Prières pour Notre Dame
Music for organ and upper voices
Colin Walsh – Cavaillé-Coll organ of St Ouen, Rouen
Romsey Abbey Choir, George Richford
Regent REGCD538. 67’27
Dupré: Versets pour les Vêpres
Lili Boulanger: Pie Jesu
Demessieux: Rorate coeli, Attende Domine
Poulenc: Litanies à la Vierge noire
This evocative recording features music by four French composers performed on the magnificent 1890 Cavaillé-Coll organ of St Ouen, Rouen, a former Benedictine foundation – as is Romsey Abbey in Hampshire, from where the Senior girls of the Romsey Abbey Choir (aged between 16 and 19) provide an ideal contrast to the power of the organ.
Amadio Freddi: Vespers (1616)
The Gonzaga Band, Jamie Savan
Resonus RES10245. 58’10
We know very little about Amadio Freddi (c1580-1643). His death is known to be in 1634, but his age at death is reported to be either c1570 or c1580. The latter date seems more likely, as in 1592 he was in paid employment at the Basilica of S. Antonio in Padua as a boy soprano, followed in 1598 with a doubling of salary as a countertenor. He seems to have come from humble background, his father having worked as a sword polisher. The payment from S. Antonio, unique for a boy soprano at the time, may have been a reflection of his families straightened circumstances. This important recording by The Gonzaga Band is the world premiere recording of his 1616 Vespers, from his Messa, vespro et compieta, composed while he was maestro di cappella at Treviso Cathedral between 1615 and 1627. In 1627 he moved to Vicenza before returning to Padua in 1634.
Monteverdi: Vespro della Beata Vergine
Dunedin Consort, His Majestys Sagbutts & Cornetts, John Butt
Linn Records. CKD 569. 2CDs 94′
During this 450th anniversary year of Monteverdi’s birth, there have been a plethora of performances and recordings of his 1610 Vespro della Beata Vergine. It’s not an easy work to address, not least because of the many complex musicological and performance issues that surround it.
The first point of call for anybody remotely interested in such things is to read the programme notes. The second is to glance at the track list. If it has more than 12 separate items, then it is probably placed in a quasi-liturgical, and almost certainly spurious, setting, with additional plainchant and instrumental pieces intended to represent how it might if it were performed liturgical. But it is most unlikely ever to have been thus performed. Scholarship changes almost daily, but it seems likely that this is Monteverdi showing what he is capable of, exploring differing style of music on the cusp of the transition from the Renaissance to the Baroque (the prima pratica to the seconda praticca), and possibly (rather like Bach’s B Minor Mass) as a calling card; in Monteverdi’s case, for potential posts in Venice and Rome. Continue reading
‘Baroque at the Edge: pushing the boundaries’
London Festival of Baroque Music
St John’s, Smith Square & Westminster Abbey
12-20 May 2017
After reforming, renaming, and regrowing itself from the long-running Lufthansa Festival, the London Festival of Baroque Music has become, phoenix-like, one of the most important early music festivals in London. Under the banner of ‘Baroque at the Edge: pushing the boundaries‘, this year’s LFBM used the music of Monteverdi and Telemann, from either end of the Baroque (and both with anniversaries this year) to explore ‘some of the chronological, geographical and stylistic peripheries of Baroque Music’. With one exception, all the concerts were held in the Baroque splendour of St John’s, Smith Square. Continue reading
Monteverdi Vespers of 1610
Orchestra & Choir of the Age of Enlightenment, Robert Howarth (Director)
City of London Festival. St Paul’s Cathedral. 2 July 2015
There are many ways of performing Monteverdi’s 1610 Vespers, and conductor Robert Howarth’s interpretation with the Choir and Orchestra of the Age of Enlightenment must count as one of the finest; not just in the technical decisions (which are complex) but in the sheer magnificence of the performance itself. St Paul’s Cathedral is not an easy space to sing into, but the 23 singers of the OAE showed exactly how to do it. It was interesting comparing them to the 106 singers of LSO chorus in last week’s performance of the Haydn Creation, the OAE soloists and chorus producing a far clearer and more focussed sound. Continue reading
‘Women in Baroque Music’
St John’s, Smith Square & Westminster Abbey, 18/19 May 2015
I couldn’t get to the lunchtime concert on day 3 of the festival, but it was given by soprano Rowan Pierce and the young group Medici, under the title of ‘Future Baroque’, with music by Handel, Bach, Royer, Telemann, Corelli and Vivaldi. Unless I have missed something, this was another event that seemed to bypass the festival’s theme, although it did include as its final work Agitata da due venti, a surviving fragment from Vivaldi’s opera L’Adelaide and later also included in his Griselda, composed for the virtuoso soprano Margherite Giacomazzi.
‘Leçons des ténèbres’
Julia Doyle & Grace Davidson, sopranos,
Jonathan Manson, bass viol, Steven Devine, harpsichord, organ & director
The Monday evening concert (St John’s, Smith Square, 18 May) Continue reading
Such is the profile and schedule of The Sixteen that I was surprised to find that their short tour of the Monteverdi Vespers was the first time they had toured with orchestra and choir together. Of their eight venues (six cathedrals, and two concert halls), I saw them in Guildford Cathedral (on 30 Jan), a pared-down Gothic building designed in the 1930s and finally opened in 1961. The acoustics are good, at least from my seat close to the performers, who were positioned in what would have been termed ‘the crossing’ (in front of the choir and chancel) if there had been proper transepts. Very professional looking TV cameras broadcast to monitors to the sell-out audience down the long nave. The sequence of movements was what has become the traditional one, as were several other aspects of the performance including, arguably, taking the sequialtera passages too fast. The (more substantial) Magnificat was sung at higher pitch. With 20 singers and 24 instrumentalists, this was an aurally powerful performance, although the tiny box organ was only occasionally audible. The use of such organs is common in the UK although I urge you to try and hear the Vespers (and any Bach cantatas, for that matter) performed with a church organ (for example, see my review of the Cantar Lontano recording in the October 2014 Early Music Review). The rest of the continuo group was cello, violone, chitarrone, harp and dulcian, with string/recorders and cornett/sackbuts divided left and right. The vocal soloists, all stepping forward from the choir, were sopranos Grace Davidson and Charlotte Mobbs, tenors Mark Dobell and Jeremy Budd and basses Ben Davies and Eamonn Dougan – all most impressive. Relatively limited use was made of the available space, the main exception being the tenor/theorbo duet Nigra Sum which was performed from halfway down the central aisle, and Jeremy Budd singing Audi coelum from the pulpit. The echo passages were sung from somewhere towards the altar. As with their other cathedral venues, the singers in the Sonata sopra Sancta Maria were the local cathedral choristers, in this case Guildford’s very able girls choir.