2024 marks the 500th anniversary of the birth of Ronsard, known as the Prince des Poetes, whose poems have been set to music more than four hundred times over the centuries. This programme has been curated by Denis Raisin Dadre and compares several settings of the same sonnet by 16th-century musicians (Gardane, Lassus, Castro, Bertrand, Costeley) and by such later composers as Charles Gounod, Camille Saint-Saens, Paul Dukas, Maurice Ravel, Theodore Gouvy, Pauline Viardot and Arthur Honegger, all of whom were clearly seduced by the same Bonjour mon c�ur and the famous Mignonne, allon voir si la rose some three centuries later. A truly fascinating playlist of songs inspired by a genius whose beau style bas, populaire et plaisant has stood the test of time. The musicians of Doulce Memoire re-create the Renaissance settings here, whilst singer Marc Mauillon and pianist Anne Le Bozec perform the songs of the 19th and 20th centuries.

"I don't think Mendelssohn gets the attention he deserves," said Paavo Järvi at the start of the 2020-2021 season. Faced with this observation, he undertook to record a complete cycle of Mendelssohn's orchestral works with the Zurich Tonhalle Orchestra for his second season as Music Director. On the programme are the composer's five symphonies, including the second, known as 'Lobgesang', half-symphony, half-cantata, with the participation of the Zürcher Sing-Akademie, tenor Patrick Grahl and sopranos Chen Reiss and Marie Henriette Reinhold. Finally, A Midsummer Night's Dream, based on Shakespeare's play, the overture to which Mendelssohn composed when he was just 17, concludes this very fine cycle.

REVIEWS:

According to the pianist Andras Schiff, Felix Mendelssohn is a “very underrated” composer. Conductor Paavo Järvi feels the same way: “I don’t think Mendelssohn gets the attention he deserves” the maestro offered before undertaking a survey of the Romantic icon’s five symphonies and incidental music for A Midsummer Night’s Dream.

The recording of that project with the Tonhalle-Orchester Zürich is out now and, while it doesn’t cast Mendelssohn as a radical (which he wasn’t – not exactly), it highlights the strengths of his music and finds ways to put distinctive interpretive stamps on several of these scores.

[The five symphonies offer] a remarkable degree of variety that doesn’t always come through in performance or on disc. Here, though, Järvi manages to get the music to speak persuasively largely by virtue of smart tempos, flexible phrasings, and the highly attentive, virtuosic playing of his Zürich ensemble.

The First Symphony, written when Mendelssohn was just fifteen, is taut and driving, its counterpoint clean and well-shaped, and the slow movement’s lyricism lean and fluent. In the Fifth, Järvi’s approach to the music pays greater dividends.

Again, rhythms are tight, balances clean, and articulations crisp. The finale’s chorale statement is strongly shaped, while that movement’s later contrapuntal textures sound fresh and the music’s chromatic inner lines speak well. Also, the main sections of the outer movements are clearly sculpted: while there’s plenty of drive and intensity in the Tonhalle-Orchester’s playing, the lyrical sections breathe naturally and certain of the music’s antiphonal elements come out pleasingly.

More of the same follows in the Fourth which, for all its first-movement exuberance, manages to sing with warmth and grace. The concluding tarantella snaps right along, its central fugue unfurling with inviting energy.

Conductor, orchestra, and vocal guests seem to have a lot of fun with the Second...tempos are lively, there’s plenty of rhythmic clarity, and a compelling sense of direction throughout...the Zürcher Sing-Akademie’s blend and diction are both excellent. Similarly impressive are the performance’s soloists – sopranos Chen Reiss and Marie Henriette Reinhold, and tenor Patrick Grahl – who imbue their various moments with color and urgency.

Likewise stimulating is Järvi’s take on the Third Symphony. Here, the orchestra revels in the music’s play of color, rhythm, and character. Woodwind figurations in the Scherzo are exquisitely on-point, the subtle play of light and shade in the Adagio is sublime, and the flexibility of phrasing in the outer movements ensures that the score’s larger scaffolding sounds rightly majestic.

Filling out the set is Mendelssohn’s incidental music to A Midsummer Night’s Dream, a programming choice that neatly frames the symphonies: he wrote the Overture just after completing No. 1 and the rest of the selections around the time he was finishing up No. 3 (which, as we might recall, was really his last).

Järvi and the Tonhalle-Orchester, joined this time by the ladies of the Zürcher Sing-Akademie and sopranos Katharina Konradi and Sophia Burgos, deliver a reading that’s energetic and, oftentimes, quietly tempestuous. Highlights include a limber, articulate account of the Scherzo; an unsentimental, richly blended, and rhythmically lucid take on the Nocturne; and a bewitching, elfin rendition of the finale.

