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Archive Raiders Release World Premieres of Ultra-Rare Baroque Music From Sweden

Baroque band ACRONYM’s name stands for Archive Crawlers; Researchers Of Niche Yellowed Manuscripts. They share a mission with this blog: to shed light on undeservedly obscure music. Lately the group have been sifting through the Duben Collection, a 18th century archive founded and maintained by a multi-generational family who served as directors of music for the royal court of Sweden. Virtually all this material, a vast range of choral, orchestral and chamber works, is either out of print or previously unpublished; none of it had been recorded until ACRONYM started releasing it. Their third album of these incredibly rare works, Cantica Obsoleta, is streaming at New Focus Recordings. It’s a mix of instrumental and vocal pieces featuring contemporary and period instruments including viols, violone, theorbo, harpsichord, organ and guitar. This isn’t mere esoterica. Everything here deserves a life beyond the confines of this album, and that may well happen once we get rid of the lockdown and early music groups outside of where this music originated begin to discover what’s here.

As you would expect, most of the composers on the album are reaching a global audience for the first time ever; interestingly, very few included on this album are Swedish by ancestry. The ensemble open with an emphatically pulsing take of Sonata a5 in D Minor, by Johann Heinrich Schmelzer, a highly regarded Viennese violinist of the mid-1600s. This piece for string orchestra begins as a quasi-canon and eventually morphs into a lushly lilting country dance.

The singers – soprano Hélène Brunet, alto Reginald Mobley, tenor Brian Giebler and bass Jonathan Woody – romp through the ratcheting counterpoint of a Handel-like cantata by Johann Philipp Krieger, a German organist active in the 17th and early 18th century. One of the better-known figures here, Italian composer Giacomo Carissimi, is represented by a lustrous, rather starry, fascinatingly shifting lament.

Another 17th century German organist, Christian Geist is immortalized via a pensively waltzing number built around a stately descending progression. It is plausible that Johann Jacob Löwe might have been one of Johann Sebastian Bach’s first organ teachers: his Sonata a6 in E-flat Major comes across as a dance suite packed with dynamic and rhythmic shifts.

According to the album liner notes, Czech-born organist Samuel Capricornus was a colorful and combative personality; his hymn here gives Woody a real workout. Christian Flor, one of the few Swedish composers on this playlist, has a shapeshifting mini-suite for violas, organ and vocals, sung lyrically by Mobley. Brunet premieres the album’s sparest piece, by one of the archive’s few woman composers, Venetian-born singer Caterina Giani.

The final four works here are especially strong. Anchored by spare bass viol, the album’s arguably most compelling and plaintive piece is a diptych by yet another German organist, Johann Martin Radeck. Very little is known about Andreas Kirchhoff, whose gracefully contrapuntal Sonata a6 in G Minor is also very dynamic and colorful.

The most lushly majestic of the vocal works here is by a final German organist, Christian Ritter. The ensemble close with a moody but very lively cantata by one of the archive’s most obscure composers, vioinist Daniel Eberlin, who supported himself with a variety of dayjobs and possibly a life of crime on the side.

This is obviously a labor of love, and a passionate contribution to our collective musical knowledge from a crew including violinists and violists Beth Wenstrom, Edwin Huizinga, Adriane Post, Johanna Novom and Chloe Fedor; violist Kyle Miller; viol players Loren Ludwig, Zoe Weiss and Kivie Cahn-Lipman; violone player Doug Balliett; organist/harpsichordist Elliot Figg and theorbo player/guitarist John Lenti.

January 10, 2021 Posted by | classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

A World Premiere From 1716 and Other Lively Entertainment From Augusta McKay Lodge

One of the most electrifying aspects of Italian baroque music is the degree of improvisation involved. As in much of Middle Eastern music, dynamics and embellishments are typically left to the individual soloist. A listener has to dig deep into the liner notes of violinist Augusta McKay Lodge’s new album Corelli’s Band: Violin Sonatas by Corelli, Carbonelli, Mossi – streaming at Spotify – to discover that those interpretations are hers. And she matches that impetuous energy with depth.

Lodge has a lithe, strikingly nuanced touch, a flair for the dramatic, a colorful vibrato but also a finely attuned sense of the music’s emotional context. And if you think that every worthwhile piece from the 18th century has already been recorded, guess again!

Lodge opens the album with a world premiere, Giovanni Mossi’s Sonata No. 9, op. 6. With its opening prelude centered around a gorgeously melancholy, melismatic riff that recurs with some tasty chromatics in the fourth movement, it’s on the serious side. And it’s a triumph for Lodge, with her rapidfire triplets in the second movement and her almost breathlessly fleeting pauses in the third. Throughout the album, a supporting cast including Elliot Figg on harpsichord, Doug Balliett on violone, Ezra Seltzer on cello and Adam Cockerham on theorbo and guitar play elegantly alongside her.

Giovanni Stefano Carbonelli is arguably even more obscure than his contemporary Mossi, but his music deserves to be far better known. His Sonata No. 10 comes across as Vivaldi Jr., its stately opening giving way to a brisk ballet of counterpoint down a circular staircase. Stark guitar/violin contrast dominates the third movement, then the group wind it up with a jovial bounce.

Arcangelo Corelli, whose highly ornamented violin style inspired both of these lesser-known composers, is represented by his Sonata No. 3, op. 5, a springboard for Lodge’s quicksilver cadenzas and griptite staccato alongside the rest of the ensemble.

She goes back to Mossi’s catalog for Sonatas No. 1 and 3 from his op. 1 book. The group dig in with unexpected vigor for for the former’s brooding yet meticulously agitated introduction, plaintively Vivaldiesque exchanges and flurries. They give the latter a colorful but more expansive approach.

Lodge winds up the album with Carbonelli’s lilting Sonata No. 9, a showcase for her sensitivity of attack, particularly in the somber processional of a first movement, the shivery embellishments of the second and the melancholy waltz that winds it up. Pop a cork on the barolo, but savor the moment: don’t overindulge like the robber barons whose salons were where this music probably debuted, and who probably weren’t paying much paying attention.

October 27, 2020 Posted by | classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment