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)

CD Reviews - February 2015

Clare Hammond is a fearless pianist, specialising in virtuosic repertoire from the 20^th and 21^st centuries, often championing the work of contemporary composers and premiering their work.  She performed in a stunning lunchtime recital at the 2013 Brighton Festival.  Her latest CD is ‘Étude’.  It includes 26 études, a form which began as study exercises for pianists to develop a particular aspect of technique, but largely through the efforts of Chopin and other pianist-composers after him, has become an art form in itself, with composers exploring the outer limits of technique and pushing the pianist to new extremes of virtuosity.  The disc begins with three from a set of twelve ‘Études d’exécution transcendante’ by Russian composer Sergei Lyapunov (1859-1924).  This set was dedicated to Liszt, and completed the cycle which Liszt had begun of studies in all the 24 major & minor keys.  Though whilst Liszt was clearly a major influence, this is undoubtedly music from the late Romantic Russian nationalistic school.  With surging rivers (‘Térek’), an atmospheric ‘Nuit d’été’ and an full-on raging ‘Tempête’, the three chosen here give Hammond a perfect opportunity to set the scene for some barnstorming playing.  The six Piano Études which follow are from South Korean composer Unsuk Chin (b.1961).  Often thinner in texture, yet no doubt more technically demanding, these pieces manage to convey remarkable energy and imagination within the potentially restrictive demands of studies based on repetition or scales, and are probably the most pianistically challenging works on the disc.  Hammond seems to relish the challenges set, yet also manages to find a sensitive touch in the delicate moments amid the fireworks.  Polish composer Karol Szymanowski’s (1882-1937) set of 12 Studies live in the same soundworld in many ways as Debussy’s études, composed just one year earlier than Szymanowski’s (in 1915).  These are short pieces, all under two minutes long, and Szymanowski does well to create a specific mood in such a short space of time, although there is perhaps less variety across the different études here, with the consistently bitonal harmonies creating an other-worldy feel throughout.  The disc ends with Ukranian pianist/composer, Nikolai Kapustin’s (b.1937) Five Études in Different Intervals, providing the perfect closing sequence for this astonishing disc.  Kapustin combines classical and jazz styles in a unique way, and here he takes a seemingly restrictive concept, a specific interval for each study, as a starting point for five exuberant and joyous confections, once again fiendishly challenging. 

Various. 2015. Étude. Clare Hammond. Hybrid Super Audio Compact Disc. BIS Records. BIS-2004 SACD.

The Six Concerti Armonici for strings and basso continuo were first published in 1740, but without an ascribed composer.  There have been many theories, and the most popular choice for many years was Pergolesi.  But the mystery was solved in 1980 by the Dutch musicologist, who found a manuscript of the concerti with a preface by Count Unico Wilhelm van Wassenaer (1692-1766).  A renowned Dutch diplomat, he was also admired for his compositions.  The Innovation Chamber Ensemble consists of principal string players from the City of Birmingham Symphony Orchestra, under the artistic direction of Richard Jenkinson, and they certainly show how much they enjoy this change of repertoire with stylish and spirited playing throughout.  This are not early instrument expert performances, but they play sensitively, and it is only perhaps in the slow movements where occasionally the sound is a little heavy for my liking.  However, these are beautiful concerti and contain great variety and invention, giving the Innovation Chamber Ensemble plenty of scope for varying tone and dynamics, which they do well.  Predominantly in the Italian style, they are nevertheless far from formulaic works, and many of the faster movements practically fizz with energy.

Van Wassenaer, U. W. 2015. Six Concerti Armonici. Innovation Chamber Ensemble, Richard Jenkinson. Compact Disc. SOMM Recordings. SOMMCD 0141.

