BREMF Consort of Voices - Palestrina 500: Music from Italy and the Sistine Chapel

 

Join BREMF Consort of Voices to celebrate the 500 anniversary of the birth of Giovanni Pierluigi da Palestrina in 1525, whose graceful polyphony was written to be performed in the Sistine chapel and whose influence quickly spread throughout Europe. They will also be performing motets by some of his contemporaries including Allegri, Victoria, Gabrieli, and Marenzio.

BREMF Consort of Voices
James Elias director

This concert is part of the Europe-wide celebration of Early Music Day 2025.

Tickets here.

BREMF Consort of Voices, performing at BREMF 2024
© Robert Piwko

 

Programme

Josquin des Prez (c.1450–1521) - Kyrie from Missa Pange lingua 

Thomas Tallis (c.1505-1585) - In manus tuas 

William Byrd (1539/40–1623) - Haec dies 

Robert Parsons (c.1535-1572) - Ave Maria 

Giovanni Palestrina (c.1525-1594) - Sicut cervus 

Tomás Luis de Victoria( c.1548-1611) - O quam gloriosum 

More details here.

CD Reviews - September 2021

Norwegian lutenist Jadran Duncumb is on his third recording for Audax, this time performing works for the lute by J S Bach (1685-1750). There is debate about the original instrument Bach intended the works for, with question marks about a kind of gut-strung harpsichord called the Lautenwerk. Nevertheless, despite the lute not being Bach’s instrument, he did specify lute for some works, and arranged his own works (such as a Cello Suite and a movement from a Violin Sonata) for the instrument. In all there are six works in Bach’s output, and Duncumb has recorded four here. First, a word about the recorded sound. The lute is naturally a quiet instrument, and it can struggle to make itself heard outside a generous acoustic. Recordings also try to avoid the extraneous sounds of fret contact and string plucking. Duncumb has consciously gone against this, opting for a full, close recording which allows for the instrument’s true character to come to the fore, grit and all. That’s not to say there isn’t delicacy and lightness in his playing here, but he also produces a broader range of dynamics and a richer, fruitier sound than often heard on the instrument. The Suite in G minor opens the disc, this being Bach’s arrangement of his Cello Suite No. 5. It opens with a stately Prelude, followed by a gracious Allemande, and a gently swinging Courante. The Sarabande has a kind of sparse drama, and the second of the two Gavottes is beautifully fluid here in the running lines. The final Gigue is highly virtuosic, with its snappy rhythm and circling lines, taking the instrument to the extremes of register, and Duncumb makes his instrument sparkle with energy here. The brief Prelude in C minor will be familiar to pianists, as it was later written down in keyboard notation, and adopted as a keyboard work in the 19^th century. Its perpetual motion of arpeggios is actually ideally suited to the lute, and Duncumb expertly brings out the underlying harmonically shifting line from within the constant movement. The Fugue in G minor, another arrangement by Bach, this time from the Violin Sonata No. 1, is taken at a pace here by Duncumb, with impressive clarity in the fugal lines, ringing bass notes and an impressive flourish at its climax. The remainder of the disc is given over to the Partita in C minor (one of the works that may or may not have been composed for the mysterious Lautenwerk). Its opening Fantasia, with its falling bass line and swirling melodic line above is immediately captivating in Duncumb’s hands here. The Fuga to follow has incredibly clear voice leading in the flowing lines, and he maintains momentum despite its monumental proportions with a constant sense of direction and dynamic ebb and flow. In contrast, the Sarabande opens with a quiet air of mystery, yet Duncumb allows the emerging line to sing, with a beautifully silky chromatic scale near to the end. After a gently dancing Giga with effortless ornaments, he launches straight into the Double with smoothly running motion, a ringing tone throughout, creating a peel of bells in the cascades of falling lines, and building to a full-bodied conclusion. These are highly impressive performances, amply demonstrating that the lute is definitely not a shy wallflower in the right hands.

Bach, J. S. 2021. J. S. Bach Works for lute. Jadran Duncumb. Compact Disc. Audax Records. ADX 13728.

