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Exequien at an<br />
early music workshop<br />
in Amherst,<br />
Massachusetts. I am<br />
not exaggerating when<br />
I say that this was one<br />
of the most stunning<br />
musical experiences<br />
which have come<br />
my way. The week ended with a performance<br />
which was recorded. Naturally I rushed<br />
out to obtain the tape. It proved truly awful.<br />
Fortunately I discovered a fine professional<br />
performance conducted by Hans-Martin<br />
Linde on LP (it never made it to CD). Since<br />
then there have been others. I do not myself<br />
care for the very extroverted disc conducted<br />
by John Eliot Gardiner (Archiv) but there is a<br />
superb rendering by Vox Luminis on Ricercar,<br />
conducted by Lionel Meunier, who is also one<br />
of the bass soloists.<br />
I am not going to claim that this new<br />
recording led by Daniel Taylor is even better,<br />
but it certainly runs close. It gets off to a very<br />
good start with the Intonation sung by Rufus<br />
Müller, who is terrific throughout. The singing<br />
is very fine and besides Müller I very much<br />
enjoyed the soprano soloists, Agnes Zsigovics<br />
and Ellen McAteer. The CD also contains two<br />
short movements from a mass by Michael<br />
Praetorius as well as a cantata by Bach (O<br />
heiliges Geist- und Wasserbad, BWV165).<br />
That cantata has a solo quartet consisting of<br />
Zsigovics, Müller, Daniel Taylor (alto) and<br />
Alexander Dobson (baritone). They are very<br />
good as are some of the obbligato players,<br />
notably the violinist Cristina Zacharias<br />
and the cellist Christina Mahler. Highly<br />
recommended.<br />
Hans de Groot<br />
Concert note: The Theatre of Early Music<br />
Choir and Students of the Schola Cantorum<br />
led by Daniel Taylor, are featured in The<br />
Lamb: An A Cappella Christmas Concert<br />
at Walter Hall, Edward Johnson Building,<br />
University of Toronto, on November 29.<br />
Also, baritone Alexander Dobson is the<br />
featured soloist in New Music Concerts’<br />
peformance of Ailes by Philippe Leroux on<br />
December 6 at Betty Oliphant Theatre.<br />
Le Concert Royal de la Nuit<br />
Ensemble Correspondances; Sébastien<br />
Daucé<br />
harmonia mundi HMC 952223.24<br />
!!<br />
The ballet Le<br />
Concert royal de<br />
la Nuit was first<br />
performed in 1653.<br />
It can be seen as an<br />
act of homage to the<br />
young French king,<br />
the then 15-year old<br />
Louis XIV, who also<br />
danced the main part,<br />
that of the rising sun.<br />
A complete list of<br />
the performers has survived: it includes 24<br />
princes and aristocrats, four courtiers and five<br />
children. We know that the author of the text<br />
was Isaac de Benserade. Jean de Cambefort<br />
was the most prominent composer of the<br />
music. The vocal music has been preserved<br />
but the instrumental music is based on a<br />
copy by Philidor, made half a century after<br />
the ballet’s performance. Philidor wrote out<br />
the top line and sometimes the bass line. It<br />
was left to the conductor, Sébastien Daucé,<br />
to reconstruct the implied but missing<br />
inner lines.<br />
Often now record companies try to economize<br />
on the material provided. That is not<br />
the case here where the CDs come with a<br />
richly documented book of almost 200 pages<br />
that includes illustrations of the original<br />
performers and their costumes, illustrations<br />
taken from the material preserved at<br />
Waddesdon Manor in Buckinghamshire. In<br />
one of his notes, Daucé mentions that he<br />
had originally intended to create a complete<br />
reconstruction of the original ballet, but that<br />
was not feasible. Instead, we have here all<br />
the vocal music as well as 51 of the original<br />
77 dance sequences. This music is juxtaposed<br />
with selections from two Italian operas<br />
written for Paris: Ercole amante by Francesco<br />
Cavalli and Orfeo by Luigi Rossi. These operatic<br />
sequences are written in a rather different<br />
idiom than that of the dance music but they<br />
go together surprisingly well. The record also<br />
