Tafelmusik presents Beethoven's landmark Symphony No. 3 "Eroica" - an heroic and monumental symphony originally dedicated to Napoleon - and Mendelssohn's Symphony No. 4 "Italian." with historical performances Maestro Weil and his players may yet convince you that "Beethoven can sound as radical in 21st century as he must have in the 19th" (Gramophone).

Tafelmusik's Music Director since 1981, violinist Jeanne Lamon has been loved by audiences and praised by critics internationally for her virtuosity and brilliant leadership. Including beloved works such as “Summer” from The Four Seasons, the Bach Concerto in D minor for two violins, and a diverse selection of baroque repertoire, this Special Limited Edition CD was selected from 20 years of Ms. Lamon's performances to be released in this special commemorative edition on the Tafelmusik Media label.

RAMEAU Dardanus: Suite. Le Temple de la gloire: Suite • Jeanne Lamon, cond; Tafelmusik Baroque O (period instruments) • TAFELMUSIK 1012 (67:12)

This arrived as a companion to Tafelmusik’s recording of Handel’s Royal Fireworks Music, which, with any luck, will be found reviewed elsewhere in this issue. Like that CD, this one is not new either; it was recorded in 2001 and originally released by CBC Records. Unlike the Handel disc, however, which was reviewed by Bernard Jacobson in Fanfare 21:5 when it initially appeared on Sony Classical, this Rameau CD does not appear to have been previously reviewed here.

As you can see from the headnote, this is not Rameau’s opera Dardanus, but an extended suite of 16 orchestral numbers taken from it. For a review of the complete opera, see entries by Brian Robins in 24:1 and Barry Brenesal in 31:5. Fortunately for me, since the recording at hand offers only the score’s overture and a generous helping of its set dances, I don’t have to deal with the labyrinthine twists and turns of Dardanus’s unwieldy plot or the infighting and even physical brawling that ensued between factions loyal to Rameau and those supporting Lully. From what I’ve read, things got pretty down and dirty, worse even, perhaps, than the infamous onstage slapping, hair-pulling, and nasty name-calling disturbance of the dueling divas that arose between sopranos Cuzzoni and Faustina during a performance of Bononcini’s Astinatte at London’s Haymarket Theatre in 1726.

One would be well advised to forego fluid intake before a performance of Dardanus, for as its critics complained, the opera was so stuffed with notes that for three hours there wasn’t time enough to sneeze. If it’s true, as the movie Amadeus has it, that the Emperor Joseph II thought there were too many notes in Mozart’s The Marriage of Figaro, he’d have been carried out unconscious and wet from a performance of Rameau’s Dardanus.

The good news is that the suite recorded here lasts a mere 37 minutes and is a treat of pure terpsichorean delight. Ballet still played a central role in French Baroque opera when Dardanus came into being in 1739, and based on the evidence of these dance movements, Rameau invested a good deal of effort into capturing the musical essence of their steps. Lamon and Tafelmusik do likewise in performances that pirouette and plié with stylish elegance and flair.

No doubt exhausted by the trials and tribulations surrounding Dardanus, Rameau swore off opera for the next four years, concentrating on revisions and other projects. But in 1745 he received a number of commissions, among which was one for a short, one-act opera-ballet for the court’s entertainment. For the occasion, Rameau offered Le Temple de la gloire, a work on which he’d collaborated with Voltaire. It’s a tale of three kings, each seeking access to the Temple of Glory. The first two are turned away, but the third, obviously intended to personify Louis XV, is granted entrance. The story also doubles as a thinly disguised allegory on the relationship between the King and his mistress, Madame de Pompadour. It seems not to have occurred to the well-meaning Rameau that Louis’s wife, Queen Marie, and her children would be there. Oops. As one writer put it, “Rameau’s intended tribute was received with little enthusiasm.”

Rameau was one of music’s greatest—perhaps the greatest—master of the dance, and the two suites offered on this CD will keep your feet tapping for more than an hour. I continue to marvel at the robustness of Tafelmusik’s playing, noted in my review of the ensemble’s Handel album. This is a recording for those who hate period instruments (or think they do), because Tafelmusik’s mastery of them is of such consummate technical and artistic skill that you may well believe you’re listening to modern instruments. This whole disc is a joy from beginning to end.

