Les Kapsber'girls -- Vox Feminae

According to their website, Les Kapsber'girls look for "new ways of interpreting historical sources," while "exploring the pre-baroque and baroque repertoire."

 And they succeed quite handily. Their previous two albums have garnered some prestigious awards, and no wonder. 

This all-female ensemble is comprised of top-flight musicians. Les Kapsber'girls are quite comfortable performing in a variety of early music styles. And this release is no exception. 

The ensemble derived its name from Hieronymus Kapsberger. He was a virtuoso string player and composer of the early 17th C. This release features several tracks from his published collections of lute and theorbo music.

The program consists mostly of music by women composers. And it's a collection of surprising variety. Barbara Strozzi is represented by several elegantly crafted Italian madrigals. There are some lively selections by Antonia Bembo, a contemporary of Strozzi.

Francesca Campana was the daughter of early opera composer Andrea Campra. Her arias show a real gift for vocal writing. 

Alice Duport-Percier (soprano) and Axelle Verner (mezzo-soprano) sing with clear, rounded tones. And their vocal blend is seamless. They create a beautiful, almost unearthly sound I found quite appealing. 

And the instrumentalists are equally talented. Pernelle Marzorati (triple harp), Garace Boizot (bass viol), and Albane Imbs (theorobo, torbino, and baroque guitar) play with clarity and energy. 

These works are not presented as academic curiosities. This is a program filled with exciting and engaging performances. This is one of the best early music recordings I've heard in a while. Recommended.

Vox Feminae
Les Kapsber'girls
Alpha

The Timeless Sequences of the Liber Ymnorum

 

When it comes to musical source materials, few surpass the importance of the Liber ymnorum. This collection organized and codified the sequences sung in the Catholic Church. 

Notker Balbulus (c.840-912) as a monk working in the Abbey of St. Gall. He was a talented writer and composer. In the 880s, he compiled the Liber ymnorum, and contributed music to it. It's a massive work of liturgical and musicological scholarship. 

Balbulus organized all the music according to the church calendar. Those using the book to prepare a service could easily find the appropriate music. 

Balbulus also carefully notated the music, ensuring its preservation through the centuries. The modern musical staff had yet to be developed. Balbulus used numes -- graphic elements to indicate the rise and fall of the melody. For long and involved sequences, this was a welcome innovation. The choirmaster no longer had to rely on memory. 

The Liber ymnorum is still in use, and Balbulus' compositions are still sung. 

This album features selections from the Liber ymnum, sung by the Schola Antiqua of Chicago. Director Michael Alan Andeson makes some canny programming choices. These sequences are mostly devoice of a strong rhythmic pulse, or harmony. 

Anderson varies his forces, providing contrast between the selections. A sequence sung by a single male voice is followed by one for women's choi, followed by one to two males, etc.   

The recording venue is spot on. St. Josaphat Parish in Chicago provides an open ambience for the sound. There's some echo, but not enough to muddy the music. This was music designed for the church, and that open cathedral sound is part of its DNA. 

The performances are excellent. This is serene, contemplative music designed to enhance worship -- or at least thoughts of the Divine. It succeeds.

Notker Balbulus: Liber ymnorum
Schola Antiqua of Chicago; Michael Alan Anderson, conductor
Naxos 8.579169

Ch'amor mi prese: Sacred and secular love in Medieval Italy

This release focuses on a specific time and a specific theme. And it's an album of great variety and beauty. The time is the turn of the 14th Century, when a new style of music, Ars Nova arose. And the theme is love.

InTactvs presents some delicate, yet intense performances. Their instruments, viella, cirla, oud, and recorders, have soft, warm sounds. But their performances deliver the rich emotional weight of the music. 

There are songs of longing, of separation, reunion, and the simple joy of love. All are performed convincingly. So much so, that no translation is necessary. 

Simone Gatto sings with clear, honeyed tones. She rarely uses vibrato, in keeping with authentic performance practices. Her singing evokes emotion. And she's especially adept at the unusual syncopations that frequent this music. 

The music is mostly from anonymous composers. Francesco Landini has one selection, and music by Matteo da Perugia begins and ends the album. I didn't receive a booklet with my review copy. I'm not 100% sure. But it sounds like the three Ars Nova formes fixes are well represented -- rondeau, ballade, virelai. And there's a nice balance of sung pieces and instrumental works. 

