14 Summer 2006 Early Music America

Johann Sebastian BachAlio ModoFretwork (Richard Boothby,Richard Campbell, WendyGillespie, Julia Hodgson, WilliamHunt, Susanna Pell)Harmonia Mundi HMU 90739577:12 minutes

Johann Sebastian Bach(1685–1750) is not known tohave written any music for violconsort and likely never had suchan ensemble available for his use.Yet this new disc from the Britishgroup Fretwork makes a com-pelling argument for the effec-tiveness of this particular sonicmedium in realizing Bach’s in-strumental works, especially the“abstract” cycles of the com-poser’s final decade.

The crispness of articulation,the clarity of texture, and the richpalette of hues (ranging from asomber gravitas to a rarefiedlightness) that characterize theperformances of these six violplayers vividly convey the ratio-nalist and at the same time tran-scendently spiritual aspect ofBach’s late polyphonic compila-tions, such as the Clavier-ÜbungIII and A Musical Offering.

The disc includes two earlyworks to illustrate the centralityof the direction of Bach’s last pe-riod throughout his career: thePièce d’Orgue, BWV 572, andthe Passacaglia in C minor, BWV582, the latter being a monu-

mentalcomposi-tion com-parable tothe famousD-minor vi-olin cha-conne and

presented in an intense, forceful11-minute rendition by the per-formers. Four fugues from TheWell-Tempered Clavier, a gener-ous segment of Clavier-Übung III,including the “St. Anne” fugue,and the six-part ricercar from AMusical Offering constitute thebulk of this deeply impressive of-fering by Fretwork. Appropriatelyrounding out the selection ofsome of Bach’s most moving andprofound music is the so-called

“deathbed” chorale, “Vor deinenThron tret ich hiermit.”—Jen-yen Chen

Johann Sebastian BachSaint Jean Baptiste: Cantatas

7, 30, 167Suzie LeBlanc, soprano; DanielTaylor, countertenor; CharlesDaniels, tenor; StephenMacLeod, bass; MontrealBaroque, Eric Milnes, conductorATMA Classique SACD 240073:26 minutes

This recording of three Bachcantatas marking the Feast ofSaint John the Baptist is the firstin a projected complete serieswith Montreal Baroque. Themost substantial of the three isBWV 30, “Freue dich, erlösteSchar.” Originally conceived as asecular work honoring a noble-man from Wiederau, Bachadapted it for church use.

This is a marvelous work, withdance rhythms driving its open-ing chorus, a lovely flute- andstring-accompanied aria for alto,

and agigue-likearia for so-prano. Thetwo re-mainingcantatasare brief

but quite good as well. BWV 7,“Christ unser Herr zum Jordankam,” has a complex openingchorale that weaves voices andinstruments and features an in-strumental ritornello that con-jures up images of the riverJordan. BWV 167, “IhrMenschen, rühmet GottesLiebe,” is less than 20 minuteslong and, in typical Bach fashion,has about a dozen brilliant mo-ments, notably the obbligatooboe da caccia in the hauntingsoprano and alto duet, “GottesWort, das trüget nicht.”

This isn’t the place to debatethe merits of a one-on-a-part ap-proach to Bach repertoire. Whatwe have here are very fine per-formances by the cream of theMontreal early music scene. AltoDaniel Taylor is sweet-voiced inthe BWV 30 aria with flute; he is

perfectly matched with sopranoSuzie LeBlanc in the BWV 167duet. Tenor Charles Daniels isclarity personified, and bassStephen MacLeod sings with abig, robust tone. The instrumen-tal ensemble is excellent, and EricMilnes keeps things balancedand tasteful; he clearly has a giftfor working with singers. While Iwished for a little more fervor attimes, this is still an excellentstart to what promises to be agood series.—Craig Zeichner

Antonia Padoani BemboThe Seven Psalms of David,

Volume IILa Donna Musicale (SherezadePanthaki, Margaret Hunter,soprano; Laura Gulley, JenniferSchiller, Cécile J. Garcia-Moeller,Baroque violin; Na’ama Lion,Baroque flute; Ruth McKay,organ, harpsichord; Sonia Lee,Noriko Yasuda, harpsichord;Laury Gutiérrez, director, viola dagamba); Aaron Sheehan, tenor;Frederick Jodry, bassLa Donna Musicale (self-produced)58:00 minutes

In this second volume of mu-sic by Antonia Padoani Bembo(c.1640–c.1720), La DonnaMusicale offers the final threesettings of seven psalms. Theseelegant and intriguing arrange-ments of Elisabeth-SophieChéron’s poetic texts not onlydemonstrate the fruits of a majortalent in the court of Louis XIV,but also provide a repertory that is excellently suited to theabilities of this fine group ofperformers.

