Purcell: Royal Welcome Songs for King Charles II. Vol II
The Sixteen, Harry Christopers
Coro COR16173. 72’27
The Sixteen continue their series of music written by Purcell for royal occasions with this 2019 recording. Designed to promote King Charles II as a strong and stable (a familiar phrase) and divinely appointed monarch, the music is by turn delicate and grand, celebrating the nobility of the King and his apparent political triumphs. The highlight is the 1683 Welcome to all the pleasures notably the jubilant concluding chorus in praise of St Cecilia: In a consort of voices. Continue reading
The Sixteen’s Christmas offering combines traditional with contemporary-lite pieces that, according to the Coro website “by their unashamed simplicity, captures the joy and sincerity of this most wonderful of seasons. This album provides a perfect peaceful and uplifting antidote to the hectic pre-Christmas rush.”. That sums it up pretty well. The composers represented range from Henry Walford Davies (b.1869) to still-living composers ranging from Morten Lauridsen (b.1943) to the youngest composer, Will Todd (b.1970). With what I assume is aimed at a Classic FM audience that The Sixteen seem to have captivated, there is nothing to frighten the musical horses but, equally little, if anything, to encourage younger or more adventurous composers.
Better known as a teacher (of the likes of Pergolasi, Jommelli, and Piccini), the compositions of Francesco Durante (1684-1755) have been rather overlooked since his death. Born near Naples, he studied with A. Scarlatti and (possibly) Pasquini and spent a brief time in Rome before returning to Naples where he became musical director of a number of conservatories; by that time extending their original 16th century remit from the care of orphans to include specialist teaching for paying music students. Although some commentators complimented Durante on his compositions, they tended to focus on his “correct writing” and his facility with harmony and counterpoint, factors which go to make this Requiem so fascinating.
The Handel and Haydn Society Chorus of Boston was formed in 1815 and is the oldest still performing arts organisation in the US. It was formed to ‘improve the style of performing sacred music’ and to introduce the music of its titular composers. Interestingly their quest to perform the ‘old and the new’ actually referred to Handel as the former and Haydn as the latter. It was not all education and graft though – in his introductory note, Harry Christophers mentions that ‘inspiring libations to be had and membrers were often seen heading downstairs for a break’ – a practice referred to as ‘tuning’!
Eamonn Dougan, associate conductor of The Sixteen, continues his exploration of music from Poland with this CD of music by Italian musicians in the late 16th century during the reign of Sigismund III Vasa. Sigismund III ruled the Polish/Lithuanian state at a time of religious upheaval. Raised a Catholic his Polish mother in the Protestant Sweden of his father (the King of Sweden), he soon became involved in the Counter-Reformation, seeking out musicians from Rome to help in his quest.
In the last two years of his life, Monteverdi collected a substantial amount of his music for publication (the Madrigali guerrieri et amorisi, 1638, and Salve morale et spirituale, 1641), reflecting his musical output over the previous decades. After his death, one of his publishers had the good sense, or the commercial sense, to put together some unpublished manuscripts to form the 1650 Messa a 4 v. et salmi a 1–8 v. e parte da cappella & con le litanie della B.V. This is the first of two CDs from The Sixteen of music from this posthumous collection: the Mass setting of the title will be on the second volume. This CD includes a selection of liturgical pieces, but not in any specific liturgical context, with several Vespers Psalms, a Litany to the Virgin Mary and a Magnificat by Cavalli who probably assisted in the preparation of the publication. 
If you are mathematically minded, this might be the CD for you. Some of the most complex examples of English contrapuntal wizardry from Tallis and Byrd are balanced by more recent, but equally complex and evocative music, from the Estonian composer, Arvo Pärt. As the programme note explains, “Here, Tallis and Byrd meet Pärt on common ground”, although at times, Pärt’s music can sound earlier than that of Tallis and Byrd with its sense of mediaeval structure and texture. This CD will whet your appetite for The Sixteen’s 2016 Choral Pilgrimage, when you can experience this music performed live in some of the most beautiful venues the UK can offer.
Although Bach is something of a God-like figure for me, I think he would be rather scary to actually meet. I have often felt that I would love to have sat at a nearby table where I could overhear Bach, but would rather actually meet and converse with Haydn. The pieces on this CD demonstrate something of those aspects of Haydn’s character that make him appear so approachable. Amongst the first works that Haydn wrote after his 1761 arrival at the Esterházy court were the three symphonies based on the times of the day – Le main, Le midi and Le soir. Many players in the orchestra were already friends of his from Vienna, and these three symphonies were an inspired calling card for their new musical director, with most of the players given key solo moments. 
This timely (but subtle) release for the season includes three choral preludes on the Advent choral Nun komm, der Heiden Heiland, the Italianate Pastorella and the Canonic Variations on the Christmas choral, Vom Himmel hoch, together with the Prelude and Fugue in C (BWV 547) which some commentators have associated with Christmas performance. These works are enclosed within the well-known Fantasia and Fugue in G minor (BWV 542) and the final exhilarating Prelude and Fugue in G (BWV 541).
Sarah Tynan, soprano; Jeremy Ovenden, tenor; Matthew Brook, bass-baritone
Guerrero: Duo seraphim clamabant, Gloria (Missa Surge propera), Laudate Dominum, Maria Magdalene, Credo (Missa de la batalla escoutez), Vexilla Regis, Agnus Dei (Missa Congratulamini mihi);
Andrew Benson-Wilson : Early Music Reviews + 