Notes and Editorial Reviews
CONCERT AT THE HABSBURG COURT
APARTE 041 (62:15)
Sonata No. 5. Sonata,
Sonata No. 3.
Lament on the Very Sad Death of His Imperial Majesty, Ferdinand III.
class="ARIAL12b">Suite No. 8 in E
Often we get thematic programs of early music that don’t fit the particulars when they’re examined up close. Not for the most part here, however. This isn’t simply a survey of orchestral music in the last half of the 17th century, but of works by composers whose music could be heard at the Viennese court of Emperor Leopold I. He was a ruler repeatedly described as believing few things better than listening to music, whether at chapel, in the extravagant diplomatic fetes he threw regularly, or the equestrian pageants he enjoyed that featured as many as 600 horses and 1,700 human participants (including 100 musicians). The virtuoso violinist-composers that came out of various Italian courts in the late 16th and early 17th centuries formed the musical models Leopold embraced. It’s therefore no surprise that three out of four composers on this album were virtuoso violinists whose music was directly or indirectly influenced by those same Italians.
The works are consequently of a kind. Four are early violin sonatas, the type that mix recitative passages, lyrical arias, and fast dance movements, each adhering to its own individual structure. A fifth, Walther’s Suite, amounts to the same thing. Only one is an outlier: Froberger’s famous
Lament on the Very Sad Death of His Imperial Majesty, Ferdinand III
for harpsichord, that partakes strongly of the style of contemporary French lutenists. But though far away from the musical range in which Leopold typically grazed, Froberger did dedicate a volume of music to him: a connection of sorts.
Ensemble Stravaganza is a French-Italian chamber group dedicated to 17th- and 18th-century music featuring one or two self-described “high-pitched instruments.” Its leaders are violinist Domtille Gilon and harpsichordist Thomas Soltani, heard here with continuo provided by viol da gamba, theorbo, and organ. The violin pieces are given lively, well-accented renditions, sensitive to the theatrical conception of each work, in a style moderately similar to that of Quicksilver on their
album (Acis APL72546). Like Mealy and Andrijeski, Gilon does much through varying tonal weight, and the discreet application of vibrato, mostly fast but occasionally slow. Her technique is excellent; so is Soltani’s, whose rendition of the
correctly interprets it according to
, in a slow, very flexibly phrased manner. No information on his instrument is provided, though he uses what sounds like a
The engineering is another positive, close but clear, never covering violin or harpsichord in an aural haze. This is Ensemble Stravaganza’s first album. I hope it isn’t their last.
FANFARE: Barry Brenesal
Works on This Recording
Sonatas (8) for Violin and Basso Continuo: no 5 in E minor by Heinrich Ignaz Biber
Written: by 1681; Bohemia
Sonatae unarum fidium (6): no 3 by Johann Heinrich Schmelzer
Written: by 1664; Austria
Mystery Sonatas (15) for Violin and Basso Continuo: no 10 in G minor, The Crucifixion by Heinrich Ignaz Biber
Written: circa 1676; Salzburg, Austria
Lamentation-faite sur la mort sa Majesté Imperial, Ferdinand III by Johann Jacob Froberger
Written: 1657; Vienna, Austria
Sonatas (8) for Violin and Basso Continuo: no 3 in F major by Heinrich Ignaz Biber
Written: by 1681; Bohemia
Hortulus chelicus: no 8, Suite in E major by Johann Jakob Walther
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