The cycle concludes withPsalm XXXI, “Beati quorum re-missae sunt iniquitates,” a three-movement composition thatdemonstrates the talents of thesingers and musicians in thegroup, with the addition of tenorAaron Sheehan and bassFrederick Jodry. Jodry’s voiceadds notable richness to the triotexture Bembo used throughout.Soprano Sherezade Panthaki per-forms the solo setting of Psalm L,“Miserere mei, Deus, secundum,”with purity and elegance. Shee-

han joins soprano MargaretHunter for the concluding settingof Psalm XXXVII, “Domine, ne infurore.” The vocal pairings notonly demonstrate the talents ofthese voices, but also indicatethe wealth of ideas Bembo usedin these compositions.

As in the first volume, thegroup also includes compositionsby Bembo’s contemporaryElisabeth Jacquet de la Guerre(1665–1729). The instrumental-

ists do laud-able justiceto the TrioSonata in DMajor. Inaddition,two worksfrom the

composer’s Les Pièces declavessin are performed by key-boardists Ruth McKay (thePrelude in D minor) and SoniaLee (Prelude in A minor). Thisrecording is a must for listenerseager to learn new repertoiredone by a masterful ensemble.—Denise Gallo

Luigi BoccheriniFandango, Sinfonie & La

Musica Notturna di MadridLe Concert des Nations, Jordi Savall, directorAlia Vox AV 984571:39 minutes

The snap of the fandangoand the sounds of Madrid bynight bracket this disc of fourinstrumental pieces by LuigiBoccherini (1743–1805). Both of

these quin-tets are un-deniably in-fluenced bySpain,where thisItalian-borncomposer

lived and worked from 1768 un-til his death. In the middle aretwo Italianate symphonies (G. 517 and G. 511), showing offBoccherini’s ability to synthesizea number of musical styles andideas into complex, coherentworks.

All four pieces are played withprecision and passion, with the

Edited by Craig Zeichner

Early Music America Summer 2006 15

NAIAD RECORDSPerformances by Seth and Maryse Carlin

Franz Schubert: Music for fortepiano, four-hands. Maryse and Seth Carlin

Franz Schubert: Music for solo fortepiano. Seth Carlin

Jean Philippe Rameau and Antoine Forqueray: Music for harpsichord. Maryse Carlin

To place an order or to find out more about Naiad please visit our website: http://naiadrecords.org

many subtle changes in rhythmand feeling handled by LeConcert des Nations in a waythat sounds effortless. But it’sthe Spanish works that seem themost intriguing, perhaps becausethe traditional music that theyimitate, and at times incorporate,is the most novel to 21st-centuryears.

The “Fandango” Quintet in DMajor starts out with a harmlessPastorale but ends in a drivingFandango (Rolf Lislevand on gui-tar and José de Udaeta take noprisoners here)—music that hadbeen banned not too long agoby the Inquisition. The Quintet inC Major, “Night Music of theStreets of Madrid,” is a series ofseven short sketches in which thestrings are used to great effect torecall the sounds of church bells,soldiers’ drums, bugles, andother percussive elements. Thepiece is wonderfully atmosphericand has a fresh, exotic sound.—Beth Adelman

Giles FarnabyComplete Fantasias for

HarpsichordGlen Wilson, harpsichordNaxos 8.57002558:30 minutes

Fifty-two (about one in everysix) compositions in theFitzwilliam Virginal Book (com-piled in the 1620s) are the workof Giles Farnaby (1562–1640),

ranking himamong thecream ofEnglish key-board com-posers. Yetthis is theonly current

release devoted entirely to hismusic. Happily, it boasts master-ful performances by Americanharpsichordist Glen Wilson, whocould easily withstand the com-petition—if there were any.