If early music is your thing, this is a fine album to add to your collection. But even if you're not, this music is both calming and engaging. It takes you to a time and place far away. And it's music that can easily be enjoyed with modern ears. 

Ch'amor mi prese: Sacred and secular love in Medieval Italy
InVactvx; Simona Gatto, voice
Tactus TC 300005

John Dustable Returns from Orpheus

If you're a classical music lover of a certain age, you probably remember the Musical Heritage Society. MHS was kind of a Book-of-the-Month Club for music. Each month you received a booklet with their offerings. Some recordings were set to automatically ship to you if you didn't return the form. 

MHS offered a lot of licensed recordings from several labels, both large and small. All were repackaged in plain black-and-white record sleeves (later CD booklets). But MHS also produced its own recordings. 

Some appeared under the MusicMasters label. But many remained out of print -- until now. The Orpheus Label has been resurrected. Their 2,000+ recordings made or purchased by the MHS means there's a lot to choose from. 

And the first round of releases is pretty strong. The label will be rolling out complete Hummel chamber music, and complete organ symphonies by Widor and Vierne. And historic recordings like this. 

Denis Stevens was an early champion of early music. This release, originally recorded in 1961, is significant in several ways. 

It was produced as a tribute to Manfred Bukofzer. He was a major figure in musicology and the preeminent authority on  Dustable's music. It also was intended to mark the 200th anniversary of Dunstable's death in 1453. (There were some special broadcasts marking the event, but no recordings.)

John Dunstable was active in the first half of the 15th Century. His polyphonic works have a distinctive sound. Dunstable didn't follow norms of the Netherlandish School, the standard for sacred music. 

Instead, he arrived at his own solutions for voice-leading and dissonance resolution. And those solutions make his music sound fresh and interesting even today. 

The performances are both enthusiastic and a little loose. There's an energy to early early music recordings that have gone missing over time. The overall sound is a little closed-in, with the extreme highs and lows missing. But in the end, that doesn't matter. 

There is so little John Dunstable available, it's great to have this back in print. And it's now a historic recording in its own right. 

A great start to a label relaunch.   

John Dunstable: Sacred and Secular Music
Eileen Poulter, soprano; Russel Oberlin, countertenor
Michael Brimer, organ
The Ambrosian Singers; Denis Stevens, director
Orpheus

Fiori Musicali Return to Renaissance Roots

According to the liner notes, the purpose of this release is to "uncover the fine thread of cultural exchange between high art music and popular music tradition." Sure, I could hear that. You can also enjoy this release as a great collection of early music hits.

I use the word "hits," because many of these selections are well-represented in recordings. The selections from Michael Praetorius' "Terpsichore" are prime examples. And the selections from Cabezòn, Ortiz, and Vásquez I have on other releases. 

But the Ensemble Mezzo is true to its purpose. This release also includes music from French Baroque composer Charpentier, and early Italian masters Claudio Monteverdi and Barabar Strozzi. And it also has some Greek traditional dances. 

And hearing all of this music together -- late Renaissance, early/middle Baroque, and folk --brings out the connections between them.

The Ensemble Mezzo plays in an energetic fashion, with a slightly rough edge to the sound. It sounds perfectly authentic for the dance and folk pieces. And it pulls the "high art" pieces a little bit closer to the ground -- and helps highlight that connectedness between the works. 

If you're just looking for a program of well-performed early music, Fiori Musicali satisfies. If you're looking for insights, that's where the Ensemble Mezzo's program really delivers. 

Fiori Musicali: Songs and Dances of the 16th and 17th Centuries
Ensemble Mezzo
Stradivarius STR37195

Blue Heron serves savory sounds with 14th C. Salmagundi

What exactly is a salmagundi? According to the liner notes, it's "a savory dish composed of chopped meats, seafood, eggs, vegetables, and condiments." In other words, a kitchen sink dish. I'm not sure I'd enjoy such a dish. But I very much enjoyed this release. 

In this case, the salmagundi is a sampling of various 14th Century composers. And with ingredients like Guillaume de Machaut, Phillippe de Bitry, and Francesco Landini, how can you go wrong?

Blue Heron performs to their usual high standards. The ensemble has an exceptionally clear, pristine sound that serves the music well. 

This was the beginning of the Ars Nova movement, and music could be incredibly complex. Isorhythms and the then-new polyphony require a high degree of precision to make the music work. 

