Christmas Music at Thomaskirche a fine tradition

Machet die Tore weilt, Weihnachtmusik an der Thomaskirche (Christmas Music at Thomaskirche) is the second such collection of music I've reviewed this year. That is, seasonal sacred music by the composers who preceded Johann Sebastian Bach at Thomaskirche, Leipzig. 

I'm not sure if this is some kind of trend, but I'd be happy if it was. Yes, Bach was a genius, but he didn't come out of nowhere. The music he wrote built on and expanded upon that of the previous generations. 

Leipzig was in the habit of employing top-notch musicians, and this release demonstrates how deeply ingrained that habit was.

This release features composers who form an unbroken chain from Johann Schein to Bach. Tobias Michael was a student of Schien and succeed him in 1631. At his death, Sebastian Knüpfer was brought in in 1677. He in turn was replaced by Johanne Schelle a student of Schutz. Upon his death, Johann Kuhnau assumed the role, and upon his death in 1722, Bach was hired. 

Although the works span almost a century, there's a remarkable consistency throughout. These are Advent and Christmas cantatas and generally follow the same form. That is, big choruses to begin and end, with arias in the middle. 

There's also a consistency of quality. All these composers knew how to write for choirs, and all had a gift for melody. 

The ensemble and chorus have a full, rich sound in this recording, enhanced by the warm acoustics of the Erlöserkirche Bad Hamburg. 

The soloists also deliver first-rate performances. I especially enjoyed Simone Schwark's singing. Her voice had a clear, delicate sound, I thought.

If you have Bach's Christmas cantatas, add this release to your collection. It will add perspective to those masterworks, and provide many hours of enjoyable listening. 

Machet die Tore weilt
Weihnachtmusik an der Thomaskirche
Michael, Knüpfer, Schelle, Horn, Kuhnau Antonia Bourvé,
Simone Schwark, soprano; Kohanna Krell, alto; Florian Cramer, Hansjörg Mammel, tenor; Markus Flaig, bass
Johann-Rosenmüller-Ensemble
Kamemrchor der Erlöserkirche Bad Hamburg; Susanne Rohn, director
Christophorus CHR 77449

Cantica Symphonia masterfully perform Josquin Desprez

This is the fourth volume of music by Josquin Desprez that Cantica Symphonia has released on Glossa. 

Giuseppe Maletto and the ensemble released two volumes of Josquin's motets, plus one of chansons. Their next release was a collection of Marian motets (compositions in praise of the Virgin Mary) by various Renaissance composers. 

 This recording seems the next logical step -- a collection of Marian motets by Josquin Desprez. It's actually a little broader than that. The program also includes instrumental songs and a Stabat Mater (also about the Virgin Mary). 

The Cantica Symphonia knows Josquin well, and their performances show it. Their vocal blend is almost seamless. There's enough separation to hear how each line fits together, created harmonies solely through interaction. 

These were motets written to inspire contemplation, and they do. Maletto's direction shapes the music in subtle ways. The ensemble performs calmly, invoking a feeling of serenity. Closer listening reveals subtle phrasing that gives these performances their expressive power. 

This is a wonderful collection of Josquin's music. He was considered the greatest composer of his age. As this release shows. even within this tightly focused grouping, Josquin's imagination was limitless. 

Josquin Desprez: Stabat Mater 

Marian motets and instrumental songs 

Cantica Symphonia; Giuseppe Maletto 

Glossa GCD P31909

Alexander Kastalsky Requiem a major -- and important -- release

To me, this is the epitome of a major release. It's a world premiere recording of a major work with an assemblage of all-stars. Alexander Kastalsky's Commemoration for Fallen Brothers honors the casualties of the First World Way with a universal message.

Kastalsky began work on this massive work in 1914 and completed it in 1917 when Russia withdrew from the war. Only part of the requiem was performed during Kastalsky's lifetime. The new Soviet state suppressed all forms of religious expression -- including requiems. 

The world premiere of the complete work occurred a century later, during the Centennial of the First World War. Kastalsky's work is both ambitious and massive -- and it works on every level. 

He wrote that the music depicts a memorial ceremony with representatives from Russia and her allies -- France, Britain, and Serbia. Kataslky used liturgical music and the native language of each country to depict the representatives approaching the memorial to lay their wreaths. 

Kastalsky was a student of Tchaikovsky. His orchestrations are rich and evocative. The harmonies underscore the power of the words and sustain the reverent mood throughout the 64-minute work.