-- The Arts Fuse

While Faure's Requiem is a monument of French sacred music, Gounod's Messe de Clovis is much less well known. It was composed from 1891 onwards as a tribute to Clovis who, like Joan of Arc, had become an iconic figure after the defeat of France in the Franco-Prussian war of 1870. The two works share a reflective and intimate character that gives the impression of a return to the purity of Gregorian chant, although this does not detract from the jubilant character of Faure's Requiem: "this warm, luxuriant sound leads to an elevation of the spirit", says Herve Niquet. The work is recorded here in it's 1893 version, in an orchestration that uses neither violins nor woodwind; a later version with full orchestra was published in July 1900. O salutaris by Louis Aubert (1877-1968) for soprano, violin, harp, organ and choir and L'Adagio for violin and organ by Andre Caplet (1878-1925) complete this programme, a co-production with the Palazzetto Bru Zane and performed with fervour by the Concert Spirituel.

Classical Music

F. X. RICHTER String Quartets, op. 5: No. 1 in C; No. 2 in B?; No. 3 in A. MOZART The Well-Tempered Clavier: Fugue arrangements. Canon alla seconda , K 562c ? Rincontro (period instruments) ? ALPHA 089 (71:29)


One of the leading first-generation Mannheim composers, Franz Xaver Richter was born in Moravia on December 1, 1709. During the earlier part of his life, he appears to have traveled extensively, with periods spent in Vienna (where he may have studied under Fux?he was certainly familiar with the Austrian composer?s famous treatise on counterpoint, Gradus ad Parnassum ) and Italy. His first post as a bass singer in the Stuttgart Hofkapelle was succeeded by positions at Schlitz, Ettal, and Kempton (Allgau), where he eventually became Kapellmeister . In 1746, Richter joined the Elector Carl Theodor?s famous musical establishment at Mannheim, again as a bass singer, but the 1750s also found him visiting France, the Netherlands, and England. Despite failing to gain promotion, Richter remained in Mannheim until 1769, when he was appointed maître de chapelle of Strasbourg Cathedral, a post he retained until his death on September 12, 1789. From 1760 until 1767, Richter also wrote his own treatise on counterpoint, Harmonische Belebrungen .


Richter?s thorough understanding of contrapuntal techniques played a major role in his compositions, which include both instrumental and sacred vocal works. However, his tendency to old-fashioned Baroque practice was profoundly tempered by his contacts with the more modern style he encountered at Mannheim, particularly that of Johann Stamitz. It is this mixture of the old and the new that is a hallmark of the six string quartets first published in London in 1768, and subsequently as op. 5 in Paris around 1772. It is, however, believed that they were composed some time before, perhaps as early as 1757. If true, this not only gives them chronological precedence over any of Haydn?s quartets, but marks them out as astonishingly forward-looking works that employ motivic development to a degree far in advance of most comparable works from this period.


Equally remarkable is Richter?s handling of string-quartet texture and his appreciation of instrumental color. One consistently notes his love of midrange sonority, as evinced by the many passages that highlight the second violin and viola. The handling of the viola is indeed more confident than in any quartets I know before those of Mozart?s maturity, the instrument at times even voice leading, as in the second half of No. 1 (i), and the opening of No. 2 (ii). Both are outstanding works throughout all three movements, which are in binary form that in the first two movements display many of the elements of Classical sonata form, though there is no full recapitulation. At the heart of both are profoundly serious slow movements that inhabit a deeply felt emotional world, that of No. 2 a G-Minor Poco andante based on a theme of infinitely tender sadness that, in the development after the double bar, enters realms of intensity ?too deep for tears.? The fugal movements that end both these quartets testify to Richter?s craftsmanship as a contrapuntist, as do the many imitative passages throughout all three quartets. If the predominantly lyrical A-Major Quartet does not quite aspire to this level?it concludes with a rather conventional Minuet and Trio?the first two movements are also richly rewarding, if less profound.


It was something of a stroke of genius to intersperse two of Mozart?s string-quartet arrangements of fugues from the Well-Tempered Clavier , the first the D?-Minor from Book 2, a solemn, austere piece, and the second providing a fine contrast in the shape of the serenely well-ordered E-Major, also from Book 2. Both, along with the tiny four-part canon that closes the program, provide an admirable foil for the Richter quartets, which create a bridge between Bach and Mozart. Here is clear evidence that an era widely believed to have abandoned the complexities of counterpoint had by no means done so.


