Vivaldi: Concerti for Two Violins
and Strings, Volume I—RV 523, 510, 509, 517, 515 and 508. Dmitry Sinkovsky
and Riccardo Minasi, violins; Il Pomo d’Oro. Naïve. $16.99.
Christoph Graupner: Orchestral
Suites. Finnish Baroque Orchestra conducted by Sirkka-Liisa Kaakinen-Pilch.
Ondine. $16.99.
Haydn: Lord Nelson Mass; Symphony
No. 102. Mary Wilson, soprano; Abigail Fischer, mezzo-soprano; Keith
Jameson, tenor; Kevin Deas, bass-baritone; Boston Baroque conducted by Martin
Pearlman. Linn Records. $22.99 (SACD).
One of the best ongoing
series of Baroque music releases currently available is the Vivaldi Edition
from Naïve, which has now chalked up a highly impressive 56 volumes. The most
recent of those tackles some of the Red Priest’s most attractive concertos, but
ones that are not performed particularly often: those for two violins. Vivaldi
demanded as much virtuosity from the second soloist as he did from the first –
presumably he played one part or the other – and as a result, these concertos
feature more-demanding pyrotechnics than do most of the single-violin ones. Dmitry
Sinkovsky and Riccardo Minasi play the six on this disc with real flair, but
all with a sure sense of Baroque style that prevents them from overdoing the
technical elements to the detriment of the works’ musicality. What is
particularly interesting about this CD is that four of these six concertos are
in minor keys – a surprise, since listeners are accustomed to hearing Vivaldi
concertos mostly in the major, with the minor being exceptional and all the
more interesting as a result. The fact is that all four of the minor-key works
here are distinguished and quite
interesting: RV 523, in A minor, RV 510 and 509, both in C minor, and RV 517, in
G minor. In all cases, the minor keys lend the works warmth to go with
Vivaldi’s usual sure-handed formal approach and fine sense of balance between the
two soloists and between them and the ensemble. The remaining two concertos, RV
515 in E-flat and RV 508 in C, are of course brighter and have a more
forthright feel to them, and they too show excellent balance between the
soloists as well as Vivaldi’s always-sure-handed approach to accompaniment.
There are about 30 two-violin concertos in all, including optional variants of
ones that also exist for other solo combinations, and Sinkovsky and Minasi –
with the top-notch backing of Il Pomo d’Oro – seem certain to produce both
idiomatic and highly listenable versions of all of them.
Vivaldi’s near-contemporary,
Christoph Graupner (1683-1760), is far less known than the Italian master, but
he too produced a considerable amount of very fine music utilizing multiple
instrumental combinations, as is exceptionally clear from a splendid Ondine
recording of three of his suites. One of these is for transverse flute, viola
d’amore, chalumeau, strings and cembalo; one uses viola d’amore, bassoon,
strings and cembalo; and one calls for transverse flute, viola d’amore, two
chalumeaus, baroque horn, strings and cembalo. The Finnish Baroque Orchestra
under Sirkka-Liisa Kaakinen-Pilch does a really first-rate job with this music,
playing it with verve and spirit that make the Baroque era not only come alive
but also sound genuinely lively. The soloists are uniformly excellent and sound
quite comfortable with their instruments: Petra Aminoff on transverse flute,
Tindaro Capuano and Asko Heiskanen on chalumeaus, Krzysztof Stencel on baroque
horn, Jani Sunnarborg on bassoon, and Kaakinen-Pilch playing viola d’amore. The
form of Graupner’s suites is a familiar one, with a succession of dance
movements in the same style favored by Telemann. But Graupner, a
harpsichordist, had his own ideas about instrumental balance and the
interaction among soloists, and as a result his suites have a sound all their
own. Long languishing in obscurity because of legal wrangling that dates to the
18th century, Graupner’s works are gradually becoming better known,
and on the evidence of this really excellent CD, they most assuredly deserve to
be.
Haydn’s works are quite well
known already, of course, and he is a Classical rather than Baroque composer –
but the involvement of Boston Baroque with his music shows some ways in which
these two musical eras have more in common than listeners may realize. They
did, after all, overlap! Haydn’s Lord
Nelson Mass (formally known as Missa
in Angustiis or “Mass in Troubled Times”), is scored by an accident of economic
history only for strings, trumpets, timpani and organ: the wind players had been
laid off. This dark-hued Mass is one of the composer’s greatest works – some
say the greatest. And although it is
a preeminently Classical-era work, strongly influenced by Haydn’s experiences
with the “London” symphonies that he had completed several years earlier, it is
also a work that draws distinctly on Baroque traditions while looking ahead
(largely through its anguished first movement, the Kyrie) toward the Romantic era. A substantial work in every way,
with unusually virtuosic writing for the soprano and bass soloists, this Mass
moves from despair to acceptance, from terror to joy, with a sureness of
construction and certainty of belief worthy of Bach. Boston Baroque under
Martin Pearlman handles the Mass with beautiful balance between voices and
orchestra – Haydn by this time was giving the instruments a really significant
role in his vocal works – and all the soloists rise to the occasion wonderfully
throughout, producing a post-Baroque choral work thoroughly informed by Baroque
sensibilities that it reinterprets for its own time and, in doing so, for later
times as well, including ours. And coupling the Mass, which dates to 1798, with
Symphony No. 102, from 1794, is a wonderful decision, since the dynamics and
orchestral balance that Haydn refined so brilliantly in his final symphonies
became foundational for his last six Mass settings, including the Lord Nelson Mass. Hearing the sacred and
secular works juxtaposed shows very clearly in just how many ways they are the
products of similar thinking – and yet in how many ways they differ in their
approaches and effects. The Baroque has in a very real sense been rediscovered
by performers and audiences in recent decades, and recordings like this Linn
Records SACD of Haydn show just how lively and alive that rediscovery has been
– and with how much power and wonder the Baroque era has continued to speak to
the 20th and 21st centuries.
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