FANFARE: Jerry Dubins

HAYDN Symphonies Nos. 82–87 , “Paris” • Bruno Weil, cond; Tafelmusik Baroque O • TAFELMUSIK TMK1013CD2 (2 CDs: 144:09)


This set, recorded in 1994, is a reissue of two Sony CDs reviewed by John Wiser in Fanfare 19:2. For these “Paris” Symphonies, the period-instrument group Tafelmusik has a suitably large string section: 8/7/5/4/2. Bruno Weil chooses generally rapid tempos, the playing is crisp and clean, the sounds sweet—this Toronto-based ensemble plays at a relatively high pitch for period-practice performers. In the notes to this set, H. C. Robbins Landon describes the first movement, Vivace assai, of Symphony No. 82 as “an enormously powerful affair, with thundering fanfares” and says that “The finale (Vivace) returns to the power of the first movement; the development section, in particular, generates an enormous forward drive, and its coda is a brilliant conclusion to this highly masculine symphony.” Weil generates as much power as this medium-sized ensemble can muster, but nowhere near that of Leonard Bernstein’s New York Philharmonic, which uses only a few more strings ( Fanfare 33:2) and was once praised by Landon himself as one of “the great Haydn recordings of all time.” In the finale, some details of the fugal section are obscured by Weil’s hectic tempo. His is a fine performance nevertheless, on a par with that of Sigiswald Kuijken’s Orchestra of the Age of Enlightenment, whose string complement is only two less than Weil’s, and whose recordings of the “Paris” Symphonies have long been accepted as the standard period-practice set. Kuijken’s slower tempos (8:26 in that Vivace assai, to Weil’s 7: 20, both with full repeats) allow Haydn’s full power to emerge, but the playing is not as crisp as that by either Weil or Bernstein’s forces. Kuijken’s tempos are too slow for my taste; neither he nor Weill takes the Minuet da capo repeat, and only Weill takes the finale’s second repeat.


This being a reissue, there’s no space for detailed examination of all six performances, but the comparisons made above generally apply to the following five symphonies as well, except that Weil’s tempos are no longer exceptionally fast, and he doesn’t always take finale second repeats. If those performances seem less distinctive, it may be only that the other five symphonies, as fine as they are, are less dramatic and exciting than “The Bear.” Sony’s recorded sound is bright and clean, with fine detail, richer and clearer than that given Kuijken. There is much to like in both period-instrument sets, and Bernstein has been joined by another superb modern-instrument set, Kristjan Järvi leading the Lower Austria Tonkünstler Orchestra on Preiser ( Fanfare 33:4), brilliantly recorded in Vienna’s golden Musikverein. So Haydn’s “Paris” Symphonies are very well covered for all tastes.


FANFARE: James H. North

REVIEW:

Thankfully, as presented here by the Tafelmusik Baroque Orchestra, this is no one-to-a-part, minimalist realization. I should probably have mentioned well before getting this far into the review that this recording, originally released on Sony Classical, was made at a time, 1997, when period-instrument ensembles still had more than four or five players on their payrolls. Thus, the performance here includes 11 violins, three violas, three cellos, two double basses, three bassoons, contrabassoon, four horns, three trumpets, timpani, and harpsichord continuo. So, for all intents and purposes, the Tafelmusik Baroque Orchestra sounds like a modern-instrument ensemble, which, from my perspective, is a good thing.

This is a wonderful disc, and not just for Handel lovers. The music is invigorating, splendidly performed, and exceptionally well recorded. I recommend it to everyone.

