Ensemble Les Surprises
Ambronay Editions AMY051. 58’16
Music by Pachelbel, Buxtehude, Bruhns, Bernhard, Scheidemann, Reincken
Taking its title from Biber’s Mystery Sonatas (although not actually including any of those pieces), this recording from Les Surprises delves into the mysteries of life and death with an exploration of late 17th-century North German sacred cantatas of Buxtehude, Bruhns and Bernhard. What was particularly interesting for me to listen to, as an organist, were the arrangements of two well-known ground bass organ pieces for instruments. The CD opens with a version of Pachelbel’s Ciaconna in F minor, based on a repeated descending four-note bass line. We are then plunged straight into the world of death, with the Klag Lied, Buxtehude’s extraordinarily moving reflection on the death of his own father, whose last days were spent in his son’s home in Lübeck. It is followed by Nicolaus Bruhns’ cantata for bass voice meditation on death, De profundis clamavi and the second of the instrumental arrangements of organ pieces, Buxtehude’s Passacaglia in D minor. The programme notes (perhaps rather too unquestionably) the admittedly rather good theory that this is based on the lunar month and the phases of the moon, with its 28 variations and four sections, each with a distinctively different mood. Continue reading
L‘Héritage de Rameau
Ensemble Les Surprises, Louis-Noël Bestion de Camboulas
Ambronay Editions AMY050. 54’54
Music by Rameau, Rebel and Francoeur
I heard Ensemble Les Surprises and Yves Rechsteiner perform music from this recording during the 2017 Ambronay Festival (review here), noting that is was the first time the group had played without using a full-sized French Classical church organ, relying instead on a small chamber organ. That is more than made up for by this recording, which uses the important 1783 François-Henri Clicquot organ in the historic priory church of Saint-Pierre-et-Saint-Paul, Souvigny (Allier).
The premise of this recording is the programme of the Concert Spirituel given on 8 December 1768 in Paris. It refers to a ‘Suite of symphonies by Rameau executed with full orchestra on the organ by Balbastre’. It seems that Balbastre (the leading organist in pre-Revolutionary Paris) had reconstructed an organ concerto from existing works by Rameau, having already played many solo organ transcriptions from Rameau’s opera for the Concerts Spirituel. Despite being a keen organist, Jean-Philippe Rameau left no organ music. Yves Rechsteiner has already published and recorded his own arrangements of some of Rameau’s operatic and instrumental works for organ solo. For this recording, he has reconstructed three organ concertos from Rameau’s works as they might have been performed by Balbastre (a pupil of Rameau) in the 1768 Concert Spiritual. Continue reading
28 September to 1 October 2017
Since 1980, when it was founded, the Ambronay Festival has been a key part of the early music world. In recent years, the activities of the Ambronay Cultural Encounter Centre (based in the former Abbey buildings adjoining the magnificent Romanesque Abbey church) have expanded, and now includes impressive provision for young musicians. For the past couple of years, Ambronay has been part of the European Union supported eeemerging project (Emerging European Ensembles), an EU-wide cooperation project dedicated to the selection, training and promotion of young early music ensembles. The last of the four long weekends of the annual Ambronay Festival (which runs annually from mid-September to early October) is devoted to these eeemerging ensembles, but several of them also performed in the previous three weekends of the Festival. The theme for this year’s Festival was ‘Vibrations: Souffle’, roughly translating as Vibrations: Breathing, part of a triptych of festivals under the same Vibrations theme.
I attended the penultimate weekend of the Festival, from Thursday 28 September to Sunday 1 October 2017. The first two day’s concerts took place in Lyon, about 60km south-west of Ambronay.