The fantasias of the Englishvirginalists open with contrapun-tal development of a theme andclose with a virtuoso toccata (asWilson says in his fine bookletnotes, “a closing section of id-iomatic keyboard pyrotechnicsand polyrhythms”). The har-monies in this music are lushenough that even without theexplosive flashes, these pieceswould be compelling: listen tothe piquant final cadence in thethird fantasia heard here (No. 5in the Musica Britannica edition

of the FVB; page 82 in the 1899edition of the FVB since reprintedby Dover—all tracks here are soidentified). That said, inevitably,the focus is on the fireworks atthe end, and neither Farnaby norWilson disappoint. The instru-ment here is a Ruckers copy witha big, bold tone that never spillsinto wearying clangorousness.

There are eight fantasias onthe program. Beyond that arethree part-songs arranged forharpsichord by Farnaby, orna-mented so heavily that they arealso virtuoso showpieces, andthree of his canzonets (madrigals)arranged for harpsichord, two byWilson and one by the composer.Interspersed, they provide a bitof contrast while still fitting thegeneral mood and tone quiteaptly. This is a must-buy for allharpsichord fans.—Steve Holtje

Nicolas Gombert Missa Media Vita in Morte

SumusHilliard EnsembleECM New Series 188476:00 minutes

As the notes to this disc pointout, Nicolas Gombert (c.1495-c.1560) has been relatively neg-lected. Although there have beena few high-profile releases ex-tolling his considerable merits,recordings of only three of his 10masses are currently available,with this new CD the only listingat Arkivmusic.com for the pro-foundly affecting Missa MediaVita in Morte Sumus. (His moteton which the mass is based—also included here, along withfive other works interspersedamid the mass movements—hasmore often been recorded).

A contemporary source saysGombert, who toiled in the

chapelchoir ofEmperorCharles Vand then(followinga scandal)at Tournai

Cathedral, was a student ofJosquin, and certainly Gombert’ssupreme contrapuntal mastery isconsistent with a Josquin con-nection—and even more denselytextured and elaborate than hismodel. It’s also lower-voiced (the richness of the sound isstunning) and harmonicallyadvanced.

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In the late 1990s, the HilliardEnsemble developed an annoy-ing (to this reviewer, at least)tendency of swelling and taper-ing the volume of so manynotes, and so drastically, that thechoppy phrasing often frag-mented the overall shape of thelong line. (The peak of this prob-lem probably came on thegroup’s 1998 Lassus disc.)Happily, this is no longer thecase; a fine balance betweenform and expressiveness hasbeen regained. If there is anytechnical fault to be found here,it’s the occasional patch of hissysibilance; otherwise, the singingis quite exquisite. Listeners newto Gombert’s music will quicklybe converted by this excellentprogram.—Steve Holtje

Louis-Gabriel GuillemainConversations Galantes:

Quartets for Flute, Violin, Viola da Gamba, Cello and Harpsichord

Ensemble MirableEnsemble Mirable (self-produced)63:07 minutes

The title of this disc is takendirectly from Louis-GabrielGuillemain’s (1705–1770) Op.12 collection, Conversationsgalantes et amusantes, of 1743.These are elegant, charming,and often fiery works frequentlycouching themselves in the formof an instrumental dialogue. In aclear sonata-allegro form, the-matic relations are bounced backand forth from player to player,with a bit of mulling over thatdevelops the material in a con-versational manner.

The pieces on this recordingare in D and B minor and C andF major, which had a meaningfor French Baroque musiciansthat contemporary musicianshave all but lost. For this com-poser, no less than Couperin, Fmajor is not the same as C majorup a fourth.

Ensemble Mirable is a duo(Joanna Blendulf, viola dagamba, and JungHae Kim, harp-sichord) that is here augmentedwith flute, violin, and cello. Thesound they achieve has awarmth, delicacy, and clarity thatcould be a paragon of galant re-straint. Greer Ellison’s expressive

ivory flute and ElizabethBlumenstock’s brilliant and sup-ple violin are especially captivat-

ing. (Thelower in-strumentsare, sadly,often ob-scured inthis record-ing, cutting

off significant linear relations.)The conversation they carry on isfull of wit and repartee, bombastand riposte. It lacks such thingsas anger, moral indignation, anda real sense of humor. This isperhaps consonant with thecomposer’s successful position inLouis XIV’s court. However,given that Guillemain was re-portedly a fiery violinist (he wastrained in Italy), an alcoholic,and ultimately a suicide, onewonders if his vision is com-pletely served on this recording.—Stephen Dydo

George Frideric HandelMessiahAmerican Bach Soloists, Jeffrey Thomas, director; Arianna Zukerman, soprano;Daniel Taylor, countertenor;Steven Tharp, tenor; William Sharp, baritoneDelos DE 3360, 136:43 minutes (2 CDs)