Harpsichordist Steven Devine performs regularly with the Orchestra of the Age of Enlightenment and London Baroque, and has performed on numerous occasions in events in the Brighton Early MusicFestival.  His Goldberg Variations recording won much deserved phrase, and he follows this with a further disc of J S Bach, including the ‘Italian’ Concerto and ‘French’ Overture, both from the second part of his ‘Clavier-Übung’.  But Devine starts his disc with the Chromatic Fantasia and Fugue, BWV 903.  Right from the word go, it is clear that this is full-blooded harpsichord playing, and and recorded sound from Chandos is appropriately warm and upfront.  It is refreshing to hear the harpsichord played with command and intent, and not in an overly sensitive and precious way, which is sadly often the case.  I like the rhythmic drive he gives, not allowing the rapid ornamentation in the Fantasia to upset a strong sense of pulse.  This is equally evident in the Aria variata which follows – a theme with 10 variations ‘in the Italian manner’.  The Fantasia in C minor, BWV 906 comes next, and again precision and rhythmic integrity is paramount here. Although the form of the ‘Italian’ Concerto which follows is clearly based on the concerti with orchestra, of Vivaldi, Bach takes this and uses dynamic contrast and varying textures to create a virtuoso concerto for the solo instrument.  Once again the opening movement has drive and energy, but in the central slow movement, Devine shows that he can also make the instrument sing, allowing the beautiful aria solo line to breathe, before the crashing Presto sweeps aside contemplation.  The ‘French’ Overture closes the disc, and opens with a long Ouverture movement which is a phenomenal construction in itself.  Here Devine’s programming makes perfect sense, with this great work offering the opportunity for him to bring together his strong virile approach with a lighter touch in the faster dance movements such as the Passpieds and Bourées, as well as giving us a touching Sarabande.  The closing Écho is given suitable panache, and he clearly enjoys the echo effects to their full – a joyful end to a stunning recording.

Bach, J. S. 2015. 'Italian' Concerto, 'French' Overture and Other Works for Harpsichord. Steven Devine. Compact Disc. Chaconne, Chandos Records. CHAN 0802.

(Edited versions of these reviews first appeared in GScene, February 2015)

Brighton Early Music Festival 2012

The 10th BREMF runs from 26 October to 11 November, and despite losing Arts Council funding this year (boo!), this year's festival promises to be one of the most exciting and innovative yet.  The theme of Celebration (in honour of the festival's 10th birthday) is definitely appropriate - the festival is indeed a celebration of the diversity of early music repertoire, as well as the creativity and ingenuity of the best performers in the field.

So I thought I'd pick out a few of the highlights that I'm looking forward to.  I have to admit to a vested interest here, as I'm singing in four concerts this year - but I promise to point out a few other delights that the festival has in store too!

Credit: Eric Richmond

The Tallis Scholars return to the festival on Friday 26 October at St Bartholomew's Church, with a concert entitled The Field of the Cloth of Gold - Celebrating a Great Treaty.  This refers to the meeting between Henry VIII of England and Francis I of France in 1520.  It followed the treaty of 1514, and the aim was to cement a bond of friendship between the two monarchs, and as a result, the two countries.  The two Chapels Royal were present, and attempted to outdo one another with music composed by Jean Mouton (c.1459-1522) for the French, and William Cornysh (1465-1523) for the English.  The Tallis Scholars, under their director, Peter Phillips, appear fresh from their recent slightly unexpected chart success, thanks to a certain 'grey' novel.  

Borromini String Quartet

On Saturday 27 October, BREMF offers two free concerts (one at 8.30pm, one at 10.30pm), again in St Barts, Autumn Lates: BREMF 10th Birthday Celebration - Journeys through Europe.  No tickets are required, and you can come and go during the performances as you please.  Five young performing ensembles will be showcased.  Musica Poetica London are a period instrument baroque ensemble, specialising in 17th century German repertoire, and will be performing music by Becker, Biber & Buxtehude.  The Borromini String Quartet again perform on period instruments, but moving into Spanish and Spanish-inspired repertoire, with 'Noches de España'.  The Ensemble de Trianon take us on to France, with a programme entitled 'Les Plaisirs de Versailles', with music by Rameau & Leclair.  Flauguissimo, a flute and guitar duo, conjure up an intimate encounter with 'A Nightingale in the Salon', with music by Schubert and Paganini.  Finally, Oxford Baroque explore chaconnes and passacaglias by Monteverdi, Schütz and J. C. Bach, in 'Perpetual Motion'.

Soprano Elin Manahan Thomas joins the BREMF Singers and BREMF players, conducted by John Hancorn, in a Celebration of the Italian High Baroque, on Sunday 28 October at St George's Church, Kemp Town.  Domenico Scarlatti's beautiful Stabat Mater and Antonio Lotti's famous Crucifixus a 8 (here performed within the Credo in F from which it comes) are the choral highlights, whilst the string players will also perform music by Corelli & Vivaldi, including Vivaldi's La Follia trio sonata.  