Blue Heron has that precision, and not at the sacrifice of musicality. Their phrasing pulses with emotion, bringing these works to life. 

And their recorded sound is superb. There's a little bit of ambiance to provide warmth and cohesiveness. But the overall sound is still clean and transparent. 

I wouldn't mind a second helping of Blue Heron's salmagundi. 

A 14th-Century Salmagundi
Blue Heron; Scott Metcalfe, director
Blue Heron BHCD 1011

The serene Sonetti Spirituali of Pietro Vinci

Pietro Vinci published his Quattordeci Sonetti Spirituali in 1580. These works are prime examples of the Italian Mannerist School.

The text is by Vittoria Colonna, one of the most popular poets of the day. The poems of the Sonetti Spirituali are religious, but Vinci gives them secular settings.

His florid polyphony compellingly illuminates the text. Every note (and concordance of notes). conveys the emotional content of the poetry. And in some cases, as when melodies rise and fall, the more literal aspects as well.

These five-voice madrigals receive fine performances from the assembled quintet. Anney Barrett, soprano, and Steven Hrycelak, bass, sing the outer voices. The remaining three are all sung by tenors; Matthew Anderson, Jason McStoots, and Michael Barrett.

The resulting vocal blend is actually more diverse than I anticipated. The tenors at times provide a homogenous center that throws the outer voices in relief. But when necessary, they can move apart to make contrapuntal lines easier to follow.

The Nota Bene early music ensemble appears on several tracks, helping to vary the sound of the program. The viols cover a wide range; treble, alto, bass and great bass viols are used. The different instruments help shade the music in subtle ways.

There's a serenity to this music I found quite appealing. If you're willing to take an hour out of your stressful day and turn your thoughts (and ears) to something higher, this is a recording for you.

Pietro Vinci: Quattordeci Sonetti Spirituali
Anney Barrett, soprano; Matthew Anderson, Jason McStoots, Michael Barrett, tenors; Steven Hrycelak, bass
Nota Bene viol consort with Julie Jeffrey, bass viol
Toccata Classics

Krisztián Kováts solves "The Mystery of the Natural Trumpet"

The limitations of the natural trumpet come down to physics. A metal tube vibrates at certain frequencies, and those frequencies have fixed mathematical relationships.

When the tube (or trumpet) vibrates at a frequency in its harmonic series of overtones, a note sounds. The notes of the harmonic series are far apart at the bottom but get closer together as they get higher.

That's why military bugles play mostly three or four notes that skip around. They're on the low end of the series, and they're easy to play.

The same was true with the natural trumpet. Modern trumpets can play any note with relative ease because their valves change the length of their tubing, and thus their harmonic series.

For Baroque trumpeters, though, only at the extreme high register (or clarino register) were the harmonics close enough together to play a scale -- or a melody that was more than just arpeggios.

It took tremendous skill to control the air pressure to create a beautiful tone. And not to just play a single note in the high register, but many, hitting each one with accuracy and control.

It still takes tremendous skill. Krisztián Kováts has it. He plays a valveless trumpet with a pure, singing tone and seems quite at home in the clarino register. The works in this release were composed for some of the best trumpeters of the age, and Kováts is equal to the task. His playing sounds relaxed, with beautiful phrasing.

The works are good, if not great. Johann Wenzel Anton Stamitz might be the best-known composer in the program. Johann Otto, Joseph Riepel, Johann Goerg Lang, and Johann Matthias Sperger aren't exactly household names. But they all composed well-crafted music, and music that served its purpose -- to showcase the trumpet.

What makes this an exciting release are the performances. Kováts plays these works with the instrument they were written for. No mystery here. It's a perfect match.

The Mystery of the Natural Trumpet
Krisztián Kováts, trumpet
L'arpa festanate
Christoph Hesse; Rien Volkuilen
CPO 555 114-2

Anonima Frottolisti demonstrate Humanism in music

I first fell in love with early music through recordings of David Munro. In many ways, the Anonima Frottolisti reminds me of those recordings. The ensemble performs with enthusiasm and energy.

The album is a survey of music heard in 15th Century Italy. The Humanist movement grew out of a rediscovery of ancient Greek writings and culture. Renaissance scholars latched onto Plato's concept that music had the power to stir passions.

And that's the aesthetic behind Anonima Frottolisti's performances -- to stir the passions. Each piece has a strong rhythmic pulse. The ensemble leans into the syncopations and odd meters, give the music added excitement.

