Baroque In Poland: Church & Court Music

Release Date: 3/23/2010
Catalog Number: ARS38065
Orchestra/Ensemble: Ensemble Alla Polacca
Number of Discs: 1

Physical Format:

SACD
Backorder
$19.99
Notes and Editorial Reviews


BAROQUE IN POLAND: Church and Court Music Alla Polacca Ens ARS 38 065 (SACD: 67:54)


Music of MIELCZEWSKI, WRONOWICZ, JARZEBSKI, PODBIELSKI, SZARZY´nSKI, MILWID, FÖRSTER, LUPARINI


Poland in the 17th and 18th centuries, like America in the 18th and 19th, was a musical backwater, at least as far as concert music was concerned. Native composers self-consciously followed foreign models, and always seemed just a bit behind international fashion. This does not mean that their work was necessarily rudimentary or dull; to the contrary, the items on this survey of Polish Baroque music can be quite engaging. And, yes, sometimes a bit original. The opening canzona by Marcin Mielczewski, for example, is clearly derived from Italian examples, yet it does include the occasional, subtly rustic, quasi-Polish episode. But then the cantata Semper mi Jesu by Antoni Milwid adheres to a surprisingly antiquated style for a contemporary of Beethoven (admittedly, a man born 15 years before Beethoven, but one who also outlived the master). If you just close your eyes and open your ears without fretting over what composers of this or that decade “should” have been doing to meet international standards, you will have before you more than an hour of breezy performances of attractive music. Alla Polacca, an ensemble consisting of soprano Iwona Le?niowska-Lubowicz, keyboardist Paulina Kilarska, and theorbist Stanislaw Gojny plus string-playing guest artists, employs subtle manipulations of dynamics and rubato, though never self-consciously. The soprano has a pleasant, flexible voice, although her vibrato can become almost strong enough to be mistaken for ornamentation. The playing of the organ and harpsichord in both solo and continuo roles is always vibrant. The sonics are resonant, with the theorbo and organ perhaps having a little more presence than the strings. If you like early Italian sonatas, you will probably enjoy this program very much.


FANFARE: James Reel
Works on This Recording
1. Canzona Prima à 2 by Marcin Mielczewski
Period: Baroque
2. In dulci iubilo, sacred concerto for voice, 2 violins & continuo by Maciej Wronowicz
Orchestra/Ensemble: Ensemble Alla Polacca
Period: Baroque
3. Berlinesa by Adam Jarzebski
Period: Baroque
Written: 1627 ; Poland
4. Praeludium in D major, for organ by Jan Podbielski
Performer: Paulina [Harpsichord] Kilarska (Harpsichord)
5. Canzona Primi Toni, for organ by Anonymous
6. Jesu spes mea, concerto for voice, 2 violins & continuo by Stanislaw Sylwester Szarz
Orchestra/Ensemble: Ensemble Alla Polacca
Period: Baroque
7. Veni Sancte Spiritus, concerto for voice, 2 violins & continuo by Stanislaw Sylwester Szarz
Orchestra/Ensemble: Ensemble Alla Polacca
Period: Baroque
8. Sonata for 2 violins & organ by Stanislaw Sylwester Szarz
Period: Baroque
9. Semper mi jesu, cantata for voice, violin & continuo by Antoni Milwid
Orchestra/Ensemble: Ensemble Alla Polacca
Period: Baroque
10. Sonata a 3 ex G, KBPJ 38 by Kaspar Förster
11. In martirio crudele, cantata for voice, 2 violins & continuo by Giovanni B. Luparini
Orchestra/Ensemble: Ensemble Alla Polacca
Period: Baroque
Customer Reviews