The ensemble Café Zimmermann continues its recording of the orchestral output of Johann Sebastian Bach. As in the previous volumes in the series, the latest is planned as a concert, but this preference for liveliness and diversity over a more systematic approach does not exclude rigour and coherence in the choice of pieces that make up each volume.

Guillaume de Machaut was born around 1300 in the environs of Reims, which at that time was a flourishing royal city with a population of almost 20,000, famous throughout Europe for its textile workshops and trade fairs. Like most cathedrals of Western Europe, Reims is built on the site of an earlier edifice. The Rouelle altar, on the left in the nave, adjacent to the choir screen, was dedicated to the Holy Spirit. But in 1343 a magnificent statue of the Virgin Mary was placed there. In 1341 Archbishop Jean de Vienne established a plainchant Votive Mass for the Virgin, to be performed each week before the Rouelle altar. The Marian Mass was introduced by Guillaume de Machaut and his younger brother Jean as a perpetuation of the archbishop’s wish, and it was for that particular liturgy, which was sung every Saturday throughout the year, that Guillaume wrote his famous polyphonic mass. The Messe de Nostre Dame, as it is called in only one of the five surviving manuscripts, is the first complete preserved polyphonic mass known to be by a single hand. It includes the five movements of the Ordinary plus the four-voice Ite missa est. The Mass is not strictly speaking a unified cycle, but there is nevertheless great coherence in its rhythmic and harmonic languages. The succession of movements shows a broad construction and a harmonious and carefully established stylistic progression, from the Kyrie with its strong harmonic structure to the Agnus Dei with its melodic lyricism.

This ninth volume of the Haydn2032 series focuses on the composer’s psychological subtlety in its focus on a central work: his Symphony no.45, known as the ‘Abschieds-Symphonie’ (‘Farewell’ Symphony), composed in 1772. It is said to have got its nickname from a symbolic message Haydn conveyed to Prince Esterházy when he and his orchestra were required to stay longer than planned in the Prince’s summer residence. On the occasion of the symphony’s first performance, Haydn had arranged for the musicians to leave their places one by one during the final Adagio. The day after the concert, all the musicians were able to return to their families and bid farewell to the Prince, who had obviously taken the point of this poetic request for ‘liberation’ expressed in music. The programme is completed by Symphonies nos. 15 and 35 and a cantata sung by Sandrine Piau, the heart-rending ‘Berenice, che fai?’ on a text by Metastasio that was a real ‘hit’ of the eighteenth century, set by some forty composers.

For its eighth volume, Haydn2032 invites us on a musical journey that takes the Balkan route. Of all the ‘Viennese Classical School’, Joseph Haydn is certainly the composer closest to folk music, first because he spent his early years in the countryside and also because, unlike his colleagues who worked in the urban centers of the Habsburg monarchy, Haydn was in contact with Croats, Roma and Hungarians throughout his life. These influences were omnipresent in his music, to the delight of Prince Nikolaus I Esterházy and his guests, but by some accounts were not to the taste of many music theorists in Germany. Haydn gave his Symphony no.63 in C major the title of ‘La Roxolana’, from the famous sixteenth-century sultana who was the wife of Suleiman the Magnificent after having been his slave. As usual, Giovanni Antonini, who is reunited here with Il Giardino Armonico, juxtaposes Haydn’s music with that of another composer. The natural choice here was Béla Bartók, who is represented by his Romanian Folk Dances, composed in 1917.

Born in Lower Saxony just three years before Beethoven, the violinist Andreas Romberg (1767-1821) was, like him, a virtuoso instrumentalist of precocious gifts. His career too was radically affected by the Napoleonic Wars and a formative encounter with Haydn. And, as with Beethoven, his most popular work was a choral setting of a poem by Schiller: Das Lied von der Glocke, premiered in 1809. Romberg wrote an enormous number of violin concertos, but only sixteen manuscript scores of his entire oeuvre have survived, all of them in Hamburg. Chouchane Siranossian has decided to revive and make the world premiere recording of three concertos, thus revealing an interesting composer and a trio of highly virtuosic works.

With the rise of Romanticism, the topics of opera changed from the mythological fantasy of Baroque operas to the fairytale fantasy which graced the French stage long before Romanticism reached other European nations. Initiated by the Palazzetto Bru Zane, this project is built like a universal fairytale, inspired by Cinderella, Sleeping Beauty, Bluebeard, and others, as set to music by French composers of the Romantic period, alternating between famous composers such as Offenbach and Rossini and little known masters like Viardot, Silver, and Isouard. This imaginary opera was conceived and transcribed by Alexandre Dratwicki for piano quartet and two singers- a soprano and a mezzo, the roles of which are performed here by Jodie Devos and Caroline Meng.

The works of the French lutenist and composer Charles Tessier give evidence of his vast curiosity and extensive travels in the years around 1600. His Premier livre de chansons & airs de cour tant en françois qu'en italien et en gascon à 4 & 5 parties appeared in London in 1597 with a preface in Italian; the title-page refers to him as musitien de la Chambre du Roy (i.e. musician to Henri IV of France). A second volume, entitled Airs et villanelles français, italiens, espagnols, suices et turcqs... a 3, 4 & 5 parties, was published in 1604. This set was dedicated to Moritz, Landgrave of Hesse. Its second edition (1610) appeared with a dedication to King Matthias of Hungary. Charles Tessier achieved a happy balance in his works between the different cultures of his time, with popular songs and refined airs de cour, a mixture of rusticity and delicacy that reflects the tastes of the court of Henri IV. His Italian and Swiss villanelles, his Spanish and Turkish airs - echoed on this recording by pieces written by contemporaries John Dowland, Leo Hassler and Moritz of Hesse - show how men and their works travelled within Europe during that peaceful period between the wars of religion and the Thirty Years' War. With this recording Le Poème Harmonique and Vincent Dumestre invite us to take a look at the travels and the encounters that enriched the joyful works of this very interesting composer. Recorded 28 October-1 November 2005, Chapel of Notre-Dame de Bon Secours, Paris Artistic direction, recording & editing: Hugues Deschaux.

In the Europe of the first half of the seventeenth century, instrumental music became a source of sonic and expressive experimentation. Influenced by vocal rhetoric, composers sought to replace words with a new musical language. The virtuosity of the instrumentalists developed, as did invention, improvisation and the search for surprising sonorities. Along with the organ or the harpsichord, the violin was the instrument of choice for experimenting with these new techniques. Italian and German composers of the seventeenth and eighteenth centuries such as Farina, Schmelzer, Mealli, Buxtehude, Biber, Pisendel and Bach vied with each other in imaginativeness... The violinist Chouchane Siranossian and the harpsichordist Leonardo García Alarcón – both loyal Alpha Classics artists – have chosen to explore this repertory, here including Bach’s sonatas BWV 1019, 1021 and 1023 among other pieces.