At the turn of the nineteenth and twentieth centuries, the lied increasingly took on orchestral garb. The boundary with opera became almost impalpable. That is what Samuel Hasselhorn and Lukasz Borowicz demonstrate here, in a splendid program mingling smiles and disillusionment, where some of the most characteristic orchestral lieder and operatic arias of this Austro-German 'fin de si�cle' era blend perfectly together.

Ukrainian composer Valentin Silvestrov (b. 1937) is an important contemporary voice in vocal music, a fact highlighted by this new release of recent, spiritual, hauntingly beautiful vocal works, sung by the Latvian Radio Choir under their director Sigvards Kļava. During his artistic career Silvestrov has explored a number of musical styles and techniques; the demise of the Soviet Union, however, enabled Silvestrov to openly compose works of religious import, inspired and influenced by his love of the Russian Orthodox Church and imbued with his own unique sound.

For their very first recording with harmonia mundi, the duo formed by Pavel Kolesnikov and Samson Tsoy offers us three closely related works: Schubert's celebrated Fantasy, his Divertissement à la hongroise, full of contrasts between bursts of energy and enigmatic mists, and Leonid Desyatnikov's Trompe-l'œil, written specifically 'to echo' the Fantasy. This porgram is an intriguing hall of mirrors.

LET THE BRIGHT SERAPHIM • Christopher Monks, cond; Elin Manahan Thomas (sop); Crispian Steele-Perkins (tpt); Armonico Consort (period instruments) • SIGNUM SAGCD289 (59:07)

BACH Jauchzet Gott in allen Landen, BWV 51. A. SCARLATTI Su le sponde del Tebro. TELEMANN Trumpet Concerto in D. HANDEL Music for the Vauxhall Gardens: HWV 63, 14, 42, 20, 74. Water Music: Overture; Air; Hornpipe. Samson, HWV 57, “Let the Bright Seraphim”

When does an early-music ensemble go Pop? Or Mod for that matter? The answer may well be when it’s Armonico Consort, with its very eclectic and sometimes even bizarre (though they call it “original”) programming, which features themed concerts designed to attract new audiences to classical music. To read the description of their concerts so far, with rubrics such as “Too Hot to Handel,” “Naked Byrd,” or “Monteverdi’s Flying Circus,” one wonders whether this is a revamped branding in order to be hip, or if someone in Britain has gone off the reservation. Whatever one’s view of this sort of advertising, there is little doubt that they have made some impressive achievements, such as founding the AC Academy for interactive music education, which will no doubt assure a bright future for music in England, at least. This disc seems to take a more sedate view, using George Fredrick Handel’s famous aria from Samson as the title. Here, the ensemble under Christopher Monks partners with soprano Elin Manahan Thomas and trumpeter Crispian Steele-Perkins, both well-known superstars in the early-music world, to create a program of favorites.

The cantata Jauchzet Gott in allen Landen is a tried and true soprano display piece, whose final Alleluia is a magnificent tour de force for both voice and clarion trumpet, especially since it follows on to the sedate cantus firmus colophon “Sei Lob und Preis” in typically Bachian cantata style. The Scarlatti cantata too is a favorite for sopranos seeking to outdo the great Farinelli, while every trumpeter worth anything has in his or her repertory the Telemann D-Major Trumpet Concerto, with its flashy runs and showy sequences. Where the program departs from the ordinary is with the so-called “Music for the Vauxhall Gardens,” a paean towards the popular outdoors venue in London during the 18th century, where summer concerts were given in a rather impressive pavilion. The five pieces include a sort of greatest hits parade compiled by Steele-Perkins after similar bits and pieces published in the 1740s by John Walsh, concluding with some works from the Water Music , once ascribed to Handel but now probably by one of his subordinates, John Grano (1692-1748), and of course the title aria. As a concert, it is recognizable, even perhaps a bit well worn, since almost all of the pieces have been recorded previously by people such as Steele-Perkins himself and Emma Kirkby.

The result is something that purists might find redundant, though the performances themselves are quite good. Thomas has a nice, vibrant voice that blends well with the period instruments, and the Consort is both in tune and has some nice phrasing in these warhorses, which is the mark of absolute professionalism. Steele-Perkins performs ably for his part, with just enough variability to be able to discern the valveless quality of his natural trumpet, performing the various virtuoso parts with agility and alacrity. My hesitancy in the face of such a performance is that most who are knowledgeable of the period will not find these renditions out of the ordinary, even though they are expert. Moreover, the program itself will only appeal to a certain audience since many listeners will already have equally expert recordings of entire pieces at hand, though perhaps not all on one disc. Still, if one is just beginning to explore either the world of the Baroque, or even classical music at all, this should have some appeal.

