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.
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.
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.
