Thomas Hengelbrock
and his fine ensembles have assembled
an elegant program of liturgical works
from three lesser-known yet significant
composers who were either native of
or transplanted to Naples. Perhaps Pergolesi
is the most widely recognized name in
the trio, and this mainly because of
his very short life and the numerous
attributions, apocryphal tales and outright
plagiarisms that came to create an inflated
legend of the otherwise supremely talented
young composer. Although they never
came to achieve Pergolesi’s recognition,
the other two masters represented here
also led interesting lives and crafted
music that is most certainly worthy
of a place in the repertoire.
The concert opens with
Durante’s tautly constructed Magnificat,
often misattributed to his student Pergolesi.
Chock full of singable tunes and sprightly
orchestral writing, this charming work
is given an impeccable performance by
Herr Hengelbrock and his forces.
Emanuele D’Astorga,
whose colorful life led to a representation
in a number of nineteenth century tales,
novels and even operas, contributes
a sincere and well-crafted Stabat
mater setting. Pergolesi’s lofty
setting of Psalm 110 (or 111, dependent
upon which text you use) rounds out
the disc and brings it to a forceful
conclusion.
Hengelbrock, if his
recordings are any indication, is a
master of color and balance, and has
assembled two ensembles that are pretty
much faultless in their ensemble, intonation,
clarity of text and line, and in short,
all the other characteristics that make
for exemplary performances. If one were
to sum up the qualities of these musicians
in a phrase, it would have to be "impeccably
good taste." The music is delivered
with its entire complement of emotions
fully intact, yet there is never a sense
of over-sentimentalizing, or gauche
exaggerated theatrics. Herr Hengelbrock
lets the music speak for itself, a feat
of which it is fully capable without
much outside help.
Particularly noteworthy
are the soloists, mostly drawn from
the choir itself. Each and every one
of them deliver their parts with radiant
clarity, spot-on intonation and an enviable
rhythmic precision and flexibility of
line. No bleating, "Sally straight
tones" here, just full throated,
well regulated singing that is a joy
to hear.
The strings of the
Freiburger Barockorchester are warm
and (thankfully) quite in tune, and
the balances between orchestra and choir
are faultless. From the recording dates,
this disc appears to be a re-issue,
and if this is the case, I regret having
missed it the first time round, and
welcome gladly its new lease of life.
Program notes and production
values are above reproach. Don’t let
this one pass you by. It is a worthy
addition to any library, and especially
for those who are lovers of fine choral
singing. Highly recommended.
Kevin Sutton
Ann Monoyios, soprano 