contains some earlier airs by Antoine Boesset<br />
(who had died in 1643): these provide an<br />
interesting contrast with the slightly later<br />
dance music. The music requires large forces<br />
to do it justice: I counted 16 singers and<br />
34 instrumentalists. Everything is beautifully<br />
done.<br />
Hans de Groot<br />
CLASSICAL AND BEYOND<br />
Haydn; Schubert; Brahms<br />
Stéphane Tétrault; Marie-Ève Scarfone<br />
Analekta AN 2 9994<br />
!!<br />
This cello disc<br />
comprises three<br />
significant works by<br />
Viennese masters.<br />
Haydn’s delighful<br />
Divertimento in D<br />
Major was arranged<br />
for cello and piano<br />
by Gregor Piatigorsky<br />
from the original, composed for the violrelated<br />
baryton, viola and cello. Cellist<br />
Stéphane Tétreault is heartfelt in the opening<br />
Adagio’s melodies, still achieving classical<br />
poise with pianist Marie-Ève Scarfone. They<br />
convey the Menuet’s classicism and match<br />
the finale’s brightness and geniality. For me<br />
the disc’s highlight is Schubert’s Sonata in A<br />
Minor for the six-stringed, bowed arpeggione<br />
(1824), now usually played on the cello. The<br />
duo’s reading is impassioned, its expression<br />
tasteful. Dramatic arpeggios and leaps suggest<br />
agitation and crying. The Adagio’s emotional<br />
opening cello melody carries forward into<br />
a well-shaped long line. There is plenty of<br />
colour in Tétreault’s playing, with flexibility<br />
of tempo and perfect ensemble by the duo.<br />
Lucie Renaud’s fine program notes point<br />
out nostalgic and historical elements in<br />
Brahms’ Sonata in E Minor (1871) – for<br />
example the second movement’s minuet and<br />
third movement’s fugato – and connections to<br />
the disc’s previous works. After the Schubert,<br />
I was struck by this piece’s analogous leaping<br />
cello cries in the first movement’s opening<br />
theme. And Brahms-like Schubert is a master<br />
at mixing major- and minor-key inflections<br />
that evoke shifting moods. The performers are<br />
neither routine nor precious in their expressive<br />
reading of the Menuetto. And Scarfone<br />
comes to the fore in the finale, playing<br />
its contrapuntal passages with fire and<br />
conviction.<br />
Roger Knox<br />
Schumann – Piano Concerto in A minor;<br />
Piano Trio No.2<br />
Alexander Melnikov; Isabelle Faust;<br />
Jean-Guihen Queyras; Freiburger<br />
Barockorchester; Pablo Heras-Casado<br />
harmonia mundi HMC 902198<br />
!!<br />
This is the second<br />
installment of<br />
Schumann’s three<br />
trios and concertos.<br />
The first (HMC<br />
902196) contained the<br />
violin concerto and<br />
the third trio Op.110 in<br />
performances that were game changing with<br />
a soft attack and sensitive textures.<br />
This orchestra as we know by now, with<br />
their aesthetic firmly based, seeks to recreate<br />
the sound of early music in its time. The open<br />
mesh to their sound illuminates this middleromantic<br />
deployment of pre-modern instruments.<br />
With valveless horns and trumpets,<br />
woodier woodwinds, sinewy gut strings and<br />
taut percussion, this must be the sound the<br />
composer knew wherein no instrument is<br />
buried. Schumann in his concertos sought to<br />
harmonize the sound of soloist and orchestra<br />
rather than throw them against each other<br />
as Brahms did later. The pianoforte employed<br />
in this concert performance, recorded in<br />
the Berlin Philharmonie, is an 1837 Érard.<br />
The enthusiastic performance is a revelation,<br />
driven by Spanish conductor Heras-<br />
Casado’s well-paced tempi, always attentive<br />
to the felicities of Schumann’s score. All<br />
aspects considered, this is decidedly a benchmark<br />
account.<br />
Exactly as I noted in my May 2015<br />
WholeNote review of their performance of<br />
the Third Trio, “Faust and her colleagues<br />
radiate ardor and optimism, performing with<br />
sensitivity, sincere musicality and flawless<br />
ensemble that hold the listener’s attention.”<br />
Their choice of instruments is interesting:<br />
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