And what a collection of artists! The assembled choir includes the Clarion Choir, which specializes in Slavonic repertoire, and the Saint Tikhon Choir, the choir of American's oldest Orthodox Christian monastery. There's also the Cathedral Choral Society of the Washington National Cathedral; and the Kansas City Chorale, which won Grammys for their recordings of Grechinov's Passion Week and Rachmaninov's All-Night Vigil. 

The Orchestra of St. Lukes' is directed by Leonard Slatkin. And this live recording in the National Cathedral was produced by Blanton Alspaugh, winner of multiple Grammys for choral and orchestral recordings.

The singing is simply flawless. And there's a luminous quality to the blended voices that reinforces the spirituality of the music. The sound of the voices and instruments filling the vaulted space of the cathedral is incredibly beautiful. And the performances deliver time and again. Each country's religious expression sounds true and authentic, each conveying deep emotion. 

This is indeed the epitome of a major release. 

 Alexander Kastalsky: Requiem for Fallen Brothers
Anna Dennis, soprano; Joseph Beutel, bass-baritone
Cathedral Choral Society; the Clarion Choir; the Saint Tikhon Choir; Kansas City Chorale
Orchestra of St. Luke's; Leonard Slatkin, conductor
Naxos

Beethoven Cantatas show early promise

Leif Segerstam's cycle of Beethoven choral works continues with some of his earliest compositions. In 1790, the nineteen-year-old Beethoven was a court musician in Bonn. He was commissioned to write two cantatas.

Basically, it was "the king is dead, long live the king." The first cantata was to mourn the death of the recently deceased Emperor Joseph II of Austria. The second (logically) to celebrate the crowning of Leopold II. 

Oddly, neither work was performed, and the cantata only came to light in the 1880s. So what does teenage Beethoven sound like? Beethoven. 

The Emperor Joseph cantata foreshadows the brooding and stormy passages of the adult Beethoven. I heard parts that reminded me of his oratorio, choruses from "Fidelio," and elements of the Sixth Symphony.

The Leopold cantata foreshadows the happier Beethoven. In this case, the finales of several symphonies (like the Ninth), and the Choral Fantasy.

These cantatas don't have the depth of any of those mature works. But there's no mistaking who wrote them -- and the immense talent already at his command. 

Leif Segerstam conducts some impassioned performances. I suspect they sound better here than they ever would have in 1790 Bonn.    

Ludwig van Beethoven
Cantata on the Death of Emperor Joseph II
Cantanta on the Accession of Leopold II
Reetta Haavisto, Johann Lehesvuori, sopranos; Thomas Katajala, tenor; Juha Kotilainen, Niklas Spangberg, bass
Chorus Cathedralis Aboensis; Key Ensemble
Turku Philharmonic Orchestra; Leif Segerstam, conductor
Naxos 8.574077

  

Joseph Mayseder Mass ideal for choirs

Gramola has released several recordings of Joseph Mayseder's music. And I'm glad they did. Mayseder was a younger contemporary of Felix Mendelssohn, whose style his music most reminds me of. 

Mayseder was the solo violinist at the Vienna Court Opera and the kapellmeister for the Hofburg Palace chapel. It was there that he wrote is Mass in E-flat major. 

The mass is an interesting work, as there are no featured soloists. It's strictly a choral composition from start to finish, and an exceptionally beautiful one. And the mass was popular. 

It was performed at the chapel every New Year's Eve from 1875 through 1930, earning the name "New Year's Mass."

It's only appropriate, then, that this recording should be with the Men's Choir and instrumental ensemble of the Vienna Hofmusikkappelle (along with the Vienna Boys Choir).

Mayseder's choral writing features richly harmonized homophonic melodies. The blend of voices is seamless, though the recorded sound seems a little fuzzy in places.

Thomas Christian, the conductor for the mass, is also the violin soloist for Mayseder's second concerto. Here the comparison to Mendelssohn pales a little. Mayseder eschews flamboyant technical challenges, such as left-hand pizzicati. 

Instead, he concentrates on melodic expression. And that's a fine thing. It's a tuneful work, at times sound a little like Gaetano Donizetti (another contemporary of Mayseder). 

Although Christian performs with feeling, I can't say I totally enjoyed the concerto. On the recording, his violin has a somewhat nasal quality to it, especially in the upper register. And that's a shame because Christian's actual playing is first-rate. 

Get the recording for the mass. It's gorgeous. And the concerto is okay, too.     

Joseph Mayseder: Mass in E-flat major, Op. 64
Concerto for Violin and Orchestra in E minor, Op. 26
Thomas Christian, violin, conductor
Vienna Boys Choir
Herrenchor der Wiener Hofmusikkapell
Mitglieder des Ensembles der Wiener Hofmusikkapelle
Gramola