Christmas Concertos & Cantatas / Standage, Collegium Musicum 90
Chandos
CD
$6.99$13.99Save 50%Sep 30, 2008
Including some of the most beautiful baroque Christmas music on offer, this programme makes for the perfect Christmas collection. 'This is period-instrument performance at its best', wrote American Record Guide on the CD's original release. It is re-issued here for the first time. Three popular favourites, Corelli's gorgeous concerto for Christmas Eve, an idyllic Christmas concerto by Vivaldi, and Manfredini's Concerto grosso are complemented by two little-known cantatas by Telemann and Scarlatti. Each of the Italian composers has his own voice, contrasting tremendously with the more rugged German style of Telemann. Susan Gritton is the soloist in Scarlatti's cantata, described by Classic CD as 'ravishing and ravishingly sung... worth anyone's CD token'. This is a disc of intimate Christmas music, which will make an ideal stocking filler. As Classic CD wrote at the time of the original release, 'This is a delightful addition to the Christmas market, and the careful selection of its items and superb recording ensure that, like the traditional puppy, it's not just for Christmas'.
REVIEW:
These Baroque concertos and cantatas are all associated with Christmas, although some only marginally. The Scarlatti and Telemann cantatas were written for Christmas. The Manfredini and Corelli concertos probably received their associations with Christmas because each contains a pastorale movement, shepherds’ music in 12/8 time that Italian folk tradition associated with Christmas (the “Pifa” from Handel’s Messiah is another example). The Vivaldi concerto, one of his typical string concertos, seems to have received its seasonal connection from Vivaldi’s practice of programming it at Christmas time.
All of this music is delightful to hear. Many of Fanfare’s readers will probably have one or more of these works already, especially the concertos. The two cantatas are less often encountered, especially the Telemann, from the first movement of which we get the English carol Good Christian Men Rejoice. The playing and singing are excellent in all respects. Susan Gritton makes a major contribution in the solos of the Scarlatti cantata. Members of Collegium 90’s choir are equally good as soloists in the Telemann. Presiding over all, Simon Standage directs lively performances that respect the score and never stray into extremes of tempo.
This collection was issued 10 years ago under the title “Per la notte di natale.” In this reissue, Chandos provides full notes along with texts and translations, for which I commend them. Anyone looking for an enjoyable collection of Baroque music associated with Christmas need look no further.
Telemann: Burlesque De Quixote, Etc / Standage, Et Al
Chandos
CD
$21.99Aug 01, 2003
Simon Standage is particularly renowned for his Telemann recordings with Collegium Musicum 90. The repertoire here is especially vivacious and rich in melodic invention with the doubling of oboes and bassoons used to striking effect. Telemann's penchant for colour is strongly evident in the Burlesque de Quixotte. Collegium 90 is regarded as one of today's premiere early music groups and regularly receive outstanding reviews for their Chaconne recordings. Recorded in: All Saints' Church, East Finchley, London 29-31 July 2002 Producer(s) Nicholas Anderson Sound Engineer(s) Jonathan Cooper Michael Common (Assistant)
Maestro Corelli's Violins / Standage, Collegium Musicum 90
Chandos
CD
$21.99May 19, 2017
The musical influence of the famous Arcangelo Corelli is witnessed in this set of recordings of unjustly neglected concertos by three of his pupils. The variety of these works is captured by the period instruments of the critically acclaimed baroque ensemble Collegium Musicum 90 under the direction of its founder, Simon Standage, who is also soloist here. The album reveals Corelli’s influence, from a style of execution that was of vital importance to the development of violin playing to a compositional manner that, in establishing the pre-eminence of the violin, proved central to the development of the modern genres of sonata and concerto. Under its exclusive contract with Chandos, Collegium Musicum 90 has made more than sixty albums, forty of them with Simon Standage.
This present collection admirably shows the ingenious simplicity of Arne's writing, very much in the mid-eighteenth-century English pastoral school. At the beginning of 1751, when Thomas Arne published his 'Eight Overtures in 8 Parts', he had become the leading exponent of English dramatic music and the only Englishman who could offer Handel serious competition in the theatre. Arne's 'Eight Overtures' belongs to a tradition of making the instrumental introductions of vocal works available for concert use and divide into two types. Nos 1, 2,4,6,7 and 9 are examples of the older French type that was invented by Lully, was used in England from the 1680s onwards and is found in the majority of Handel's operas and oratorios. These overtures begin with dignified movements, often marked 'Largo' that have dotted rhythms, sharp dissonances to push the music along, and ornamental 'tirades' to create a sense of excitement. By contrast, overtures Nos 3 and 6 are really Italian sinfonias. This type of overture was developed in the early eighteenth century by Alessandro Scarlatti and his contemporaries, and usually consists of three movements: a bustling fast movement, a soulful slow movement and a minuet. As Arne's examples show, the Italian sinfonia was markedly more modern in musical style than the French overture. The final two overtures; 'Alfred' and 'Thomas and Sally', rarely recorded works, are also examples of the more modern Italian type.