— Fanfare

Tafelmusik Baroque Orchestra and Chamber Choir present an intimate and stirring performance of the highlights of the baroque masterpiece Handel’s Messiah. This CD recording of the full score on period instruments features a stellar cast of soloists. Tafelmusik presents this baroque masterpiece with the spirit and vitality of Handel’s own 18th-century productions. “Superhuman”, “spot-on”, “crisp” and “inspired” are just a few of the words critics have used to describe Tafelmusik’s Messiah. A perennial favourite with audiences and critics alike, Tafelmusik’s Messiah has garnered glowing reviews year after year. “I cannot remember a Messiah presentation as uniformly ‘spot-on’ as this year’s by Ivars Taurins’ Tafelmusik Chamber Choir and Baroque Orchestra.” - The Globe and Mail

Tafelmusik Baroque Orchestra celebrates the genius of J.S. Bach with Best of German Baroque: J.S. Bach. This compilation includes tracks newly recorded in 2015, as well as music from the genre-defying, multi-media concert programs The Galileo Project and House of Dreams, recorded for Tafelmusik Media in 2009 and 2012. The album features instrumental versions of Sheep May Safely Graze and How Brightly Shines the Morning Star specially arranged by Alison Mackay. Also featured is Brandenburg Concerto no. 3 in G Major, and movements from the Sonata for 2 violins in G Major (after BWV 1039), and from the Concerto for 2 violins in D Minor with soloists Jeanne Lamon and Aisslinn Nosky. Best of German Baroque: J.S. Bach showcases the Tafelmusik Chamber Choir and soloists Ann Monoyios, soprano, and Colin Ainsworth, tenor, in selections from Bach's Gloria in excelsis Deo, BWV 191, originally released on CBC Records in 2007 in celebration of the Tafelmusik Chamber Choir's 25th anniversary season. Choir director Ivars Taurins helps the ensemble capture both with energetic thrusts and tight ensemble, while soloists Ann Monoyios and Colin Ainsworth are in sync in the duet on Gloria patri. - Gramophone Magazine

REVIEW:

Beethoven on period instruments is no longer as remarkable as it was even in the not-so-distant past. Several complete sets of the symphonies and individual recordings are readily available.

It helps that these are live recordings, dating from May and September 2013, with very realistic, vibrant sound. We can’t hear the audience, but we can hear its effect on the musicians. These truly are performances, conceived and played along a broad, long line, and not cobbled together from a short take here and a short take there. Excitement and (apparent) spontaneity are the order of the day, and even if these works are within our collective DNA.

— Fanfare

Tafelmusik Baroque Orchestra and Chamber Choir salutes its 40th anniversary season with the release of Gloria, a program originally recorded and released by CBC Records in 2008. Ivars Taurins directs the 25-voice choir and the orchestra under Music Director Emerita Jeanne Lamon in this program of sacred baroque works that distinguishes Tafelmusik as being “head and shoulders above most of its competitors. Tafelmusik’s performance breathes such fresh life into this ancient score that it catches one up in its rare enthusiasm.” (Fanfare) Soprano Ann Monoyios, countertenor Matthew White, and tenor Colin Ainsworth are the featured vocal soloists. The recording opens with Gloria in excelsis Deo by J.S. Bach, a festive if rarely performed work that the composer later adapted for the Mass in B Minor. Paired with Vivaldi’s exuberant and joyous Gloria, Tafelmusik “emphasizes the legato of the vocal line, allowing the clipped rhythms of the accompanying orchestra to buoy the music along naturally.” (Fanfare). With its gracious airs and its lively choruses, Mondonville’s Dominus regnavit is a splendid example of the 18th-century grand motet.

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REVIEW (An excerpt of a review of a previously released edition of this album):

The program here is the most distinctive aspect of the performance: whereas most readings pair the Gloria with other Vivaldi choral works, this begins with Bach's Gloria in excelsis deo, BWV 191 -- a work in the same festive mood but packed with characteristic polyphony. In the middle comes a change of pace: de Mondonville's grand motet Dominus regnavit. It's as imposing as the Bach and Vivaldi pieces, but soberer, with dark outer choruses surrounding delicate movements for soloists and a representation of a flood that calls for virtuoso playing from both the choristers and the instrumentalists. All handle these difficulties confidently.

The program's tripartite structure casts a new light on Vivaldi's very familiar work, and this remains a strong choice for anyone getting to know Vivaldi's Gloria.