FANFARE: Bertil van Boer

An outlier in the French harpsichord world, Gaspard Le Roux composed music of unique inventiveness and richness at the end of the reign of Louis XIV. Juxtaposing his pieces with others by Lully, Marais and Fran�ois Couperin, William Christie and Justin Taylor have found the ideal alchemy to do full justice to the myriad colors of these Suites, as virtuosic as they are rich in new emotions.

The infallible Gesualdo Six trademarks of consummate musicianship and scholarly integrity are much in evidence here. Queen of Hearts addresses and reflects on queens spiritual (the Virgin Mary) and temporal (Mary Tudor and Anne Boleyn, among others) in a program of music largely of the sixteenth century, but spiced with two short works from the twenty-first.

Encountering a palace of riches is how pianist (and Hyperion debutante) Mishka Rushdie Momen describes her experience of playing Tudor keyboard music, a varied selection of which is included here. It's a description which could apply equally to the listener discovering the music in performances as convincingly idiomatic as these.

Although John Ireland is best remembered for his orchestral works, his 91 songs convey a peculiarly English quality of emotion expressed through reserve.

Princess Anna Amalia of Prussia - patron of the arts, collector, woman of letters and composer - was an extraordinary personality. The flautist Jean Br�gnac pays her vibrant homage with a program featuring works by her prot�g�s Carl Philipp Emanuel and Wilhelm Friedemann Bach, her mentor Johann Philipp Kirnberger, and the princess herself.

This mid-price collection of traditional songs (formerly 'The Lark in the Clear Air) includes John Rutter's widely-performed cycles 'A Sprig of Thyme' and 'Five Traditional Songs', alongside Vaughan Williams' 'Five English Folk Songs' and arrangements by other composers. Now with Rutter's arrangement of 'Searching for Lambs', never before released on CD.

� The poem cycle Canto General by the Chilean poet Pablo Neruda, about Latin America's struggle against colonialism, is a protest against lethargy and feelings of impotence by drawing on the roots, making historical contexts transparent and restoring man's own possibilities of development in awareness. � Hence, the Canto General has become a universal work with the message: "a different world is possible!" � Greek composer Mikis Theodorakis arranged parts of the poem cycle into an Oratorio for Two Solo Voices with a Mixed Choir and Orchestra. � This recording by the Choir of Erste Bank, supported by Protestant Choirs from Vienna, Lower Austria and Styria (choir master: Sybille von Both), soloists Julia Schilinski, mezzo soprano, and Sergio Cattaneo, baritone, and the Orquesta de nuestra tierra is conducted by Leopold Griessler.

"His command is absolute, the mood calmingly resigned... The underlying melancholy (missed here by many) is fully brought out... [others] Weber's concertino, excellently exploits the clarinet's qualities... Baermann's Adagio has a certain melodic grace of an operatic kind ; and Debussy's Rhapsodie (competition work) has a lot of characteristic things, and never suggests that it was a piece he really had to write... Brymer's playing will be familiar from many recordings: He has a smooth technique, a lovely liquid tone - rich and warm in the clarion register, oily and vibrant in the chalumeau... He phrases Kramář with grace in the outer movements and expression in the Adagio; a skillful, thoroughly musical performance". (Gramophone)

Classical Music

Classical Music

Wonderfully evocative British choral music written recently, from three fine but lesser-known composers and the better-known Michael Berkeley. For the Williamson Missa Tertia, the singers are joined by the Choir of St. Mary Magdalene, Oxford.

O MIO BABBINO CARO - FAMOUS SOPRANO ARIAS FROM ITALIAN OPERA

GESUALDO Madrigals , Books 5 and 6 • Marco Longhini, cond; Delitiae Musicae • NAXOS 8.573147-49 (three discs: 182:40 Text and Translation)


Don Carlo Gesualdo (1566–1613), Prince of Venosa (the last of that aristocratic line), is renowned for the mannerist music he wrote, both sacred and secular, and the personal failings that enliven so many accounts of his life. He spent an important few years of his life in Ferrara after marrying the niece of Alfonso II d’Este, a court where he had much company among composers and singers, including Cipriano de Rore, Jacques de Wert, and Luzzasco Luzzaschi, not to mention the celebrated singing Ladies of Ferrara. He had grown up in similar surroundings in Venosa, where one of his teachers was Pomponio Nenna.


