Question: Do we really
need another recording of various chamber
works by relatively unknown Baroque
composers?
Answer: In this case,
absolutely!
Bertali’s life seems
to embody the typical experiences that
top-notch musician would expect during
the seventeenth century: his playing
and composing centered around court
life. Bertali served under the Habsburgs
of Austria. The program notes point
out that, although he was mainly a composer
of oratorio and opera, his instrumental
works still merit attention. This point
is made best by giving this disc a thorough
hearing. The sonatas which make up the
majority of the repertoire here are
delightful miniatures. Highly sectional
and often inspired by dance rhythms,
these pieces sometimes feel like dance
suites.
The Ricercar Consort,
led by Philippe Pierlot, brings the
music to life in the most amazing way.
They are highly musical players who
manage to imbue each piece with a special
improvisatory feeling. Musical communication
between players is highly evident, and
it gives an exciting edge to every second.
Intonation is, without exception, extraordinarily
precise. This group takes extreme musical
risks. Dynamic contrasts are drastic,
and tempi are never lethargic. There
is rhythmic vitality in every piece
that gives a crisp, uncluttered feeling
so essential to a true perception of
dissonance and resolution. These especially
expressive moments are approached and
executed beautifully.
The highlight of this
disc is most definitely the final selection,
a chiacona. A triple time dance
set over a repeating ground bass, this
form gives composers a chance to show
their skill at composing variations
— Bertali succeeded ingeniously, and
the Ricercar Consort plays it expertly.
For solo violin and basso continuo,
it offers considerable challenges. François
Fernandez plays the virtuosic solo part
with finesse and ease. His intonation
never fails, and each phrase is shaped
beautifully. He relies on a full dynamic
palette for expression, and it is always
effective — he somehow manages to echo
repeated phrases so expertly that it
sounds like two different instruments.
Passage work is clean, precise and supremely
rhythmic. The continuo playing in this
selection is equally as impressive.
Each variation has a new configuration
of instruments that results in an endless
and exquisite range of color. The piece
opens with a solo harp playing the ground
bass through with some tasteful embellishment.
From there, a viola da gamba plays along
with the harp until the soloist makes
his entrance. The rest of the piece
is unpredictable in its ever-changing
combination of harp, gamba, harpsichord
and organ, all alongside the violin.
This chiacona is a perfect ending
to an outstanding recording.
Jonathan Rohr