The performers don't hold back in their delivery, either. Both the instrumentalists and vocalists have a certain rawness in their tone. To me, it makes these performances seem more authentic.

That's not to say the Anonima Frottolisti is sloppy. Their intonation is spot-on, and their ensemble work is precisely in synch. It's just full-bodied.

The program groups together the selections under five different themes: power, love, celebration, dance, and faith. It gives the album an overarching organization that makes it a pleasure to listen to from start to finish.

Some familiar composers are preset -- Heinrich Isaac, Guillaume de Fay, and Joan Ambrosio Dalza. But most are anonymous. And that's fine. This collection isn't about a group of composers, but of aesthetic. And it worked. The Anionima Frottolisti stirred my passions with their performances.
power love celebration dance faith

From Court to Court: Humanism in Music
Anonima Frottolisti
Tactus TC 400007

A Tudor Christmas delivers the spirit of the age

The liner notes for this release are very clear. This is NOT a historical recreation of a Christmas from the 1600s. Rather, it's sort of an impression of what one might have heard during the holidays in Tudor or Stuart England.

I can accept that premise. Christmas music as a separate genre really didn't develop until the Victorian Age. In the Renaissance, the music of the season was simply the sacred music written for Advent and Christmas.

What was heard in the courts and manor houses? Most likely popular music, performed by whatever musicians were on hand.

David Swinson uses that idea as his starting point. In this case, the musicians available are the eight-voice Trinity Boys Choir and the early music group L'Amonia Sonara.

The program consists of anthems and instrumental tunes related to the season (some only tangentially so).

William Byrd, Thomas Tallis, Anthony Holborne, and Orlando Gibbons are all represented. Marginally seasonal works include John Tavener's "in Nomine," Anthony Holborne's "Cradle Pavan," and John Dowland's "Mr. Henry Noel his Galliard."

The choir has a clear crystalline sound that is the essence of the British choral tradition. The ensemble blend is quite good, with excellent vocal control. The soloists have a nice, rounded tone that's never strident.

L'armonia Sonora provides variety, accompanying the choir with different instrumental combinations.

Both ensembles are small, and the performances quiet and intimate. Perhaps there never was a concert like this back in the day, but I don't think that matters.

I heard a collection of well-performed early music. And these performances seemed to come from an earlier age -- even if it was just in my imagination.

A Tudor Christmas
Trinity Boys Choir; David Swinson, director
L'armonia Sonora; Mieneke van der Velden, conductor
Rondeau ROP8002

The Secret Life of Carols -- not what you think

If you -- like me -- are looking for a seasonal recording with a fresh perspective, check out "The Secret Life of Carols." The early music ensemble The Telling presents a collection of (mostly) familiar carols in intimate performances.

Unlike, say, the Boston Camerata, The Telling doesn't give us the historical development of each piece. Rather, they bring out the ancient yet timeless character of their material.

Soprano Claire Norburn and mezzo-soprano Kaisa Pulkkinen are accompanied by harpists Jean Kelly and Ariane Prüssner. The pure, sustained tones of the singers combined with the quiet sounds of the medieval and Celtic harps cast the music in a soft glow of candlelight.

The arrangements are primarily Medieval, but also personal to the ensemble. "Stille Nacht" isn't performed with guitar (as it was originally). But the two singers and Celtic harp create a hushed sound that recreates the emotional impact of the original.

"Patapan" becomes a stately pavane that runs counter to most arrangements. And yet it seems perfectly suited to the music. Even Johann Sebastian Bach's O Jesulein süß, BWV 493 benefits from The Telling's arrangments. It's also sung as a duet with the Celtic harp. Here the instrument almost has a music box quality to it I found quite charming.

Other stand-outs for me include the 16th Century Catalonian carol "El Noi de la Mare." I was not familiar with this piece before. Jean Kelly's baroque harp reinforces the simple beauty of the tune.

The overall mood of this album is serene directness. Here's the music, simply performed. And yet each track held my attention. Carols I had heard for decades didn't sound the way they always did. Thanks to The Telling for letting me in on the carols' secrets.

The Secret Life of Carols
800 Years of Christmas Music
The Telling
First Hand Records FHR 94

Ockeghem Songs Blue Heron's latest and greatest

There are two things I can count on: blue-chip stocks, and Blue Heron recordings. The former retain their value year after year. The latter produces top-flight recordings.