In February, Brighton Early Music Festival presented an online concert by Oliver Webber, violinist and director of the Monteverdi String Band, with organist and harpsichordist, Steven Devine. Con Arte e Maestria – ‘with art and mastery’ – refers to the practice of virtuoso violin ornamentation from the dawn of the Italian Baroque, and Webber and Devine have now released a CD of the same name. There is a lot of technical detail behind the complexities of ornamentation practice, and Webber’s CD notes are highly instructive, but for our purposes here, Webber demonstrates the ways in which virtuoso violinists of the late sixteenth century took existing pieces of music – madrigals, songs, etc – and ornamented them in striking and virtuosic ways, adding florid runs, repeated notes, trills and more to take an often simple melody to new heights. Different violinists had their own systems and styles – Girolamo dalla Casa (d.1601) used systematic divisions of the beat into rapid runs, whereas Riccardi Rognoni (c.1550-c.1620) favoured upward leaps followed by a downward scale, for example. Webber showcases five main approaches of different composers here, and then he takes their techniques and practices to create his own ornamentations of works such as Palestrina’s (c.1525-1594) madrigal Deh hor foss’io col vago della luna, and Antonio Mortaro’s (fl.1587-1610) Canzona ‘La Malvezza’. There is tremendous urgency in the rapid ornamentation of the Palestrina, and in the Mortaro, the violin adds increasingly nervy interjections over the steady progress of the organ. There is incredible variety here, with a beautiful singing style from Webber over Devine’s softly sombre organ in Cipriano de Rore’s (c.1515-1565) Anchor che col partire (ornaments by Rognoni), and highwire violin snippets of ornamentation in de Rore’s Signor mio caro (ornaments by Webber here), this time with Devine on harpsichord. There are solo violin Ricercatas from Giovanni Bassano (c.1561-1617), and from Webber himself (after Bassano’s style), demonstrating his virtuosic and improvisatory command of the instrument to dazzling effect – the Ricercata on ‘Vestiva i colli’ by Aurelio Virgiliano (fl.c.1600) is particularly mesmerizing. Devine has his moments too, with a beautifully delicate and courtly Canzon francese prima from Ascanio Mayone (c.1565-1627) on harpsichord, a darker Toccata by Michelangelo Rossi (c.1601-1656), and a dramatic fanfare-like organ Intonazione by Andrea Gabrieli (c.1532-1585). This is a stunning, well-constructed programme that will reward repeated listening, whether you want to get to the bottom of the technicalities of Italian Baroque ornamentation, or whether you want to simply relish the virtuosity of these performers in this glorious repertoire. 

Various. 2021. Con arte e maestria - Virtuoso violin ornamentation from the dawn of the Italian Baroque. Monteverdi String Band In Focus - Oliver Webber, Steven Devine. Compact Disc. Resonus Classics. RES10282.

Pianist Roman Rabinovich is on his second volume of Haydn Piano Sonatas. I missed the first, but on the basis of this two CD volume, I’ll definitely be seeking it out. The nine Sonatas on offer in this volume range across most of the fifty year spread of his 62 sonatas – depending on numbering, and allowing for a few of dubious origin. Rabinovich’s approach is full-bodied, and he is not averse to using pedalling to good effect, such as in the expressive Adagio of No. 13, its beautiful melody played out over softly pedaled repeated chords. Yet he also alert to the bright playfulness so typical of Haydn, such as in the outer movements of No. 50, and the jolly opening Allegro and the brilliantly virtuosic finale of No. 13. Meanwhile, the Bachian winding lines and steady bass line of No. 46’s Allegretto trot along amiably, and Rabinovich is particularly expressive and lyrical in No. 33’s slow movement. The Rondo of No. 35 is full of fun, with a spring in its step, with occasional slight lifts adding to the playfulness. No. 58, the latest Sonata here, from 1789, has an improvisatory quality in its opening movement, with Rabinovich taking the opportunity to show us some virtuosic flourishes, before the second movement’s rattling dash of a Rondo. Very enjoyable yet intelligent performances here, well worth exploration.

Haydn, F. J. 2021. Haydn Piano Sonatas, Vol. 2. Roman Rabinovich. Compact Disc. First Hand Records. FHR72.