A new recording of Messiahby George Frideric Handel(1685–1759) inevitably provokesthe question, why another one?In his liner notes, Jeffrey Thomaspoints out that the listener will

hear a ver-sion thathas notbeenrecordedbefore: thatof the au-tograph

composing score of 1741. By itspremiere in April 1742, Handelhad already subjected the orato-rio to a number of significant re-visions. On such a basis alone,this new CD possesses an intrin-sic value. Yet Thomas argues fur-ther for his interpretation by as-serting that it presents Handel’s“truly original concept of thework,” which later had to giveway to “concessions,” that is,performer limitations.

16 Summer 2006 Early Music America

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Early Music America Summer 2006 17

But this notion of an “ideal”form of a composition that tran-scends practical circumstances isanachronistic when applied tothe 18th century. Furthermore,not all of Handel’s changes wereconcessions to flawed reality—for example, the virtuoso elabo-ration of “But who may abide”in response to the outstandingcastrato Gaetano Guadagni (anexample noted by Thomas).Therefore, a recommendationfor this disc must be based,apart from its singular but notauthentic version, on the per-formance itself.

The positive qualities includea supple and fleet musicality,finely coordinated vocal and in-strumental ensembles, and alargely commendable group ofsoloists. At times one wishes forgreater dramatic urgency in thereading, the perceived relativeabsence of which may partly bea consequence of distant mikingfor this live recording in theBarbara K. and W. TurrentineJackson Hall at the University ofCalifornia, Davis.—Jen-yen Chen

Franz Joseph HaydnPiano TriosVan Swieten Trio (Rémy Baudet,Franc Polman, violins; Jaap terLinden, Job ter Haar, cello; Bart van Oort, fortepiano)Brilliant Classics 92794 611:28 minutes (10 CDs)

The pianist-scholar CharlesRosen awards Franz JosephHaydn’s piano trios a place ofhonor beside the composer’squartets and symphonies. Rosenknows of what he speaks whendiscussing the keyboard’s role inthese works: “They are, in fact,along with Mozart concertos,the most brilliant piano worksbefore Beethoven.” Haydn(1732–1809) has the piano lead-ing the show in these highly per-sonalized works, which are filledwith virtuoso flair and ripe withnovel ideas.

Because of the dominance ofthe keyboard in the trios (inmost instances the violinist playsin unison with the pianist’s righthand and the cellist … well, thecellist is mostly resigned to dou-bling the piano’s bass), theyhaven’t enjoyed much popularityin the concert hall. They havebeen frequently recorded, how-ever, and there are some finerecordings on both modern and

period instruments available.This inexpensive 10-disc boxedset performed by the VanSwieten Trio is a terrific way tofamiliarize yourself with thesedelightful works.

Fortepianist Bart van Oortdoes yeoman duty, spinning outfiery passages in the extrovertmovements, where Haydn servesup a number of spinning dance-like rondos such as the famous“Gypsy” Finale of the G Major,Hob. XV/25. He also turns in afabulous, showy performance inthe E Major, Hob. XV/28, one ofthose remarkable works whereHaydn looks ahead to theRomantics.

Van Oort plays with assur-ance and color and makes theeerie second movement Alle-gretto one of the high points of

the set.ViolinistRémyBaudetplays withlovelytransparenttone,

blending beautifully with thekeyboard and cello and steppingup to the front nicely in the“Jacob’s Dream” movement ofthe E-flat minor, Hob. XV/31.The cellists, Jaap ter Linden andJob ter Haar (they switch offthroughout the set), provide afirm, rich bottom that bolstersthe keyboard.

Do you need 10 discs ofHaydn trios? Perhaps not. But ifyou do have the need, you willenjoy these enormously.—Craig Zeichner

Niccolò JommelliArmida AbbandonataLes Talens Lyriques, ChristopheRousset, director; Ewa Malas-Godlewska, Véronique Gens,Patricia Petitbon, Cécile Perrin,soprano; Claire Brua, LauraPolverelli, mezzo-soprano; Gilles Ragon, tenor Ambroise AMB 9983171:51 minutes (2 CDs)

After 16 years asHofkapellmeister at the court inStuttgart, political unrest com-pelled Niccolò Jommelli(1714–1774) to return to his na-tive Italy. During his years inGermany, his output includedmore than 30 stage works, sowhen he was back in Naples, itwas only natural that such an es-

