Christmas in Leipzig traces tradition of excellence

This album is about tradition. It's a live recording of the Christmas concert held in Thomaskirche, Leipzig - a long-running tradition. It features three cantatas based on the traditional Lutheran chorale, Von Himmel Hoch 

The works were composed by three Cantors of Thomaskirche, illustrating the evolution of German choral composition. These were also the three composers who preceded Johnn Sebastian Bach. Each composer building and expanding on the musical traditions he inherited.

And these were long-standing traditions -- each of these composers died in their posts, often after decades of service.

Johann Knüpfer was the first composer to bring Leipzig prominence as a musical center.

Johann Schelle performed under Heinrich Schutz as a boy tenor. He took over Thomaskirche when Knüpfer died in 1677. 

When Schelle died in 1701, Johann Kuhlau succeeded him. His music is the closest to his successor, Johann Sebastian Bach. Kuhlau's 1692 Magnificat features extended opening and closing choruses. The recitative/aria form is fully developed.

Peter Groner directs the assembled forces in loving performances of these works. The choruses, echoing through the sanctuary have a grandiose warmth to them. And the audiences are very well-behaved. Christmas is a time of tradition, which makes this concert -- and these works -- that much better.

Highly recommended.

Vom Himmel houch, da komm ich her 

Weihnachtskonzerte aus Leipzig 

Schelle, Knüpfer and Kuhnau 

Monika Mauch, soprano; Hanna Zumsande, soprano; Franz Vitzthum, alto; Sebastian Hubner, tenor; Ekkehard Abele, bass 

Kammerchor der ChristusKirche Karlsruhe; L'arpa festante; Peter Gorner, conductor 

Christophorus CHR 77448

Antonio Vandini Complete Works benefit from careful research

Antonio Vandini was one of the celebrated cellists of his age. And that age was the early 1700s when he shared the spotlight with his close friend Giuseppe Tartini.

Vandini, like other virtuosos of his time, composed music for his instrument. But he didn't write much that survived -- just six sonatas and a concerto. 

Still, this music gives us insight into Vandini's technique and aesthetic. And especially as it's presented here. 

Francesco Galligioni extensively researched Vandini and his music before undertaking this recording. He opted for a historically accurate instrument. And he opted to use historic playing practices. That meant holding the bow in an underhand grip, changing how it moves across the strings. 

I think the result was successful. The cello sounds more tightly focused than that of a modern instrument. There's a clean, singing quality to the sound I found quite pleasing. 

Galligioni wisely varied the basso continuo instruments, giving the program some additional variety.

Vandini's style galante music is charming and elegant. And in these performances, I think we get a better impression of the musician who wrote them.

 Antonia Vandini: Complete Works
Francesco Galligioni, cello
L'arte dell'Arco
Dynamic

Francesco Mancini Recorder Sonatas engage the ear

Francesco Mancini's collection of XII Solos for a Violin or Flute were first published in London around 1724. They proved so popular that the music went through at least three editions.

As the title suggests, Mancini's music was composed for either violin or flute. "Flute" was a somewhat generic term, and could apply to either a wooden transverse flute or a recorder. The latter is what Daniele Salvatore plays in this collection. 

He actually uses a variety of instruments; two different alto recorders, a voice flute, a soprano recorder, and a one-keyed flute. The subtle differences in timbre between these instruments also change the character of the music. 

The result is an engaging program of well-crafted sonatas that show Mancini's talent and inventiveness. 

Also included are two toccatas for cembalo. These provide further variety to the program and additional interest. Mancini was skilled at counterpoint as these works demonstrate. 

Salvatore has carefully researched this music, and that knowledge informs his performances. These sonatas sound fresh and spontaneous, with Salvatore expertly shaping the phrases to best effect.

A welcome addition to anyone's collection of Italian Baroque music (and if you don't have one, start here).  

Francesco Mancini: XII Solos for a Violin or Flute
Daniele Salvatore, recorders
Armonia delle Sfere
Tactus
2 CD Set