(Edited versions of these reviews first appeared in Scene, September 2021)

'The waiting is long...': The Sixteen provide welcome Music for Reflection in difficult times

The Sixteen

Harry Christophers (conductor)

Antonia Christophers (narrator)

Live from London, VOCES8

7pm, Saturday 19 September 2020

(reviewed from online stream)

Kings Place, London

★★★★

Felice Anerio (c.1560-1614): Litaniae Beatissimae Virginis Mariae

Argo Pärt (b.1935): The Deer’s Cry

T S Eliot (1888-1965): Here let us stand, from Murder in the Cathedral

Josquin des Prez (c.1450/1455-152): O Virgo prudentissima

Arvo Pärt (b.1935): Da pacem Domine

T S Eliot (1888-1965): Does the bird sing in the south?, from Murder in the Cathedral

John Sheppard (c.1515-1558): Libera nos I

Josquin des Prez (c.1450/1455-1521): Pater noster, Ave Maria

Argo Pärt (b.1935): Morning Star

T S Eliot (1888-1965): We praise thee, O God, from Murder in the Cathedral

Tomás Luis de Victoria (c.1548-1611): Litaniae Beatae Mariae

Encore: 

William Byrd (1543-1623): Mass for Four Voices, Agnus Dei 

Pärt:

'Christophers judged the pace of Pärt’s pieces well ... and the rich lower voices provided firm grounding throughout'.

Shepard:

'The emotional highpoint, with its low bass cantus firmus underpinning the glorious soaring and falling sopranos'.

Byrd:

'Beautifully performed here by a solo quartet, this was a perfect, intimate and reflective conclusion'.

Read my full review on Bachtrack here.

Energy and virtuosity from VOCES8 in an impressive Proms debut - Proms at ... Cadogan Hall 1

VOCES8
© Andy Staples

VOCES8

Monday 22 July, 2019, 1pm

Proms at ... Cadogan Hall 1

Cadogan Hall, London

★★★★





Hildegard of Bingen (1098-1179): Spiritus sanctus vivicans vita
Pérotin (fl c.1200): Viderunt omnes - excerpt
Josquin des Prez (c1450/55-1521): Ave Maria ... Virgo serena
Jean Mouton (before 1459-1522): Nesciens mater virgo virum
Tomás Luis de Victoria (1548-1611): Regina caeli a 8
Jonathan Dove (b.1959): Vadam et circuit civitatem
Orlando de Lassus (1530/32-94): Missa 'Bell'Amfitrit'altera' - Gloria
Giovanni Pierluigi da Palestrina (c1525-94): Magnificat primi toni
William Byrd (c1540-1623): Sing joyfully
Alexia Sloane (b.2000): Earthward (world premiere)
Orlando Gibbons (1583-1625): O clap your hands
Encore:
Sergei Rachmaninov (1873-1943): Bogoroditse Devo, from All-Night Vigil, Op. 37


'The eight singers promised and delivered great skill and smooth blend, at the same time as their ability to characterise the music, text and individual lines when required'.

Dove:
'VOCES8 convey the rich, warm early clustered harmonies, as well as the repeated rising phrases and weaving lines, making this a highlight of their performance today'.

Sloane: 
'The precision and confidence of their performance was highly impressive'.

Gibbons:
'Full of energy and madrigalian lightness ... bringing their highly impressive Proms debut to a glorious conclusion'.

Read my full review on Bachtrack here.

O Magnum Mysterium - The Baroque Collective Singers with the Lewes Festival of Song

The Baroque Collective Singers

The Baroque Collective Singers are performing in a Christmas fundraiser concert to support the Lewes Festival of Song at St. Anne’s Church, Lewes on Friday December 14th at 8pm.

John Hancorn

Following their successful festival finale last July, The Baroque Collective Singers are once again conducted by their Director, John Hancorn.  They will be performing 'O Magnum Mysterium', a candlelit, radiant seasonal programme of familiar and unfamiliar music, with some beautiful carols for the audience to join in. The programme includes highly contrasting settings of O Magnum Mysterium by Victoria, Poulenc and Ola Gjeilo.  There will be music by contemporary composers such as James MacMillan, Judith Weir and Ed Hughes, as well as works by Holst, Britten and Tavener.  

Guest cellist Sebastian Comberti and pianist and festival director Nancy Cooley will be playing too.  Tickets are £15 (under 16s £7.50) with proceeds going towards a new piano for the festival. Mulled wine and refreshments by donation. Get tickets here.

