If only I could think of a modern day musical equivalent of the
Baron Charles De Geer - historian, leader of an industrial empire,
noted scientist and a man with a passion for music. I will quote
the excellent booklet notes by Göran Blomberg “When De Geer arrived
from the Netherlands, in the early 18th Century to accede to the entailed estate
of Leuste he brought with him a large collection of music. Together
with his son he continued to collect music during his time” and
so may I emphasize that this is music written mostly by their
own contemporaries.
The
collection illuminatingly contains music by what we might
call local composers, less well known figures from the Low
Countries and Germany. These
include as Schaffrath and Hurlebusch. There are also pieces
by leading international figures such as Vivaldi and Tartini,
popular then as now. We also have a set of Dutch dances, the
anonymous ‘Boere Danssen’ published in Amsterdam which use popular tunes of the
period, played here interestingly with differing instrumental
combinations. Therefore this collection displays to us the
Baron’s eclectic taste which is excellently illustrated in
this generously filled and superbly performed CD. Many of
these pieces are unknown and recorded here for the first time.
The
‘modern’ Concerto which came out of Italy is represented by Vivaldi’s quite often recorded three movement work
in his most descriptive manner. Tartini figures also with
his four movement concerto representing a virtuoso element
in the outer movements which even today seems to put off many
a performer. Early baroque chamber music appears from William
Corbett an Englishman who settled in Holland. Corbett’s sonata for two violins
utilizes the old style continuo bass as harmonic support.
Pepusch was well known in England
and made a considerable contribution to the music of the ’Beggars
Opera’. In addition he was interested, as was Corbett, in
ancient music. Apparently he possessed a copy of the Fitzwilliam
Virginal Book and owned a valuable collection of old instruments.
No
one could say that these pieces are especially significant
in the overall scheme of things but they represent good quality
middle class and aristocratic fare, well written, easily assimilated
and pleasing for performer and listener alike. The selection
is typical of the period, and none the worse for that.
The
Drottningholm Baroque Ensemble, pictured within, was formed
well over thirty years ago and plays on period instruments.
Their experience and personality shine through in these confident,
infectious and radiant performances making one feel that the
music comes to far more than its component parts. I like especially
the use of a strong attack with the bow in climactic forte
passages in the Vivaldi concerto, creating a sense of exciting
articulation. I also appreciated the careful use of vibrato
in expressive passages in slow movements. The woodwind playing
is likewise felicitous and the whole disc comes out as a civilized
and yet passionate presentation, demonstrating why this fascinating
period needs to be investigated with even greater clarity.
The
recording is up to the usual exceptional standard attained
by Bis: clear, natural and bright with a wide spectrum and
excellent balance.
Gary Higginson
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Drottningholm Baroque Ensemble 