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“Thom Freas combines a dark and full baroque “Thom Freas combines a dark and full baroque “Thom Freas combines a dark and full baroque trumpet sound with smooth, lyrical phrasing that trumpet sound with smooth, lyrical phrasing that trumpet sound with smooth, lyrical phrasing that brings to mind Armando Ghitalla . . . The strings brings to mind Armando Ghitalla . . . The strings brings to mind Armando Ghitalla . . . The strings and the harpsichord also tend towards the dark and the harpsichord also tend towards the dark and the harpsichord also tend towards the dark and mellow in their sound and approach, creating and mellow in their sound and approach, creating and mellow in their sound and approach, creating a unified ensemble with a gentle baroque style a unified ensemble with a gentle baroque style a unified ensemble with a gentle baroque style which is surprisingly relaxing to listen to.” which is surprisingly relaxing to listen to.” which is surprisingly relaxing to listen to.” ~ Flora Newberry, ~ Flora Newberry, ~ Flora Newberry, Historic Brass SocietyHistoric Brass SocietyHistoric Brass Society review of review of review of TTTHEHEHE I I INTIMATENTIMATENTIMATE S S SONATEONATEONATE

“Thom Freas combines a dark and full baroque “Thom Freas combines a dark and full baroque “Thom Freas combines a dark and full baroque trumpet sound with smooth, lyrical phrasing that trumpet sound with smooth, lyrical phrasing that trumpet sound with smooth, lyrical phrasing that brings to mind Armando Ghitalla . . . The strings brings to mind Armando Ghitalla . . . The strings brings to mind Armando Ghitalla . . . The strings and the harpsichord also tend towards the dark and the harpsichord also tend towards the dark and the harpsichord also tend towards the dark and mellow in their sound and approach, creating and mellow in their sound and approach, creating and mellow in their sound and approach, creating a unified ensemble with a gentle baroque style a unified ensemble with a gentle baroque style a unified ensemble with a gentle baroque style which is surprisingly relaxing to listen to.” which is surprisingly relaxing to listen to.” which is surprisingly relaxing to listen to.” ~ Flora Newberry, ~ Flora Newberry, ~ Flora Newberry, Historic Brass SocietyHistoric Brass SocietyHistoric Brass Society review of review of review of TTTHEHEHE I I INTIMATENTIMATENTIMATE S S SONATEONATEONATE

Continued on page 48

18 Summer 2006 Early Music America

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48 Summer 2006 Early Music America

teemed composer would writefor the Teatro San Carlo. His li-bretto, by F. Saverio De’ Rogati,was another rendering of the taleof Armida from Tasso’sGerusalemme liberata. Tailoringhis score to newer trends—suchas more limited use of the dacapo aria in service of the

drama—Jommelli’sfirst operaseria uponhis returnstands asan exampleof his ex-

pertise. This superb recording, inturn, speaks to why this now-overlooked composer was in hisday considered one of the best.

Christophe Rousset’s produc-tions have become associatedwith excellence, and this per-formance, recorded in 1994 andreissued in 2005, is no exception.It is difficult to spotlight specificpoints because the performersare all consistently excellent.Several numbers serve as exam-ples, though. Ewa Malas-Godlewska’s rendering ofArmida’s aria “Odio, furor, dis-petto” is a tour de force, and noless spectacular is Claire Bruasinging Rinaldo’s cavatina“Guarda chi lascio.” “Fra l’orror,”performed by Gilles Ragon, iselegant and powerful.

Playing Jommelli’s challengingscore, the musicians of Les TalensLyriques, under Rousset’s able di-rection, offer unobtrusive butfirm support. Here is a recordingboth praiseworthy and instruc-tive, as it demonstrates howopera developed from the mid-to the mature 18th century.—Denise Gallo

Giovanni Battista PergolesiStabat MaterPatrizia Bovi, soprano; Pino deVittorio, tenor; Bernard Arrieta,bass; Les Pages et les Chantres dela Chapelle, Olivier Schneebeli,director; Le Poème Harmonique,Vincent Dumestre, directorAlpha 00959:50 minutes

The basic concept behind thisrecording, an exploration of themusic heard in 18th-century