The performances by Rincontro (who appear to have taken their name from the final fugal movement of the C-Major Quartet) are, quite simply, outstandingly rewarding. Led by Pablo Valetti, familiar from his work with Jordi Savall (and elsewhere), the quartet achieves a level consistent with the finest period string quartets, attaining a lyrical warmth and sensitivity that does full justice to Richter?s marvelous quartets, and the Mozart arrangements. The sound is fine, if a little on the edgy side; I found a slightly reduced volume level solved the problem. One can only hope that Rincontro will come up with a second disc including the remaining three quartets. Meanwhile the present disc is urgently recommended to anyone with an interest in the 18th-century quartet repertoire.


FANFARE: Brian Robins

Classical Music

Includes motet(s) by Daniel Danielis. Ensemble: Pierre Robert Ensemble. Conductor: Frédéric Desenclos.

Like most great musicians of his time, Luigi Boccherini travelled a great deal. He was both a cellist and a composer and a great virtuoso, renowned for his dexterity. In his works he combined Baroque style and performance with the foundations of Classical and even Pre-Romantic practices. Bruno Cocset and Les Basses Réunies perform this brilliant music with care and verve, and invite the listener to accompany this fine Italian cellist and composer on his travels...

BLOW Venus and Adonis & • Bertrand Cuiller, cond; Céline Scheen ( Venus ); Marc Mauillon ( Adonis ); Grégoire Augustin ( Cupid ); Les Musiciens du Paradis, Maîtrise de Caen • ALPHA 703 (DVD: 86:29) Live: Caen 2013


& Ode à Sainte-Cecile


This production mixes the authentic with the experimental, generally with excellent results. Authenticity can be found in the six footlight boxes at the front of the stage, filled with a couple of dozen lit candles each; but the stage itself is occupied by movable, fake deciduous trees, and wooden pillar sections ranging from two to four feet high. On top of the latter, and scattered across the floor, are a mix of glass boxes filled with yet more lit candles, and other boxes with solid and wireframe geometric objects. When performed against a black backdrop, with period costumes almost entirely in black as well, and the young trebles of the Caen Choir School playing with the geometric toys, the effect is of a time out of time: an intimate, arboreal sanctuary for Venus and the immortal spirits that are her followers, where nothing changes. Except for mortal Adonis, dressed in yellow and red.


Blow’s score, half English masque, half early opera, leaves a lot of leeway for dance. Françoise Denieau choreographs for the most part with Baroque movements and gestures that must have been rehearsed assiduously to look as natural as they do. He and stage director Louise Moaty second Blow’s ever-changing musical forms with a clever and varied use of their deliberately limited stage, where the introduction of a few carefully chosen, fresh elements—the hunting hounds that are brought through once, the pair of live doves that sit on the hands of two of the Graces, as they slowly dance—can have a correspondingly major effect.


To the performances. Marc Mauillon, whom I greatly enjoyed recently in a disc of Machaut (Eloquentia 1342), has a dry, light baritone. It is not an especially attractive voice, but he expressively and clearly enunciates the text, and phrases particularly well. Céline Scheen is a showstopper, with a finely focused tone, and a control of dynamics that allows her complete control of the line. It’s rare to hear diminuendos executed with such finesse, and without a break to the filament. Grégoire Augustin, one of the Caen Choir School trebles, looks youthful enough for the part of Cupid, but has an unfortunate tendency to let the pitch sag in the middle of phrases. There is also an instance where he looks surprised, then suddenly jumps up and races to join others beginning to dance across the other side of the stage, in a manner that suggests a forgotten cue. Nerves are likely responsible: It’s a lot of responsibility to place on a child who to judge from the all too brief accompanying documentary material has not had the solo spotlight in an opera before. Bertrand Cuiller’s conducting is expert, flexible, rhythmically based, and tightly disciplined.


Given the short length of Blow’s work, his Ode à Sainte-Cécile is also included, slightly staged with the same performers and costumes, soloists moving in and out of the line, with dancers occasionally taking part. It makes for a charming pendant to the evening.


Two issues need to be raised. One is that of pronunciation. While nearly all the performers enunciate their text well, with one exception (the very fine soprano Anne-Marie Beaudette) they adopt what someone in charge clearly believes to be a late 17th-century accent found in some part of London. Since no one has any idea, or can have any idea, what this was like, and since I have heard five separate, completely different versions thus far of an “authentic 17th-century London accent” from various groups and individuals, each claiming to know The Truth, I would suggest it might be better to let the issue lie, and use some form of modern English that is completely intelligible to audiences. The half-Cardiff, half-Edinburgh that seems to form a standard on this recording sounds even stranger when filtered through several Norman accents.


The second issue is that of camera work. The opera in general is well photographed, with good attention paid to highlighted groups, while avoiding the abuse of close-ups; and I strongly enjoyed the real candles utilized both in footlights and so many areas of the stage. But these create a washed-out effect in the performers and scenery—so be aware, the rich colors on the DVD cover are not at all representative. You’ll need to truly ramp up the saturation of your screen while dimming the brightness a bit to approach that look.