Torelli: Concertos / Standage, Collegium Musicum 90
Chandos
CD
$21.99Feb 01, 2005
Every so often one encounters a composer whose innovations had an enormous impact on music but whom subsequent events overshadowed. One such is Giuseppe Torelli, a great innovator who deserves to be credited with much of the early development of the concerto. This fascinating disc includes the Concerti Op.8, a landmark opus worthy of special attention, for it influenced a whole new generation of composers including Vivaldi, Telemann and Bach. These historically accurate performances give us a chance to experience these ground-breaking concertos as they would have been heard at the time, and will prove popular with scholars and fans of early music alike.
Telemann: The Autograph Scores / Standage, Collegium Musicum 90
Chandos
CD
$21.99Apr 24, 2012
TELEMANN Suites: in F, TWV 55:F16; in A, TWV 55:A7; in D, TWV 55:D23. Concerto in D for Strings, TWV 43:D4. Fanfare in D, TWV 50:44. Divertimento in E?, TWV 50:21 • Simon Standage, cond; Collegium Musicum 90 (period instruments) • CHACONNE 0787 (79:18)
It seems like the Telemann fountain is flowing full force nowadays, with a number of recordings appearing like clockwork each month, and I’ve no doubt that the vast number of his compositions are very much in danger of being all recorded, that is, those that haven’t been lost. This disc brings together a selection of instrumental pieces performed by the venerable Simon Standage with the equally venerable and reputable Collegium Musicum 90, which he founded with the late Richard Hickox. Indeed, the Telemann offerings by this ensemble and its director are of such number, variety, and excellence that they were awarded the Telemann prize in 2010, an honor that shows their stature in this massive revival.
This disc does not disappoint, either, although only one of the six works presented is given its world premiere. This is the Divertimento in E?, which seems in every other way little more than a conventional suite of French dances but contains a rather nice dramatic element in the movement titles that offer something more than expected. It would seem that for someone who wrote such a tremendous amount of music, one would have scads of autographs all about, but in Telemann’s case, oddly enough, these seem to be a rarity. As few as 18 of the instrumental works exist in his own hand, nine of which are actually in a single collection written for and dedicated to the Landgrave of Hesse-Darmstadt, Ludwig VIII. This disc takes three of these works, written when the composer was 86 years old in 1766, opera ultima if ever there were. The remaining three are earlier, probably closer to 1708 or so when he was Kapellmeister at Sorau in Silesia, now Poland. It is no matter, for the thread that links them is that all are in the French style, dances that alternate fast and slow in the manner of the suite. Only in the Overture-Suite in A Major (titled Concert en Ouverture) is there a hint of a soloist, in this case a vehicle for violinist Standage to shine. More interestingly, however, is that three of the works from late in the composer’s life include a pair of horns, as well as flutes, coming close to the standard Classical-period orchestra.
Since most have been recorded before, only a few words will suffice about the works themselves. The F-Major suite is very Handelian, with exaggerated French dotted rhythms at the opening, but the harmonies momentarily veer off into strange areas, one of Telemann’s trademarks, as is the outdoorsy feel of the Allegro section with its hunting calls. In the Bourrée that follows, the horns begin this dance in their high register, adding tonal punch to the line, but in the second part, the folk-song character in the decisive rhythms makes a nice complement. The final movement is titled “The Tempest,” and the skirling strings and echoing horns entrances, not to mention a nice crescendo at the beginning of each section, is quite dramatic. In the concerto grosso, I find the opening Andante amusing, almost like Telemann is teaching his ensemble exercises, but his penchant for folk rhythms reasserts itself in the Vivace that follows. One might also note the perpetual-motion finale of the A-Major suite, with its maniacal Gigue and final unexpected cadential flourish. The Divertimento is a perfect little gem, almost a dramatic and very civilized scene that begins with a quick awakening, a mincing gavotte that evokes a conversation at the table, and a brief hunt. Here we are more in the world of early Classicism than the rather more Baroque style of the remainder of the works on the disc.
About the performances themselves, Collegium Musicum 90 is up to its usual standard of excellence. The interpretation is finely nuanced, the attention to dynamic and rhythmic contrast clear, and the intonation spot-on. This rapport is clearly something that Standage and his group have achieved over the years, and this disc only adds to an already world-class reputation. I find some nice surprises, such as the rather prominent horns in the opening movement of the F-Major overture, which I suspect may have been playing bells-up in order to achieve the bucolic sound, very different from the more refined work elsewhere. The flutes are equally clear in their performances. All around, this disc can be highly recommended, even if you have most of the works on other recordings. I would make this one your standard.