Naples during Holy Week, withGiovanni Battista Pergolesi’sStabat Mater as the centerpiece,is a good one. Surrounding thePergolesi (1710–1736) areanonymous monodic versions ofthe Stabat Mater sung in thepungent Southern Italian folkstyle, a raucous tarantella, and aconcerto by Francesco Durante(1684–1755). However, the pro-gram takes a weird turn; thisNeapolitan Holy Week is basedon the reminiscences of the18th-century French writerCharles de Brosses. Consequently,the Pergolesi work is performedwith a French spin, using an ob-scure Versailles manuscript. Thereare oddities: some of the so-prano and alto duets are per-formed by choirs of sopranosand countertenors, while otherduets are sung by soloists drawnfrom each choir. Theoretically,

this isn’t aproblem ifthe singersare solid,but unfor-tunately weare dealingwith per-

formance and not theory.Vincent Dumestre leads all of

this with verve, and his instru-mental ensemble is marvelous asusual (the Durante is gorgeous).It’s the quality of the vocalsoloists in the Pergolesi that’ssubstandard, ranging from unlis-tenable (Arno Meier in the“Cujus animam gementem”) topassable. In some ways, there arereally two recordings here: a verygood one (the folk-flavored mu-sic and the Durante) and amediocre one (the Pergolesi). It’stoo bad the French ensembleand label inflicted their culturalhegemony on the project. Whatwas wrong with a simpleNeapolitan Holy Week program?—Craig Zeichner

Heinrich Schütz Symphoniae Sacrae IIICantus Cölln, Concerto Palatino,Konrad Junghänel, directorHarmonia Mundi HMC901850.51126:00 minutes (2 CDs)

The end of the cataclysmic

Thirty Years War and withdrawalof Swedish troops from theSaxon territories heralded a re-vival of musical creativity, withthe 65-year-old Heinrich Schütz(1585–1672) at its forefront.Schütz had a remarkable run ofpublishing activity in the yearsimmediately following the cessa-tion of fighting, publishing hissecond book of Symphoniae

Sacrae (thetitle payshomage tohis teacher,GiovanniGabrieli) in1647, theGeistliche

Chormusik a year later, and cli-maxing with the subject of thisrecording, the third book ofSymphoniae Sacrae, in 1650.

The Symphoniae Sacrae III arescored for three to five vocal andtwo instrumental parts, but thiscore ensemble can be reinforcedby what the composer calls“complementary choirs,” groupsof singers and instruments ofvarying kinds. It’s a formula thatresults in some of the most ex-pressive and tonally opulent mu-sic of the 17th century.

Konrad Junghänel leads thesingers of Cantus Cölln and thesuperb cornets and trombones ofConcerto Palatino in perform-ances that are miraculous.Schütz’s exquisitely crafted vocalwriting is served brilliantly, fromthe delicate duets of “O süßerJesu Christ,” SWV 405, to thecolorful word painting of “Woder Herr nicht das Haus bauet,”SWV 400, and the resoundingpower of “Saul, Saul, was ver-folgst du mich,” SWV 415. As onJunghänel and Cantus Cölln’s1998 recording of Schütz’sPsalmen Davids (HarmoniaMundi HMC 901652.53), not anote rings false. —Craig Zeichner

Jan Dismas ZelenkaDie Responsorien zum

KarfreitagBoni Pueri, Pavel Horák, JakubMartinec, conductors; MusicaFlorea, Marek Stryncl, conductorSupraphon SU 3806259:30 minutes

One of the better-knownBohemian composers of theBaroque, Jan Dismas Zelenka(1679–1745) was well groundedin the school of counterpoint,thanks to his studies with Johann

Joseph Fux, the author of Gradusad Parnassum, a seminal coun-terpoint treatise. Fux’s teachingsare center stage in Zelenka’sGood Friday responsories, drawnfrom a larger set of 1723 respon-sories for Holy Week.

As expected, this is solemn,slow-moving music, and Zelenkadoes frequently dip into the stileantico bag of tricks. What raisesZelenka’s setting above the pre-dictable is his gift for expressivetext setting and his use of a dar-ing harmonic palette. There arepowerful moments along theway—the closing “Caligaveruntoculi mei” is particularly strik-ing—but the thin, monochro-matic sound of the boys’ choirdoesn’t do the music the serviceit deserves.