Sebastian Comberti

Nancy Cooley

  

CD Reviews - December 2017

For violinist Johannes Pramsohler’s latest disc he is joined by lutenist Jadran Duncumb for a fascinating pairing of music by J S Bach (1658-1750) and his contemporary Silvius Leopold Weiss (1687-1750).  Weiss was one of the most important composers of music for the lute, and was renowned for his technical ability on the instrument.  So to put a Suite for lute by Weiss alongside Bach’s Partita No. 2 for violin is an interesting enough proposition.  But the main inspiration here is the Suite in A major for violin and obbligato lute, BWV1025.  In a fascinating essay the two performers discuss this work’s unclear history – is it simply an arrangement by Bach of a lute suite by Weiss, or was it in fact a work of some kind of collaboration?  Weiss certainly visited the Bach household, and the two are reported to have competed in improvisation challenges.  Whatever the work’s origins, in the form played here by Pramsohler & Duncumb the two instruments and their idiomatic styles are beautifully combined.  The recording brings the lute forward, balancing the quieter instrument against the more prominent violin – I’d be interested to hear how they manage this in live performance, but here it works well.  The Suite balances grace and poise in the opening Fantasia and stately central Entrée against livelier dancing movements such as the Rondeau and Menuett.  Both players are impressive in the Courante, building from a delicate opening to some racing runs for the violin in particular.  Following this, both players get the chance to shine individually.  First, Duncumb performs a lute Suite by Weiss, opening with a strikingly dramatic Allemande, Duncumb bringing out the dark, mellow tones of the lower registers.  The Courante ripples wonderfully, and Duncumb brings out the flowing melodic line expertly in the dancing Bourrée.  To close the disc, it’s Pramsohler’s turn, with a highly impressive performance of Bach’s Partita No. 2.  The recording acoustic is open, and Pramsohler exploits this, allowing the harmonies and lines to sing out – no scratching or digging here.  So often the rhythmic line is disturbed by Bach’s fiendish multiple stoppings or string crossing leaps, but not here.  He takes the Giga at a phenomenal pace, yet no detail is lost, and the monumental Ciaconna that finishes the Partita has a steady, consistent momentum that adds to its sublime sense of timelessness.  This is an impressive recording by two exceptional performers – highly recommended.

Various. 2017. Bach & Weiss. Johannes Pramsohler, Jadran Duncumb. Compact Disc. Audax Records. ADX 13706.

Nordic Voices are a six-voice a cappella group from Norway who perform a broad repertoire from plainsong through to newly commissioned works.  Their previous recording for Chaconne back in 2009 including some music by Tomás Luis de Victoria (1548-1611), and now they return with a full disc of works by Victoria for six voices.  They produce a full, warm yet crystal clear and blended sound throughout, with particularly rich lower voices, evident in the opening motet, ‘Quem vidistis, pastores’, when there is often a split in Victoria’s writing between the higher and lower voices.  In ‘Salve Regina’, there are some beautiful exchanges between different voices, and the singers clearly enjoy the interchanges here.  ‘Vadam et circuibo civitatem’ that concludes the disc is particularly tender, and this reflects their overall approach.  Very occasionally I’d like to hear a little more definition to individual parts, yet there is a warmth and intensity to their sound that is highly engaging.  The resurrection motet, ‘Ardens est cor meum’ is given a bit more energetic drive, and there is some smooth and sonorous plainchant from the lower voices in ‘Vexilla Regis’.  Definitely an ensemble to look out for if they visit the UK.

Victoria, T. L. de. 2017. Nordic Voices sing Victoria: Works for Six Voices. Nordic Voices. Hybrid Super Audio Compact Disc. Chaconne. CHSA 0402. 

I reviewed the earlier volumes of Jean-Efflam Bavouzet’s recordings of Beethoven’s Piano Sonatas, (read my review of Volume 2 here) and now all three volumes have been combined in a 9 CD box set – perhaps a treat for Christmas?  It’s rare that a complete cycle satisfies individual tastes across the whole 32 sonatas, but I have to say there is little here that I’d want different.  The depth of his interpretations of the later works, particularly No. 29, the ‘Hammerklavier’ is especially striking, and where I felt his ‘Moonlight’ was not dark or wild enough, that’s certainly not the case here.  And No. 32, one of Beethoven’s final statements on the instrument has that perfect combination of wild passion in the opening movement, contrasted with the profound transcendence of the final Arietta.  Standout highlights from earlier volumes must be the freshness of his ‘Pathétique’ and a towering ‘Waldstein’.  Bavouzet is clearly at the height of his game, recording and performing to a remarkable schedule, and this cycle will surely stand as a benchmark for some time to come.

Beethoven, L. van. 2017. Beethoven: Complete Sonatas. Jean-Efflam Bavouzet. Compact Discs (9). Chandos CHAN 10960(9).

(Edited versions of these reviews first appeared in GScene, December 2017)