This new release is no exception. It's the first installment of a new series, traversing the songs of 15th Century composer Johannes Ockeghem.

Ockeghem was one of the most influential composers of his day and an important member of the Netherlandish School.

This release features eleven of Ockeghem's secular songs. The texts come from French court poetry. Ockeghem's music infuses these mannered texts with vitality.

Blue Heron performs to their usual high standards. Their balance between blended voices and individual singers is perfect. I could trace the threads of Ockeghem's complex counterpoint, while still enjoying the overall effect of the music.

Some tracks have instrumental support, though of a limited form. This helps vary the program and adds to the overall listening experience.

Blue Heron continually explores the early music repertoire for the unusual and under-performed. According to their website, the ensemble will be performing Ockeghem's complete works over a series of thirteen concerts. I don't know how many CDs that translates into, but I'm in.

Johannes Ockeghem: Complete Songs, Vol. 1
Blue Heron; Scott Metcalfe, director
Blue Heron BHCD 1010

Spielleyt delights with early Christmas music

The early music ensemble Spielleyt serves up a fresh approach to classical music of the season. Weihnacht der Spielleyt primarily consists of selections from one publication: the Straßburger Gesangbuch of 1697.

Technically, this collection came out in the middle of the Baroque period. But most of the songs are much older than that. And Spielleyt peels the layers away to reveal their Medieval and Renaissance origins.

The ensemble plays a variety of early music instruments; lute, hurdy-gurdy, viols, Celtic harp, recorders, and so on. The ensemble follows the outlines of the music from the Gesangbuch. That is the melody and the bass line.

By swapping out viol and hurdy-gurdy for the expected cello and harpsichord, the ensemble changes the character of the music. To my ears, these selections sound neither Baroque nor completely Renaissance. Rather, they're somewhere in between, almost in the realm of folk music.

Soprano Regina Kabis sings with a clear, pure tone. She uses vibrato sparingly, which also adds to the "ancient" sound of these performances.

There are some familiar selections from Tielman Susato's Danserye and Michael Praetorius' Terpsichore. For the most part, though, the tunes were new to me. I think that added to the appeal. I could listen to the Spielleyt's interpretations on their own terms, rather than comparing them the way I thought they "should" go.

I think Spielleyt was successful in their experiment. This release should appeal to fans of early music -- and especially those who enjoyed Spielleyt's previous releases.

Weihnacht der Spielleyt
Strassburger Gesangbuch (1697)
Spielleyt - Early Music Frieburg
Christorphorus CHE0218-2

Per-Sonat gives Kaiser Maximilian I court music regal treatment

Maximilian I, Holy Roman Emperor (1508-1519) is known for many things. He established the Hapsburg Dynasty in Spain, wrested the Empire from Papal control -- and was a great patron of the arts. This release samples some of the music heard in Maximilian's court.

Most of the works are chansons and lieder, leavened by some courtly dances. Many of the pieces have slow tempos. For me, the overall effect of the program seemed to create a blend of serenity, spirituality, and courtly reserve. And perhaps that was the point.

Per-Sonat delivers wonderfully luminous performances. The softness of the stringed instruments blends beautifully with Sabine Lutzenberger's creamy mezzo-soprano. Some selections feature other voices: Achim Schulz, Richard Resch, Bernd Oliver Fröhlich (tenors), and Joel Frederiksen. The blend of voices introduces a little grit into the mix that I quite liked.

The composers are ones often featured on such recordings: Josquin des Prez, Heinrich Isaac, Johannes Ockeghem, and Adrian Willaert. But there were other, lesser-known composers such as Antoine de Févin and Paul Hofhaimer that added interest.

Overall, I think Per-Sonat successfully depicted the court of Maximilian I or at least one aspect of it. If you're familiar with the woodcut panels Maximilian commissioned from Albrecht Dürer or Hans Burgkmair, these works complement those images nicely.

Kaiser Maximilian I: Lieder, Chansons, Tanze 
Per-Sonat; Sabine Lutzenberger, director 
Christophorus

Baltimore Consort - Food of Love Satisfies

I've been a fan of the Baltimore Consort since their first release in 1990. They consistently deliver excellent performances that balance historical accuracy with honest emotion.

The Food of Love is a collection of music most likely heard in the original productions of Shakespeare's plays. It's a mix of music referred to by the play or incidental music referenced by stage instructions.