With reservations allowed for strange accents, and an uneasy, sometimes off-pitch Cupid, I strongly enjoyed this production. Louise Moaty and her colleagues are to be congratulated for finding clever ways to reinvigorate Blow’s usual and delightful work, with fine performances from nearly all the participants. Strongly recommended.


FANFARE: Barry Brenesal

We know very little about Ruiz Samaniego, Kapellmeister in Saragossa during the second half of the 18th century. However, he left an abundant music production, including some villancicos. These polyphonic vocal works of theatrical origin have been adopted by the Church to celebrate their main feasts. Sung in Spanish, not in Latin, they are built on a religious thematic, mostly in the form of dialogues and they frequently use musical elements of popular origin. Very little explored, the Spanish Baroque vocal music is a world of many rich artistic treasures that cry to be rediscovered. The villancicos of Ruiz Samaniego are undoubtedly part of these treasures, as witnesses of an artistic universe specific to Spain, in which spirituality and sensuality are irremediably fused.

BACH Orchestral Suite No. 3. Harpsichord Concerto in F, BWV 1056. Brandenburg Concerto No. 6. Concerto in d for 3 Violins, BWV 1063 • Café Zimmermann (period instruments) • ALPHA 168 (58:31)


This is the fifth, and presumably penultimate, release in Café Zimmerman’s imaginative and possibly unprecedented presentation of Bach’s “concerts avec plusiers instrumnents,” better known to us as his Brandenburg Concertos . Bach assembled the set in a fruitless attempt to solicit patronage from the Margrave of Brandenburg, whose reward for neglecting these unparalleled masterpieces is to have his title (if not his name) remembered for all time. Café Zimmermann, a small, multinational period-instrument ensemble based in France, is raising Bach’s ante by releasing the Brandenburg s one per disc, along with most of the other concertos—some in reconstructions—and the orchestral suites.


I haven’t heard the first three discs in the series, but I did have the privilege of auditioning Volume 4 for Fanfare 33: 1. The present disc only reinforces my reaction to its predecessor, which was emphatically positive. The concertos are played in chamber fashion, as likely was the case at Leipzig’s Café Zimmermann, from which our heroes have taken their name, where Bach’s concerts with the Collegium Musicum took place. The ensemble is expanded modestly for the suite in order to balance the three trumpets with a fuller string sound. The performances combine sparkling virtuosity, infectious zest, and scrupulous attention to our latest understanding of Bach’s musical practice, and compare favorably with the very best versions available. They should put the names of Café Zimmermann’s founders and artistic leaders, violinist Pablo Valetti and harpsichordist Céline Frisch, in the minds of anyone who treasures this incomparable music.


It remains for the listener to decide whether Café Zimmermann’s release strategy is right for him or her. If the attraction is the Brandenburg s, should you have to buy all six discs to get them? Personally, I prefer homogeneous packages from which I can devise my own programs, and hunting for individual works in a mixed collection can be inconvenient (though I encounter that all the time with the cantatas). On the other hand, Café Zimmermann’s ready-made programs provide instant variety and satisfying listening experiences. Plus, you get all that wonderful music and all those amazing performances.


FANFARE: George Chien

Classical Music

Classical Music

The notion of « original version» is not only important for period instruments, as this production of Janacek's two quartets will show. To accompany the critical edition of the score about to be published by Bärenreiter, the Diotima Quartet, holder of the exclusive rights on this edition, has chosen to play this version, which at last conforms to the wishes of the composer. The second quartet has been recorded in the two possible formations, a quartet with alto and a quartet with viola d'amore. This disc was recorded in the mythical Aldeburgh concert hall, much loved by Benjamin Britten.

As eldest son of Louis XIV, Louis of France, nicknamed le Grand Dauphin, was marked out to become king of France at his father's death. He was therefore given the education of a monarch, as this would have been conceived in the 17th century: running the affairs of the kingdom required knowledge of diplomatic and commercial relations, but also the acquisition of the external manifestations the Sun King had resorted to so skilfully, subjecting architecture, drama, painting and music to the requirements of his government. Just like his father, the Dauphin surrounded himself with chosen personalities, amongst whom the composer Marc-Antoine Charpentier. Removed from an official position at court by the talent and the intrigues of Lully, he was not allowed to write for the opera, for which the "Surintendant de la musique" had obtained a royal privilege. He therefore concentrated his creative activity primarily on sacred music, giving it the "Italian style" expressivity he had learned in Rome, where he had studied with Carrissimi. This religious lyricism deploys itself in the motets composed for Monseigneur's religious services. The later would remain Dauphin for eternity since he died in 1711, four years before his father.