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Money Power(s) Music
Track-listing at end of review
Johannes Weiss (tenor)*
Five Recorder Consort (Markus Bartholomé, Katelijne Lanneau, Thomas
List, Silja-Maaria Schütt, Mina Voet)
rec. 5 - 8 August 2010, Schloss Seehaus, Germany DDD
COVIELLO CLASSICS COV 21105 [59:34]
It isn't always that easy to find a correct title for a disc.
The subtitle of this recording says "Music for the Fugger
family". That is definitely not correct: the music on this
disc wasn't written for the Fuggers, rather collected
by them. Another problem is that a title in one language
can't always be translated into another language without losing
some of its meaning. And that is the case here as well. The
German title says: "Geld Macht Musik". These three
words are nouns, meaning "Money Power Music". But
"Macht" can also be a verb, and than the title says:
"Money Makes Music". And that is exactly what the
money of the Fuggers did.
They were one of the wealthiest and therefore most influential
families in southern Germany in the 16th century. They were
of middle-class origin but entered the ranks of the aristocracy
thanks to their affluence. As merchants and bankers they were
"as tough as nails", Markus Bartholomé writes in his
liner-notes. They were not afraid to use their money for political
reasons, as Emperor Charles V experienced. When a change of
law was considered which would have had a negative effect on
their business activities Jakob Fugger reminded the emperor:
"It is well-known that Your Imperial Majesty could not
have acquired the Roman crown without my help ..." And
that was the end of discussion.
At the same time the Fuggers played an important role in the
cultural life of their time, and especially in music. Young
members of the family were sent abroad, not just to broaden
their horizons as businessmen and extend their network but also
to experience the music scene elsewhere. Markus Fugger the Younger
sang regularly with Flemish musicians during his stay in Antwerp.
Raymund Fugger the Younger is especially interesting in regard
to music, as he collected almost 400 musical instruments. And
the playing of the music on this disc with a consort of recorders
is justified by the fact that the catalogue of the instrument
collection of 1566 lists 26 wind consorts. Moreover the inventory
mentions "a large case containing 27 recorders, large and
small, made in England".
The Fuggers collected not only instruments but also music. The
programme of this disc consists of pieces from three collections.
These are likely the result of Raymund Fugger the Younger's
passion for music, and are preserved in the National Library
in Vienna. They show which music was played at the time. Comes
as no surprise that composers from the Franco-Flemish school
- which dominated the music-scene in Europe until the mid-16th
century - are particularly well represented. The largest part
of the music lacks a text, despite its clear vocal origin. In
fact these are arrangements of vocal items for a consort of
instruments. These collections give us a good insight into the
repertoire of consorts of recorders or other instruments. One
of the collections also contains some so-called Tenorlieder.
These are polyphonic pieces with a cantus firmus which
is to be sung by a tenor. Ludwig Senfl is the most prolific
composer of such pieces, and he is represented with Die prünlein
die da fliessen. This collection also contains some purely
instrumental music, like the settings of Tandernaken.
The third source offers dance music from all parts of Europe,
including Spain and England. It is the earliest known printed
dance music and was published by Bartholomäus and Paul
Hess in 1555. The dances come from this collection, and the
practices of the time suggest that players were used to perform
them with considerable freedom.
The musicians have made a very fine selection from these three
sources which guarantees a maximum of variation. That is also
due to the scope of the music, ranging from transcriptions of
vocal pieces to dance pieces. The members of B-Five use a number
of recorders - all copies of historical instruments - in various
combinations. Unfortunately the track-list doesn't give the
scoring of the various tracks. The playing is of the highest
order, technically immaculate - which is anything but easy with
a consort of recorders, especially in regard to intonation -
and shows much flair and imagination. Recordings with such music
can be a bit short-winded as most pieces are rather short, but
the artists keep things going and make the most of everything.
Johannes Weiss has a nice voice and has found the right approach.
This disc is highly entertaining, thanks to both music and performance.
Johan van Veen
Petrus ALAMIRE (c1470-1536) Tanndernac [2:19] Ludwig SENFL (c1468-1542/43) Die prünlein die da fliessen* [5:25] Benedictus APPENZELLER (c1480/88-after
1558) Je my levay ung matin [1:07] anon Doise espoier [2:20] On a mal dit de mon amy/ Pro chasser fait [2:44] Qui vult aymere, il faut estre joieux [1:01] Tanz - Nachtanz (Hess, 122) [2:53] Tanz (Königs Ferdinandus tantz) (Hess, 93) [1:32] Hans NEUSIDLER (c1508/09-1563) Gassenhauer [2:43] anon Douleur me bat super O vos omnes [1:54] Noel BAULDEWEYN (c1480-1530) Ach got wem sol ichs clagen* [5:28] Antoine BRUMEL (c1460-1512/13) Lamentatio: Languentis miseris/clamor meus ad te veniat
[3:56] Josquin DESPREZ (c1450-1521) Douleur me bat [3:02] anon Tanz - Nachtanz (Hess, 137)/ Tanz - Nachtanz (La rote de rode) (Hess, 94)/ Tanz - Nachtanz (Hess, 153) [4:03] Jean RICHAFORT (c1480-1547) D'amour je suis [1:01] Antoine BRUMEL Tandernac [2:46] anon La sol mi fa mi (Cantus de anglia) [2:44] Paul HOFHAIMER (1459-1537) Fro bin ich dein [3:07] Heinrich FINCK (1444/45-1527) Greiner zanner [1:39] Paul HOFHAIMER Greyner zanner* [1:15] anon Gagliarda - Saltarello (Hess, 76) [0:49] Tanz (Kyng Harry the VIIIth Pavyn) (Hess, 86) [1:42]
Pavane (Hess, 132) [2:44] Gaillarde 1 - Gaillarde 2 (Hess, 132) [1:08]
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