The program groups the selections together by plays. The liner notes carefully document the connection between each selection and the play.

Several of these selections will be familiar to fans of early music. John Dowland, "King of Denmark's Galliard" and "Tarleton's Jig" appear in "Hamlet." Thomas Morley's "O Mystress Mine" is here, as well as selections from Thomas Playford's "English Dancing Master."

There are even two settings of "Greensleeves." Also included are music by Anthony Holborne, Robert Johnson, and several anonymous composers.

As always, the Baltimore Consort varies its sound from track to track. As needed, the group forms duets, trios, quartets, and so on.

Soprano Danielle Svonavec also modifies her singing to fit the music's context. Her pure, silvery tones sometimes acquire a little grit.

If you're a fan of the Baltimore Consort (or any of its members), you'll want to add this to your collection. If you're not familiar with this remarkable group -- or early music in general -- The Food of Love provides an excellent introduction. Dig in.

The Baltimore Consort: The Food of Love
Songs, Dances, and Fancies for Shakespeare
Sonos Luminous

Ronn McFarlane - The Celtic Lute goes beyond tradition

By my count, Ronn McFarlane has recorded at least 14 albums of Celtic music, both as a soloist and as a member of the Baltimore Consort. Scottish tunes of the 17th Century were often transcribed for lute (and McFarlane's recorded a good deal of it).

This release presents McFarlane playing his own lute arrangements of Irish and Scottish tunes. And they work really well.

The sound of the traditional Irish harp isn't that different than a lute. Both are plucked stringed instruments with a pleasingly soft attack and warm, intimate sound.

McFarlane is a past master of his instrument (or instruments in this case). For this recording, he uses a 13-course lute. The instrument provides a wide tonal range, letting him change the character of the music by shifting registers.

The tunes are grouped in sets, making the disc a series of small, self-contained suites (or dance sets). A fair number of works by Turlogh Carolan are included, which lay very well on the lute.

The recorded sound is exceptionally fine. Sonos Luminus recorded in DXD at 24 bit, 352.8kHz. What does that mean? On a good playback system, you should hear all the fine detail of the instrument, including overtones.

McFarlane's playing is impeccable, and lovingly delivered. This is music he knows intimately, and his performance shows it. I'd highly recommend this release to anyone who loves early music, Celtic traditional music, and exceptional playing in general. "The Celtic Lute" holds to Ronn McFarlane's high standards of musicianship and taste.

The Celtic Lute
Ronn McFarlane, lutes
Sono Luminus DSL-92225

Christmas on Sugarloaf Mountain - An Irish-Appalachian Celebration

In 2015 Apollo's Fire released "Sugarloaf Mountain: An Appalachian Gathering." This Classical Crossover chart-topper celebrated the connection between Scotch-Irish mountain music and early Celtic and British music. "Christmas on Sugarloaf Mountain" revisits the premise with a fresh batch of tunes.

Rest assured these are no delicate forays into folk music by classical practitioners. Director Jeannette Sorrell grew up in Appalachia, and she knows how this music should sound. Apollo's Fire performed with a rough-hewn enthusiasm that's infectious (especially on the tracks where you can hear them flat footing).

At the same time, there's a coherent, well-documented program behind it all. The album starts with traditional music of Ireland, and gradually progresses through immigrant songs to Appalachian mainstays.

And understand, this is not bluegrass music. Mountain music sticks to the traditional instruments of Ireland, as does Apollo's Fire. You won't hear banjos and guitars. But you will hear fiddles, wooden flutes, hammered dulcimers, and Scottish small pipes.

The ballads, such as "Joseph and Mary" and "Christ Child's Lullaby" are beautifully arranged. Soprano Amanda Powell finely balances between traditional Irish balladry and the nasal, high lonesome sound of Appalachian singing.

This one's going on my short list of favorite holiday albums.

Christmas on Sugarloaf Mountain
An Irish-Appalachian Celebration
Apollo's Fire
Jennette Sorrell, director
AVIE Av 2396

Sandro Volta Gives Unvarnished Performance of Petrucci Lute Music

Ottavio Petrucci was not the first music publisher. But he was the first to figure out how to print complex polyphonic scores. This release collects from his Intavolatura di Liuto (lute tablatures) -- a genre that blossomed thanks in part to Petrucci's innovations.

