Notes and Editorial Reviews
OLDE FOCUS 903 (75: 15)
Opus Musicum Sonatarum Praestantissimarum Senis Instrumentis Instructum
, or “Musical Publication of the Finest Sonatas for Old/Revered Instruments,” was published in Frankfurt in 1686. It may well have been a joint commission from all of the members of the ancient Six Cities’ Alliance, for a handsome sum was paid for it by each: Bautzen, Görlitz, Lauban, Kamenz, Löbau, and Zittau.
(Pezel himself was then employed as
, or director of instrumental music, in Bautzen, a prestigious post in what was at the time a decent-sized metropolis.) The work consists of 24 sonatas given alphabetical names, such as Sonata Abella in G Major, and Sonata Bacca in D Minor. In addition, there is a final Sonata Ciacona that features an eight-chord bass ostinato in its ripieno sections, which is doubled and extended again by a further four chords for concertato statements. It’s a fairly massive single movement of its variational type for its time and place, though such things were more common in Elizabethan keyboard music.
themselves are actually proto-sonatas, meaning that they’re a grab bag of movements strung together, often in the same key. They descend from the first wave of violinist-composers who emerged from the late 16th century courts of the Sforza who ruled Milan, and the Este who ruled Ferrara. But where those Italian sonatas mixed dances, highly imitative contrapuntal movements, and dramatic recitative, often with highly chromatic harmonic progressions, Pezel’s sonatas include homophonic dances, less complex examples of counterpoint, and the occasional voluntary, all of it less venturesome harmonically. The composer’s previous experience as a
(city-employed fiddler) and later
(member of a typical loud ensemble, with cornetts and sackbuts) in Leipzig can be heard in the distinctively instrumental character of wind, brass, or strings in various movements; though the work was published in seven string parts, with continuo furnished by bassoon and an unspecified additional instrument.
As to why Pezel would give his sonatas feminine names drawn from Greco-Roman history and mythology: Like many academics since the late Middle Ages, he relished showing off knowledge garnered from the Attic Greeks and Romans. So the
refers to the tragically unconfident woman who was married to Heracles, while the
highlights the Roman festival held in honor of the goddess Minerva. None of this has any bearing on the music itself.
Acronym is a string ensemble formed in 2012 specifically for this CD project. But as only nine of its 12 members perform here, and other projects including tours are underway, we can safely assume the group has taken on a life separate from Pezel’s work. It was still common enough during Pezel’s lifetime for music to be performed in any variety of arrangements, reduced or augmented, as circumstances warranted. Here, the continuo is provided by either of two performers who handle the honors for theorbo and guitar, and harpsichord and organ, while there’s some trading off among viols and violas—as Pezel didn’t specify
The performances of the livelier dance movements have a fine rhythmic bounce, especially the start of the
Any unison playing on this release has a rich, full sound. Individual instrumentalists can at times display an unattractive tone, however, made more evident because none of the performers use vibrato. (As Sergiu Luca once told me, just because you don’t use vibrato doesn’t mean you have to display an ugly tone. Quite the opposite. You don’t have vibrato to cover for you, and have to work to improve your sound.) The
exposes this mercilessly, with a very occasional note tonally off-center. Most of the playing aside from this is first-rate, while tempos are varied and well-sustained. There’s an attractive legato in slower movements, and a judicious amount of accenting on both the beat and at cadences.
A final word or 111 about the liner notes. Written by one of Acronym’s musicians, they evidently draw upon some historians of Leipzig who are very much of the Annales School, emphasizing cultural matters by way of source studies in surviving town hall records, legal documents, etc. It’s a pleasure to read someone take such joy in relating more than the usual born/educated/married/died information, right down to the social distinctions between the various music guilds: the
, and the haughty trumpet players, the top-of-the-heap
—even to mentioning the brawls on record that resulted when some
employed trombones provocatively shaped and played like trumpets, but with alternative names.
All in all, these are successful readings of attractive music. Recommended.
FANFARE: Barry Brenesal
Works on This Recording
Opus musicum sonatarum: Sonata Abella in G Major
Opus musicum sonatarum: Sonata Baccha in D Minor
Opus musicum sonatarum: Sonata Cadmea in A Minor
Opus musicum sonatarum: Sonata Dejanira in E Minor
Opus musicum sonatarum: Sonata Ebura in B-flat Major
Opus musicum sonatarum: Sonata Fabaria in F Major
Opus musicum sonatarum: Sonata Gaba in C Major
Opus musicum sonatarum: Sonata Hoemonia in G Minor
Opus musicum sonatarum: Sonata Ja in D Major
Opus musicum sonatarum: Sonata Kohlerina in A Major
Opus musicum sonatarum: Sonata Laconia in E Major
Opus musicum sonatarum: Sonata Macra in B Minor
Opus musicum sonatarum: Sonata Nabathea in G Major
Opus musicum sonatarum: Sonata Octavia in D Minor
Opus musicum sonatarum: Sonata Padusa in A Minor
Opus musicum sonatarum: Sonata Quinquatria in E Minor
Opus musicum sonatarum: Sonata Rha in B-flat Major
Opus musicum sonatarum: Sonata Sabaea in F Major
Opus musicum sonatarum: Sonata Tamara in C Major
Opus musicum sonatarum: Sonata Vacuna in G Minor
Opus musicum sonatarum: Sonata Wallona in D Major
Opus musicum sonatarum: Sonata Xantippea in A Major
Opus musicum sonatarum: Sonata Yvana in E Major
Opus musicum sonatarum: Sonata Zacchantea in B Minor
Opus musicum sonatarum: Sonata Ciacona in B-flat Major
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