And now for the spectacular, slightly crazy experience that will be The 1589 Florentine Intermedi.  You can catch this twice, once at 5pm, and again at 9pm, on Saturday 3 November, back at St Barts.  The music is by Luca Marenzio, Cristofano Malvezzi, Giulio Caccini, Emilio Cavalieri and Jacopo Peri - probably new to many.  The six Intermedi originally served as interludes between the acts of the play La Pellegrina (The Pilgrim Woman) by Girolamo Bargagli.  The play was performed on the occasion of Ferdinando Medici's marriage to Christine of Lorraine - by all accounts and incredibly extravagant and lavish affair.  This production, as well as drawing on the forces of two choirs - the BREMF Consort of Voices, together with the Renaissance Singers - will include a whole host of great soloists, including Mark Tucker, Emily Gadd and Katy Hill.  The instrumentalists include members of the English Cornett & Sackbut Ensemble, the Monteverdi String Band, and the Chordophony Lute Ensemble.  And last but not least, aerial dancers Zu Aerial will perform in the vast space that is St Barts - with lighting and sound effects - definitely not one to be missed.  All conceived by, and miraculously held together by director Deborah Roberts.  

From the large scale and spectacular to the opposite end of the spectrum - the intimacy that is the Goldberg Variations by J. S. Bach, performed by Steven Devine on the harpsichord.  You can hear this in the Ralli Hall, Denmark Villas, Hove at 3pm.

Later that same evening, BREMF Consort of Voices return for Celebrating Gabrieli, in honour of the 400th anniversary of Giovanni Gabrieli's death, and they are once again joined by the English Cornett & Sackbut Ensemble - 7.30pm at St Barts.  More wonderful music, and lots for multi-choirs, exploiting the spacial effects of Barts.

The Orlando Consort's turn to celebrate next, and they're Celebrating Food, Wine and Song in a cabaret-style picnic concert.  The quartet of Matthew Venner, Mark Dobell, Angus Smith and Donald Greig perform medieval and early renaissance music by Guillaume de Machaut, Dufay, Binchois, and others.  You can even download authentic recipes to try - so bring along your picnic!  Friday 9 November, 8pm at St George's Church, Kemp Town.  

Musica Secreta and the Celestial Sirens explore the secrets of what nuns got up to in the middle of the night (!) in Secret Carnivals, Saturday 10 November, 7.30pm at St Michael and All Angels Church, Brighton.  Their performance includes chant and polyphony from the daily Office, with works by Palestrina, Victoria and Rore - but they also celebrate their secret carnival in the dead of night, building to a dance of the Seven Sisters.  So the secrets of the nuns will be revealed!

The final day of the festival, Sunday 11 November, promises two great concerts to end in style.  Firstly, at 3pm in Ralli Hall, The Burning Bush perform their infectious mix of klezmer, Ottoman and Sephardi music in L'Chaim! (To Life!): Music and Dance to Celebrate the Old Jewish World.  The 6-strong band includes Lucie Skeaping (of BBC Radio 3's The Early Music Show) and husband Roderick Skeaping, together with Ben Harlan, Robin Jeffery, Jon Banks and Robert Levy.  Instruments include the oud, the rebec, the laouto, the darabukka and the kanun - if you don't know what any or all of these are, then go along and find out!

And the festival comes to a close with Celebrating Coronations - and a Diamond Jubilee.  The International Baroque Players are joined by the BREMF Singers, directed once again by John Hancorn, in coronation music by Boyce, Purcell and Handel, as well as Zelenka's Concerto a 8.  The International Baroque Players wowed audiences when they performed with Emma Kirkby in the 2010 festival, and their debut CD of Concertos from Dresden by Pisendel and others has won universal acclaim (review here). Sunday 11 November, 7.30pm, St Georges. 

So here's to the next ten years of the Brighton Early Music Festival - Congratulations to directors Deborah Roberts and Clare Norburn, and Happy 10th Birthday!

You can book tickets online for all the concerts here or at the Brighton Dome Ticket Office, New Rd, Brighton ore by phone: 01273 709709.