Lutenist Sandro Volta performs music by Francesco Spinacino, Joan Ambrosio Dalza, and Franciscus Bossinensis. Each composer has a slightly different style. Each composer's works are presented in a block, so it's easy to hear those style changes as one moves through the recording.

Francesco Spinacino 's music was the subject of the Libro primo and Libro secondo of 1507. Spinacino wrote complex, free-flowing ricercares. Included is his most famous work, the "Recercare de tutti li toni" which modulates through all the modes.

The Libro quarto of 1508 collected music by Joan Ambrosio Dalza. Dalza wrote lute music in popular dance forms as well as more formal polyphonic compositions. Dalza's music is simpler than Sinacino's and has an appealing directness to it.

Franciscus Bossinensis had two volumes of Tenoir e contrabassi published in 1509 and 1511. Each of these selections was preceded by a short ricercare, that served as a prelude. Six of them are presented here.

Volta is a masterful performer, a seasoned recording artist, and a Grand Prix du Disque winner. This is material he knows and plays well. And yet, I didn't like this recording as much as I thought I would.

I fault the recording. Listening through a high-performance system, I was distracted by extraneous sounds such as grunts, scrapes, and clicks. Sometimes such sounds can add to the authenticity of a performance. In this case, they didn't (at least for me).

When I played the recording through my everyday system, those issues became almost inaudible, and I enjoyed the music much more. It's a minor quibble, but one to be aware of if you have a high-performance audio system.

Otherwise, I recommend this recording for collecting some of the earliest and most influential lute music from the Petrucci catalog.

Petrucci - Intavolature di Liuto
Tablatures for Lute
Spinacino, Dalza, Bossinensis
Sandro Volta, renaissance lute
Brilliant Classics 95262

Nuevo Mundo: 17th Century music in Latin America - Encore! (again)

I guess you just can't keep a good recording down. "Nuevo Mundo" was first released on the Italian Symphonia label in 1991. Pan Classics reissued it in 2012, and here it is again on Glossia in 2017. Why does it keep being reissued? Probably because it deserves to be.

The Ensemble Elyma delivers spirited, energetic performances -- which is exactly what the music requires.

Roman Catholocism and its attendant music were imported to the New World in the 1600s, and they soon went native. Baroque music developed differently in the Americas than it did in Europe.

The program presents a wide variety of composers active in Central and South America in the 17th Century. Two good examples are Juan de Araujo and Gaspar Fernandes, both of whom have several selections on this release.

Fernandes was a Portuguese composer who spent most of his career in Guatemala and Mexico. De Araujo was a Spanish composer who worked in both Peru and Panama. Their works -- as are most on this album -- are an exotic blend of influences. Early Baroque writing combines with Andalusian and native folk traditions.

It's a vibrant mixture, and the Ensemble Elyma brings it to life.

The sound of the recording is a little soft, I think. The highs and lows seem to lack a little detail. But that's the difference between 1991 and current recording technology. I'm glad to see "Nuevo Mundo" back -- again.

Nuevo Mundo: 17th Century Music in Latin America 
Maria Cristina Kiehre, Adrian Fernandez, sopranos; Mariuccia Domenighini, alto; Pietro Valguarnera, Sandro Naglia, tenors; Roberto Balconi, contertenor; Josep Cabré; baritone 
Ensemble Elyma; Gabriel Garrido 
Glossa Cabinet GCD C80022

Al Alva Venid - Secular Music from the Spanish Renaissance

"Al alva venid" was originally released in 1995.  The release sounds just as good now as it did then. Soprano Marta Almajano sings with a honeyed tone that blends beautifully with the vihuela and renaissance guitar.

They're played by José Miguel Moreno, one of the masters of early stringed instruments. His sensitive phrasing makes every piece a polished gem.

The program covers a variety of Spanish Renaissance music. Composers Diego Ortiz and Juan del Enzina are well-represented, and there's a mixture of often-performed and lesser-known works.

Overall the recording delivers a warm, smooth sound. But that doesn't mean it's bland. The Ensemble La Romanesca performs with a restrained energy that makes this music sound vital and alive.

"Al alva venid" remains one of the best collections of Renaissance Spanish music. I'm glad to see it back.

Al Alva Venid: Secular music from the Spanish Renaissance
Marta Almajano, soprano
Ensemble La Romanesca
José Miguel Moreno
Glossia GCD C80203