Another set of Gesualdo’s madrigals has now been completed, the last of several recordings marking the quarter-centenary of his death, although even this last installment was recorded two or three years ago. Marco Longhini’s interpretive approach is just different enough to make this an alternative to the others rather than a competition among them. We have had the old version of Angelo Ephrikian, recorded in 1968 but still available, sung one voice to a part with slow tempos (not as slow as Longhini), stylistically obsolete in a new era of Baroque interpretation. The other complete set came from Kassiopeia ( Fanfare 33:4) with considerably faster tempos but a keen sense of style. Longhini has now provided the third complete set, including for good measure the few other secular works published separately. Several other directors have recorded complete books, perhaps hoping to complete all six, among them Harry van der Kamp (29:3), Anthony Rooley (8:2), and those mentioned below.


This collection is striking for its departure from the performance practice of the first four books, issued one disc at a time (34: 1, 34:5, 35:3, 36:2). In each of those discs, he acknowledged an alternative performance practice by using harpsichord or theorbo to accompany half of the madrigals, leaving the rest unaccompanied, as all other recordings known to me have done. In these last two books, the madrigals are all unaccompanied. I find no explanation in Longhini’s lengthy and informative notes to indicate why his practice in the first four books has not continued here.


Tempos are again an obvious measure of the difference among competing versions of these madrigals. In Book 5, the northerners, Kassiopeia (33:4) and Hilliard (35:6), take about 55 minutes in all, while among the Italians, La Venexiana (29:2) takes 64 minutes and Longhini 83 minutes. Book 6 is similar, for Kassiopeia (also 33:4) is 67 minutes, La Compagnia del madrigali (36:6) is 78 minutes, and Longhini is 100 minutes. The very first madrigal in Book 6, Se la mia morte brami , is exactly twice as long here as in Kassiopeia’s. I would rather hear it too slow than too fast, but note that the recent La Compagnia del Madrigale version is a moderate four minutes. So it goes for every selection, if not exactly a 2:1 ratio. To be sure, all the cited versions are listenable or better, and on the fast side the Hilliard’s Book 5 is exquisite. Choosing moderation, it may be noted that La Venexiana’s Book 4 (24:3) may be added to their Book 5 and La Compagnia’s Book 6 to encompass lovely renditions of half the total. On the other hand, do not overlook Longhini’s extensive and literate notes (in fluent translations) in each issue, treating both music and biography at considerable length.


All of the recordings cited are sung very well and recorded up close. If you started collecting Longhini, don’t hesitate to complete the set. Naxos prints texts and English translations in the booklets as well as posting them online, unlike for some of their other recent issues.


FANFARE: J. F. Weber

This first release in an exclusive recital collaboration with harmonia mundi presents Julian Prégardien's reading of a cycle that explores quintessentially Schubertian themes: nature, love, solitude, death. Taking full advantage of the unique timbres of a Graf-style fortepiano, the young German tenor and Kristian Bezuidenhout create an expressive palette of exceptional variety, full of striking contrasts.

The Nocturnes and Barcarolles are key works in Fauré's output for solo piano that reflect his stylistic evolution. From his early efforts, still close to Chopin and Schumann, to the final pieces with their heady yet elusive harmonies, Aline Piboule invites us to rediscover a whole world of sound on a sublime Gaveau instrument of 1929.

Classical Music

Moving from the style galant to the Age of Revolutions, this album is an invitation to discover half a century of the cello concerto's history. A few years after a sensational first volume devoted to C.P.E. Bach, Jean-Guihen Queyras, Riccardo Minasi and Ensemble Resonanz pay tribute to the hypersensitivity of the cello and honor with panache the transcendental virtuosity of the unjustly overlooked Antonín Kraft.

On this new album, Florence Bolton and Benjamin Perrot revisit the composer who gave their ensemble it's delightful name, La Rêveuse. Drawing on his heritage (Sainte-Colombe), his friendships (Robert de Visée) and his own visionary genius, Marin Marais blazed new trails for his instrument in his second book of viol pieces (1701). Alongside the customary dances and sets of variations, he invented the 'character pieces' that were to become so popular in the eighteenth century.

GOLDBERG VARIATIONS / VARIATIONS

The challenges and rewards of performing early music are here vividly illustrated by The Binchois Consort, as creative scholarship comes to the aid of two substantial-but fragmentary-works by Jacob Obrecht, and an audacious recorded sound attempts to recreate the experience of the original performers 500 years ago. A novel twenty-first-century motet is also included, emerging from the prevailing Renaissance textures to reflect on themes of mourning and loss.

BABEL fragments concerns itself with enigmatic, evocative musical shards that gesture toward a broken world beyond the destruction. It's concerned with the apparent impossibility of true communication, with the frailty of language, with the frantic search for personal connection as a bulwark against disintegration. "Fracture is the musical equivalent of a box of chocolates, with none of the chocolates being the real sweet, milky pieces. No sir, this is the dark, hard stuff, and if you prefer your candy undiluted and strong that way, Anti-Social Music has a Whitman's Sampler for you." - Pico, Something Else