techniques, depending on the concerto's origin. Some, like the Concerto in A minor, RV 356 were meant for private concerts. Here the ensemble is stripped down to a small chamber group. It's a clean, intimate sound I don't often hear with Vivaldi.

Many of the concertos were written for the young ladies of the Ospedale della Pietà. These concertos, like the one in D minor, RV 813 have a much fuller sound. The Ospedale had some unusual instruments, such as the archlute, ottavino, and a psaltrey. Le Concort uses these to fill out the continuo. They give the concertos a distinctive sound -- and a fresh one at that.

The album also includes concertos written for festivals and special occasions. This is music-making on a grand scale, with multiple soloists and a large ensemble. Le Concert matches the number of players to the type of concerto (private, Ospedale, or public). And by doing so they enhance the character of the concerto. And that's something I seldom hear. This release makes it clear these concertos had different functions and audiences.

And mention must be made of the "Summer" Concerto, RV 315. This is the world premiere recording of the original version. Vivaldi revised these concertos for publication to give them a broader appeal. Hearing what he originally created is revelatory. Especially if you, like me, have heard this concerto far too many times. 

This is an extraordinary collection of music. Théotime Langlois de Swarte is a superb musician; as a performer, as a conductor, and as the curator for this program. Highly recommended. 

Antonio Vivaldi:Concerti per una vita
Le Consort; Théotime Langlois de Swarte, conductor & violin
Harmonia Mundi HMM 902373.74
Two CD Set

Emilio de'Cavelieri: Lamentations

 

Emilio de' Cavalieri was a major figure in the early Baroque. He's credited with writing the first oratorio in 1600. That same year he produced "Euridice" by Jacopo Peri, one of the first operas. 

Cavalieri was also one of the first to write in stile rappresentatvio, or monody. This was a radical departure from the thick textures of Renaissance choral music. 

Cavalieri was also an organist, a dancer/choreographer, and even a diplomat. He wasn't, though, very diplomatic about his rivals. Stile rappresentavio caught on quickly. 

And Cavalieri was quick to ensure his place in history. "Everyone knows I am the inventor of [this style]," he wrote, "and I said so myself in print."

At the very least, Cavalieri realized the expressive possibilities of the new style. This collection presents his settings of Jeremiah's "Lamentations." This text was traditionally sung during Lent, a time of penance. 

Cavalieri's music is wonderfully expressive, wringing the emotion from every phrase. His use of chromaticism can sound advanced even today. And his use of dissonance is superb.

The Profeti della Quinta has been researching this music for a decade. It's only now that they feel ready to share it with the world. Their performances are subtle and effective. It was worth the wait.

Today, Cavalaier's name isn't as well-known as Claudio Monteverdi's and Jacobo Caccini's. This is in part because so little of Cavalieri's music survives. But what remains shows a composer inspired by the possibilities of this new style.

Emilio de'Cavelieri: Lamentations
Profeti della Quinta
Pan Classics PC 10451

Gregor Aichinger: Virginalia, 1607 - Ground-breaking

Gregor Aichinger worked for the House of Fugger in the late 1500s. They were an important international banking family and one with cosmopolitan tastes. With his employer's blessing, Aichenger journeyed to Rome in 1599 to study music.

The year 1600 marked the beginning of the Baroque era. The Baroque movement had new ideas about keys, harmonies, and even musical forms. Aichinger was there at the start. And when he returned to Augsberger, the concepts of the Baroque came with him.

Aichenberger became one of the first German Baroque composers. His compositions incorporated basso continuo, and his counterpoint reflected the new, post-Renaissance ideals. 

This collection from 1607 is an excellent example. It features various compositions venerating the Virgin Mary. There are pieces concerned with the various mysteries associated with Mary. The final section is a paean to the Mother of God, intercessor between mankind and her Son. 

In some ways, this music sounds familiar. Aichinger provides the foundation. generations of German composers would build upon. From Heinrich Schutz to Johann Sebastian, most adopted Aichinger's innovations.

The Concentus Vocum has a smooth, homogenous blend. As recorded, the 24-voice ensemble has full, rich sound. The recording has the right amount of ambiance. There's some echo, but not enough to muddy the music. 

Interspersed throughout the program are some organ pieces by Andrea and Giovanni Gabrieli. This is certainly music Aichinger would have heard in Italy. These musical interludes add to the overall listening experience. They're especially welcome if you're listening straight through. 

Excellent performances of ground-breaking music.