– All Music Guide (James Mannheim)

VIVALDI The 4 Seasons. Sinfonia in b, RV 169, “Al santo sepolcro.” Concerto for 4 Violins , RV 580 • Jeanne Lamon (vn); dir; Tafelmusik Baroque O (period instruments) • TAFELMUSIK 1007 (53:52)


Those of us who have reached a certain age are wont to reflect on the things that are that were not. Smartphones, for example. ATMs. Central air conditioning. Power steering. Color TV; some of us even predate black-and-white televisions. How about The Four Seasons ? Although Vivaldi composed this signature quartet of concertos as early as 1725, give or take a few years, and published it as a part of his op. 8 concerto collection, Il cimento dell’Armonia e dell’Inventione , by the middle of the 20th century it and he were largely forgotten. The first recording of The Four Seasons , made in 1939, rescued both from obscurity, but they didn’t hit the big time until 1969, when Alan Loveday and Neville Marriner’s Academy of St. Martin in the Fields made the recording that launched (by Wikapedia’s estimate) 1,000 calendars, so to speak. There were 168 seasons between 1969 and 2012. Do the math.


Tafelmusik’s recording of The Four Seasons was made in 1991, about halfway between the ASFM’s and the present. I didn’t hear it then, but it was well received at the time, and with good reason. It’s a constant delight—from “Spring”’s avian twittering to “Winter”’s stormy blast. Jeanne Lamon and friends play with utmost skill, of course, and infectious verve, but also with vivid imagination. Vivaldi’s dogs bark, his horses prance, and his wedding guests drift off into blissful sleep after their drunken revelry. His teeth chatter. Lamon makes the most of the programmatic aspects of the score, but always from a superbly musical perspective. I’ve always been fond of the Harnoncourt’s (conductor Nikolaus, soloist Alice) version, but I’m moving Lamon and Tafelmusik to the top of my personal Seasons list.


The mysterious Sinfonia “At the Holy Grave” and the popular Four-Violin Concerto (which Bach later recast for four harpsichords) round out this marvelous disc.


FANFARE: George Chien

HANDEL Sing-Along Messiah & • Ivars Taurins, cond; Suzie LeBlanc (sop); Daniel Taylor (ct); Rufus Müller (ten); Locky Chung (bs); Tafelmusik CCh; Tafelmusik (period instruments) • TAFELMUSIK 1008 (DVD: 76:20)


& Audio-only choral tracks by MODONVILLE, VIVALDI, BACH, HANDEL


When I received this disc I unwrapped it with some trepidation, even though it came from the new Tafelmusik label. While Messiah sing-alongs are a grand and popular tradition, at least in North America, the quality of these get-togethers seems, well, sorely lacking for the most part, no matter how dedicated the impromptu performers are. All right, so it is mainly for fun, and one does not begrudge a happy communal annual event, one I confess to having enjoyed on several occasions. But there is no doubt that however earnest the singers are, and however much good it does for making Handel’s iconic work a household name, the expectations for performance practical perfection are not, shall we say, high. Having it now presented as a DVD, two thoughts came to mind: Either it would be a film about such an event on a grand scale, or it might degenerate into one of those horrible “follow the bouncing ball” scenarios that I thought had died a merciful death back in the 1960s. I should have had more faith.


What came was almost an hour and a half of an enormously entertaining film by 90th Parallel Productions about what seems to have been an annual event taking place in Toronto for more than three decades (or at least that is what one of the participants states). The key to this is the effable director of the Tafelmusik Chamber Choir, Ivars Taurins, who plays the part of the irascible George (“because God is an Englishman and can’t say Georg”) Frederick Handel, hamming it up as the director punished by the Almighty as a joke to be sent back to earth annually to direct this thing. His paraphrase of the opening of Cabaret (“Even the sopranos are beautiful!”) is not to be missed. His straight people are the redoubtable Tafelmusik orchestra, which performs the truncated version of the oratorio with energy, precision, and good authentic performance practice. The others are the four soloists. Suzie LeBlanc’s clear soprano rings out brilliantly in her arias such as “Rejoice Greatly,” while tenor Rufus Müller easily handles (pun intended) the ebulent “Ev’ry Valley,” and countertenor Daniel Taylor, who is not given more than a tithe of the original contralto arias, smoothly and accurately conquers the changing moods of “But Who May Abide.” Bass Locky Chung almost derails on the shakes of “Thus Saith the Lord” but he provides a clarion partner to John Thiessen’s virtuoso trumpet in the famous aria of that name (and you all know which one I’m speaking of).


