Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


CD REVIEW

Some items
to consider

 


WATCH LIVE: the Gothenburg Symphony Orchestra & Kent Nagano 6 sept 2.30 PM GMT+1.


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

alternatively
CD: Crotchet AmazonUK AmazonUS

 

alternatively
CD: Crotchet AmazonUK AmazonUS

 

 

Dieterich BUXTEHUDE (1637-1707)
Sonatas Op. 1
Sonata I in F, op. 1,1 (BuxWV 252) [09:27]
Sonata II in G, op. 1,2 (BuxWV 253) [07:43]
Sonata III in a minor, op. 1,3 (BuxWV 254) [10:13]
Sonata IV in B flat, op. 1,4 (BuxWV 255) [07:45]
Sonata V in C, op. 1,5 (BuxWV 256) [08:56]
Sonata VI in d minor, op. 1,6 (BuxWV 257) [09:15]
Sonata VII in e minor, op. 1,7 (BuxWV 258) [07:08]
L'Estravagante (Stefano Montanari (violin); Rodney Prada (viola da gamba); Maurizio Salerno (harpsichord))
rec. 8-10 November 2006, 8-11 January 2007, 'Baroque Hall' S.M.C., Ivrea, Italy. DDD
ARTS 47731-8 [60:30]


 

 

Dieterich BUXTEHUDE (1637-1707)
Sonatas Op. 2

Sonata I in B flat, op. 2,1 (BuxWV 259) [09:05]
Sonata II in D, op. 2,2 (BuxWV 260) [12:18]
Sonata III in g minor, op. 2,3 (BuxWV 261) [11:01]
Sonata IV in c minor, op. 2,4 (BuxWV 262) [07:37]
Sonata V in A, op. 2,5 (BuxWV 263) [09:18]
Sonata VI in E, op. 2,6 (BuxWV 264) [09:21]
Sonata VII in F, op. 2,7 (BuxWV 265) [08:28]
L'Estravagante (Stefano Montanari (violin); Rodney Prada (viola da gamba); Maurizio Salerno (harpsichord))
rec. 8-10 November 2006, 8-11 January 2007, 'Baroque Hall' S.M.C., Ivrea, Italy. DDD
ARTS 47732-8 [67:14]

Experience Classicsonline

In the 17th century Lübeck was one of the main centres of music in north Germany. Its reputation as such was widespread throughout northern Europe. Highly skilled players of violin and viola da gamba had been working in Lübeck since the beginning of the century. As they were also active as teachers the tradition they established was kept alive. The city's council employed an ensemble of players, collectively known as 'Ratsmusik'. The members of this ensemble were expected to be virtuosos on more than one instrument. An example is Hans Iwe, Buxtehude's assistant organist in the Marienkirche, who played the violin, the viola da gamba and the violone. One of the applicants for the Ratsmusik was the gambist Peter Grecke. His letter of application to the council in 1672 reflects the high standards set: "(...) I am aware that your noble and worthy council never employs common waits, but famous musicians and good composers who have excelled at noble and princely courts".
 
There were ample opportunities to play: not only was the Ratsmusik expected to perform at official occasions, they also performed during the Abendmusiken which Buxtehude's predecessor, Franz Tunder, had established as well as during services. And they also played in private surroundings, like the homes of the city's upper class. The members of the Ratsmusik played music from all over Europe, but also music composed for them in Lübeck itself. It is very likely that Buxtehude's sonatas were written for them as well. But it is quite possible that he himself also played them, for example together with musicians from Hamburg, as he had close ties with, in particular, Johann Theile and Jan Adam Reincken.
 
Buxtehude's sonatas have a trio texture, but whereas the Italians preferred the combination of two violins and bass, in northern Germany composers opted mostly for a combination of violin, bass viol and basso continuo. Here also a specific style was developed which combined several elements. One of these was the polyphony of the English consort music, which had been brought to northern Germany in particular by William Brade (1560-1630) who had worked in Copenhagen and several German cities before settling in Hamburg. Secondly the instrumental music of this period shows the influence of the so-called 'stylus phantasticus' of the North-German organ school, whose main features are its improvisatory character and contrasts in tempo, 'Affekt' and metre. During the 17th century a third influence was added: the virtuosic style of solo playing from Italy. One can imagine that the collections of music published in Dresden by Carlo Farina, one of the main representatives of this style, had some influence on musicians in Lübeck.
 
In Buxtehude's sonatas all three elements are represented, and he often combines them in an ingenious way. In the Sonata I from Op. 2, for instance, five different metres are used. In the Sonata II from the same collection the second movement is a fugue with the indication 'allegro', which all of a sudden shifts to a 'largo' - exactly what the 'stylus phantasticus' is all about. Strong contrasts can also be found in the Sonata III from Opus 1: a vivace is flanked by a lento and a largo which both contain harsh dissonances. Elsewhere Buxtehude makes a number of excursions to other keys, in particular in the Sonata VII from Op. 2. Instrumental virtuosity can be found in the Sonata V from Op. 2, whose second movement has the indication 'solo'; here the violinist can show his skills. It is one of the places in these sets of sonatas where Buxtehude requires double-stopping. The following movement is described as 'concitato', a clear reference to the Italian style, especially the stile concitato which Monteverdi made use of. Later on in this sonata the viola da gamba also has a solo passage. There is some double-stopping for the viola da gamba as well, in the Sonata VII from Op. 1. Other elements in these fourteen sonatas are variations on a subject and the regular use of a basso ostinato.
 
This description suffices to show how rich these sonatas are. It is no wonder that nowadays they are amongst the more frequently played chamber works. There are several recordings of these sonatas in the catalogue, the best-known of which are probably the performances by John Holloway, Jaap ter Linden and Lars Ulrik Mortensen (originally released on Dacapo, recently reissued by Naxos). But there is certainly a place for these new recordings as they are first-rate.
 
The ensemble was founded in 2007 and these two discs represent their very first recordings. They could hardly have made a better start. The technical skills of the players are impressive, as in particular the solo passages show. They also produce an excellent ensemble sound, and the balance between the three instruments is very satisfying. But what is more important: the expression in these sonatas is fully explored here, and the internal contrasts are well worked out. The choice of tempi is very convincing: they sometimes play at high speed, but it never sounds hasty, thanks to clear articulation. One of the features of these sonatas is the repetition of notes, and these can become tiresome when they are always played the same way. That is not the case here because of the differentiation within those sequences and the use of clear dynamic accents. On the other side of the spectrum: the grave from the Sonata I (Op. 2) is played very slowly, but with great expression.
 
In short: these are very impressive and expressive interpretations of Buxtehude's splendid sonatas. I very much hope the remaining chamber music - a handful of sonatas was never published - is going to be recorded in the near future.
 
Johan van Veen
 

 


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools




Return to Review Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.