The balance of the recordingis devoted to string works by an-other Bohemian, Frantisek IgnácAntonín Tuma (1704–1774). Like

Zelenka,Tuma stud-ied withthe Jesuitsearly in hiscareer and,also likeZelenka,

Tuma’s works are infused with ahealthy dose of contrapuntalrigor. Tuma also tosses somestriking dissonances into the mix,and the results are quite engag-ing. It helps that the string play-ers of Musica Florea play withpolished elegance and energythroughout. —Craig Zeichner

COLLECTIONS

The Eastman Italian Baroque Organ

Hans Davidsson, David Higgs,William Porter, organistsLoft Recordings LRCD 107768:25 minutes

The Italian Baroque organthat was installed in theMemorial Art Gallery at theEastman School of Music in thesummer of 2005 first surfaced ina Florentine antique shop in1979. German organ builderGerald Woehl purchased the in-strument and, together withMonika May, restored it after a2001 meeting with the organdepartment at Eastman.

The organ case contains partsof an earlier instrument that mayhave been built in the late 17thcentury. As was the common

Continued from page 17

Early Music America Summer 2006 49

practice in Italy, instruments wereenlarged, embellished, and tin-kered with, so what we have atEastman is a solid representationof the genesis of the Baroqueorgan.

Woehl and May did finework, and this recording byEastman faculty members Hans

Davidsson,DavidHiggs, andWilliamPortershows offthe uniquecolors of

the instrument. The selection ofrepertoire is well conceived, withfamiliar works by Frescobaldi,Michelangelo Rossi, and Zipolibalanced with pieces by PaoloQuagliati (1555–1628) and Ber-nardo Pasquini (1637–1710), aswell as by a deliciously vulgarsonata by the early 19th-centurycomposer Giuseppe Gherardeschi(1759–1815).

These are marvelous perform-ances, and each organist acquitshimself with honors. Davidssonnever gets bogged down in theweird chromaticism of Rossi’s“Toccata Settima,” while Porter’s

treatment of the large-scaled“Ricercare con la fuga in piùmodi” never meanders. In someways, Higgs gets to have themost fun by rolling out the or-gan’s arsenal of special effects,using a tooting reed stop inZipoli’s Pastorale and cranking upthe bells and drums inGherardeschi’s Sonata perorgano a guisa di banda militareche suona una marcia (Sonatafor organ in imitation of a mili-tary band playing a march).—Craig Zeichner

Masters, Monsters & Mazes:Treading the Medieval Labyrinth

Trefoil (Drew Minter,countertenor, harp; Mark Rimple,countertenor, lute, harp; MarciaYoung, soprano, cithara)MSR Classics, MS 109568:02 minutes

From the first notes of “Lebasile” (Solage, fl.1390), the en-semble Trefoil re-creates the ex-otic and mysterious world of late14th-century French music. Theintricate weaving of melodiclines, by first presenting onerhythm and then dissolving intoseveral others, was the delight of

connois-seurs of thismusic,which isknown asars sub-tilior, or“the more

subtle arts.” Subtle indeed, andbeautifully wrought in this veryattractive recording.

The 15 works are by 12named composers, from the fa-mous (Guillaume de Machaut,c.1300–1377) to the less wellknown (Johannes Cuvelier,fl.1372–1387). Each work is agem. Some pieces, such as themonophonic “Ausi conme uni-corne sui” (Thibaut de Cham-pagne, 1201–1253), are easier tofollow than, for example, thethree-voiced “Pictagoras”(Johannes Suzoy, fl.1380), con-structed with Pythagorean pro-portions. Trefoil’s sensitive inter-pretations and choices of per-forming medium reveal much ofthe logic in this music. Never-theless, there is a similarity ofsound among all the pieces, asone would expect from suchtightly focused repertoire.

The title of this recording

refers to a complex set of textualallusions through which mytho-logical creatures, contemporaryleaders, and classical heroes areinvoked as symbols. The mazesare especially apparent to thesingers, most notably as they ap-proach the complicated notationof this music. While a reflectionof specific literary connectionswill likely not be heard, the linernotes provide fine translations,and the sheer beauty of thesound is reward enough.—Deborah Lawrence

Early Music America magazinewelcomes news of recent re-cordings. Please send CDs to beconsidered for review and perti-nent information to Craig M.Zeichner, Reviews Editor, 69Poplar Street, Apt. 2C, Brooklyn,NY 11201; recordings@earlymu-sic.org. Early Music America can-not guarantee the inclusion ofevery CD sent for review. All published reviews reflect the personal opinions of thereviewer only.

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