The best part, however, is the chorus, filling the entire hall like a political convention with placards indicating the four voices. To be sure, they too have backup in the form of the Tafelmusk choir standing behind the instruments, but when Taurins exhorts them to “raise the roof” at the Hallelujah chorus, one can feel the power and energy of the mass of voices. They are good, too, for if there are any tone-deaf enthusiasts among them, they are submerged in a superb wash of sound that would no doubt make the real Handel smile (that is, if he didn’t faint). What is more, they take the faster tempos of the conductor with hardly a falter or stumble.


In case you find it overwhelming, the DVD also includes a number of bonus audio tracks of a more serious nature. Granted, these are choral movements without any sort of cohesion, but it is a chance to compare the normal professional concerts of Tafelmusik’s choral and orchestral groups with the raucous and effervescent cast of hundreds.


What can one say? This is not just a community sing-along, it is a happening and one that demonstrates that such events can be done both joyously and efficiently. Taurins, of course, is the glue, and he provides continuity both through his rather pithy introduction, and with sporadic commentary throughout (even a gruff “Go home!” at the end as the credits roll by). If you are in the market for (yet another) period Messiah , this truncated version will probably not be for you. There are other DVDs or discs out there that will serve. But if you wish for some unmitigated fun, you should give this a try. For myself, I shall haul it out every Christmas, and who knows, if you are passing by you might even hear me warble along with crowd.


FANFARE: Bertil van Boer

REVIEW:

This compilation offers a selection of the best recordings of French baroque repertoire drawn from Tafelmusik Baroque Orchestra's own catalogue. The album includes the 2005 JUNO Award-winning, Grammy Award-nominated recording of an orchestral suite from Rameau's epic five-act tragedie en musique Dardanus, originally released on CBC Records. The Tafelmusik Chamber Choir and guest soloists are featured in a 2006 CBC recording of the Grand Motet Dominus regnavit by Mondonville. Two works are drawn from Tafelmusik's genre-defying, globe-trotting, multi-media concert programs: a suite from Lully's Phaeton from the 2009 recording of The Galileo Project, and a suite from Marais' Alcyone from the 2012 recording of House of Dreams. Ms. Lamon and Tafelmusik have earned high marks ... the music's greatness might not be so obvious but for Tafelmusik's fine period style... It will have listeners wondering why this music is not as well-known as works by Bach, Handel and Vivaldi.

— The New York Times

"Every so often, you come across a performance that renders you powerless to resist, that sweeps you away with it, that reminds you of why you fell in love with music in the first place" (The Globe and Mail)Tafelmusik is thrilled to present its live recording of Beethoven’s 9th Symphony — the final work in the orchestra’s complete cycle of Beethoven symphonies, which began 18 years ago. With the September 30, 2016 release, Tafelmusik makes history as the first North American orchestra to have recorded all nine Beethoven symphonies on period instruments. The recording took place February 4 through 7, 2016, during a series of sold-out, critically acclaimed public performances in Toronto’s Koerner Hall, with conductor Bruno Weil leading the combined forces of Tafelmusik Baroque Orchestra and Chamber Choir, and guest soloists Sigrid Plundrich, soprano; Mary-Ellen Nesi, mezzo-soprano; Colin Balzer, tenor; and Simon Tischler, bass-baritone. “We approach the Beethoven concerts and recording as if they were the very first performances, as though the music had been composed yesterday. This is the real thing — there’s no sense of routine with Tafelmusik musicians and everybody’s playing with a full heart and a full soul and spirit. That is the secret to a great performance,” stated Maestro Weil, who marks the 25th anniversary of his first collaboration with Tafelmusik this year.