Gregor Aichinger: Virginalia, 1607
Concentus Vocum; Michaelangelo Gabrielli, director
Tactus TC 560101

Jauchzet Gott: Cantatas by Bach, Graupner, and Zelenka

For me, three things blend very well. They are the soprano voice, the clarion trumpet, and Baroque sacred cantatas. Apparently, I'm not alone, as Accent has released an album of just that. 

When done well, the soprano voice and Baroque trumpet complement each other. Both have about the same range. Plus the valveless trumpet sounds best in the high register.

This is a great album. Soprano Magdalene Harer sings with a smooth, honeyed tone. Her performances give the music a sense of the ethereal. 

Hannes Rux' instrument also favors a smoother tone. It doesn't have the edge of a modern trumpet, which is just fine. 

The Harmonie Universelle plays with both precision and energy. And that keeps the excitement level high throughout these works. And what a selection!

Christoph Graupner, Jan Dismass Zelenka, and Johann Sebastian Bach. All three were contemporaries. And all three were among the best composers of the late Baroque. 

Also included are two instrumental selections. Graupner's Concerto for Two Violins in E-flat major GWV 319 features the ensemble's co-directors. Monica Waisman and Florian Deuter have real chemistry, making this an engaging listen.

Bach's Sinfonia in D major, BWV 1045 is the sole surviving section of a much larger celebratory work. It provides a nice contrast between the cantatas. At the same time, it maintains the overall tone of the album. 

As I say -- these types of cantatas work for me. And these performances really make them work. Highly recommended.

Jauchzet Gott: Bach, Graupner, Zelenka
Magdalene Harer, soprano; Hannes Rux, trumpet
Harmonie Universelle; Florien Deuter and Monica Waisman, directors
Accent

William Smethergell Regency Overtures Still Entertain

This release features music by a little-known composer. And to all involved with this project, let me say it was worth the effort. 

William Smethergell was an extremely popular organist and composer in Georgian England. He was of the generation following Handel. And part of the generation that followed Handel's ideals.

Smethergell's orchestral works were regularly performed at the Vauxhall Pleasure Gardens. The audiences had an appetite for the latest music, beginning in the 1740s with Mr. Handel's. Thomas Arne, William Boyce, and John Hebden were just a few to supply that need. 

In the late 1790s fashion changed with the arrival of Haydn. Smethergell and his music lapsed into obscurity. This release features his set of six overtures, published as his Opus 5. These works were written over several years and then collected for publication. 

Each overture has its own character, and in some cases even vary in form. Smethergell had a fondness for winds. He uses flutes, oboes, and French horns far more than other composers of his day. 

I found these pieces fun to listen to. They're light fare, and have an English quality to them. Sorry, I can't be more specific. But if you listen, you should hear it, too. 

The Südwestdeutsches Kammerorchester Pforzheim is directed by Douglas Bostock. The ensemble has a clean, clear sound. Its lightness is ideal for this music. I'm looking forward to Volume 2.   

William Smethergell: Overtures Vol. 1
Sudwestdeutsches Kammerorchester Pforzheim; Douglas Bostock, conductor
CPO 555 540-2

Fantfonis Bring Mauro D'Alay Concertos to Life

Not much is known about Mauro D'Alay. He was born in or around Parma c.1687, and was a violinist of considerable renown. He was attached to the court of Princess Elisabetta Farnese.  And he followed her to Spain when she married King Philip V in 1714. 

D'Alay also did some concert tours. He had a successful run in London, and also in Germany. The works in this release come from that period. 

Five of these concertos were manuscripts preserved in the Dresden Sächsische Landesbibliothek. The Concerto "For Anna Maria" was found in the Conservatory of Venice library. 

Violinists Daniele and Luca Fanfoni had previously recorded D'Alay's 12 Opus 1 concertos. As with those pieces, they edited the music for performance. 18th-century manuscripts require more editorial thought than printed material from the era.

Here the pair, along with the Reale Concerto, have created excellent realizations of this material. The concertos sound fresh and vibrant. D'Alay was an exceptional violinist. And he apparently expected anyone playing his music to be the same.

The Reale Ensemble has a nice, warm sound. The Fanfonis play violins of the period. They have a rich, full tone I liked. Daniele played a Gioffredo Cappa 1690 violin. Luca used a Lorenzo Storioni 1778 instrument.

The two solo instruments blended well. Yet they also had slightly different tonal qualities. And that difference made the duet passages especially effective. 

D'Alay is far from a household name. So it's not surprising that these are all world premiere recordings. And yet the quality of the music makes me ask, "why haven't these been recorded before?

Mauro D'Alay: The Dresden Concertos for violin, strings and organ
Concerto "For Anna Maria"
Daniele Fanfoni, Luca Fanfoni, violin
Reale Concerto
Dynamic