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Harmonia
Mundi HM Gold series - First issue
Harmonia
Mundi has a long cherished and - more to the point -
long nourished reputation for excellence of execution.
They also have an eye for elite presentational values.
The
new HM Gold series from this long-lived Arles-based company
evinces those qualities and breathes gusts of new mid-price
life into the company's catalogue. In this feature I
survey the first fifteen issues which draw on recordings
first issued between 1979, the Deller disc and 2003 for
the Hillier collection of Orthodox Chant. These fifteen
discs were issued in April 2008 and a further fifteen
were due in July 2008.
Common
features of the series include the gold-frame livery,
stunning artwork, card-fold casing with full plastic
mounting plate sealed into the card and substantial booklet
some running to 60+ pages which slides into the sleeve
sometimes only after persistence. The booklet is often
on stiff high quality paper. The text is in French, English,
German and the original sung language. For example, the
Hillier disc includes Cyrillic script in its parallel
sung-text pages as well as the three main European languages.
Text size is legible and is printed black on a white
ground. Full discographical details are given and opportunity
is taken discreetly to present the other full price items
available from HM for that particular artist or ensemble
or composer. Biographical outlines of the artists are
standard. Disc, booklet and card case all look the business
although the downside of midprice is the card-fold which
may become scuffed over time.
'Orthodox
Chant' of the 17th and 18th centuries
Estonian
Philharmonic Chamber Choir/Paul Hillier
rec.
15-19 July 2002, Tallinn, Estonia
HARMONIA MUNDI GOLD
HMG507318 [70:14]
Paul
Hillier's time with Harmonia Mundi has brought forth
some fourteen discs. There are three volumes of Baltic
Voices, four dedicated to the music Arvo Pärt, four
from the medieval period and one each for Cage (Litany
for the Whale) and Stockhausen (Stimmung).
This one offers eleven pieces of chant composed variously
by Dmitri Bortniansky (1751-1825), Giuseppe Sarti (1729-1802),
Vassily Titov (c1650-c1715), Baldassare Galuppi (1706-1785),
Nikolai Diletsky (c1630-c1680) and Artemy Vedel (1767-1808).
On first playing it can all seem rather samey but you
should persist. Bortniansky's Cherubic Hymn is
serene if a mite stolid while Sarti's Now the Powers
of Heaven is much more successful in its silvery
heights. Titov sounds somewhat like Monteverdi in its
impressive interplay of solo lines. Supplication and
enchantment are commingled in Bortniansky's With my
voice I cried out which nicely exploits the wonderful
resonant acoustic of Tallinn Methodist Church. Understated
music, outstanding singing and superbly captured.
Miracles
of Compostela Anonymous
4.
rec.
25-28 July, 20-22 September 1995, Campion Center, Boston,
Massachusetts, USA
HARMONIA MUNDI GOLD
HMG507156 [71:20]
Here
are 21 short pieces from the Codex Calixtinus. The home
of the late 12th century Codex is the Cathedral of Santiago
de Compostela on the Atlantic seaboard of North-West
Spain. One of three great centres of pilgrimage, this
place occupies a crucial position in the European Middle
Ages. The Codex comprises plainchant much of which is
for the Vigil and Feast of St James. This devotional
music is heard in editions prepared by these singers
and is sung with the usual pristine vocal purity associated
with The Anonymous 4 (Ruth Cunningham, Marsha Genensky,
Susan Hellauer, Johanna Maria Rose). Notable among these
pieces is the melisma of the Benedicamus Trope and Ad
sepulchrum (trs. 5 and 7). The frictionless ascents
demanded in Cunctipotens genitor are confidently
accomplished by a quartet of voices that always sounds
as if it is an ensemble of at least four times that size.
A fresh tone of innocence appears in Gratulantes celebremus
festante (tr. 16) - very enjoyable too, complete
with trilled delays and echoes. A special serenity radiates
from Portum in ultimo (tr. 19).
The
liner notes are by Susan Hellauer, one of the Anonymous
4.
Arias
for Farinelli
Vivica
Génaux (mezzo), Akademie für Alte Musik Berlin/René Jacobs
rec.
January 2002, Teldex Studio, Berlin
HARMONIA MUNDI GOLD
HMG501778 [77:35]
A
generous anthology built around arias that may have been
sung by the famous castrato Carlo Broschi detto Farinelli
(1707-1782). Feted in his own time, his sound is here
speculatively recreated by a mezzo. The arias are by
Porpora, Hasse, Broschi and Giacomelli. Riccardo Broschi's
steady reflective aria Qual guerriero from Idaspe is
particularly moving with long note-lines seemingly built
for a singer freed from the need for catching breath.
This also rises to emotional heights unusual for those
times as in the meltingly lovely writing at 3:10 onwards.
By contrast Giacomelli's aria Mancare, Dio from Adriano
in Siria is comparatively conventional though most
beautifully shaped by Genaux. At the centre of the disc
sequence we hear an instrumental work: Galuppi's Concerto
a 4 in C minor which with its nicely pointed dynamic
contrasts, distancing and bustle is well worth hearing.
Johann Hasse's Per questo from Artaserse is temperate
and playfully shaped with some nice instrumental filigree
to tickle the ear. Genaux redeems Giacomelli with the
dramatics and stage stuff of the aria Quell'usignolo from Merope.
The avian idylls of the second section of the aria compete
with serious Vivaldian pointing and end the disc well.
One aspect of this series with which take issue
is the inclusion of extracts from critical reception
of the discs on their original issue. What is the point
of this except in some way that we do not want to dwell
on to confirm the purchaser's wise choice in buying.
Certainly since these extracts are in the booklets they
can do nothing to encourage purchase. A small and unnecessary
irritation.
Canta la Maddalena
Maria
Christina Kiehr (soprano)
Concerto
Soave/Jean-Marc Aymes
rec.
May 1999, Fribourg, Germany. DDD
HARMONIA MUNDI GOLD
HMG501698 [71:47]
The
angelically-voiced Kiehr with Aymes here delves into
the deep and rewarding repertoire of Italian solo motets.
The balmy Santa Agnelett's Gloria imparts calm
like a benediction and establishes a line from which
Mozart's Exultate Jubilate may be said to trace
its ancestry. For Luigi Ross's Pender non prima Kiehr's
voice is joined by harpsichord and lute. Contrast is
provided by the echoing complexity of Frescobaldi's Toccata for
harp - quite a discovery and not at all dainty. Other
tracks include instrumental and vocal pieces, many short,
by Ferrari, Mazzocchi, Gratiani, Rossi, Kapsberger (whose
lute and chitarrone works have an HM Gold disc of
their own). Remarkable is the Lagrime Amare by
Mazzocchi the melisma of which takes the listener into
realms more familiar from the works of Alan Hovhaness.
Ferrari's Queste pungente spine is given an otherworldly
confiding edge by Kiehr and Concerto Soave. The ensemble’s
soloistic excellence throughout is a real strength of
this anthology from a long distant world which is here
recreated afresh. The sung words are printed in full
and with some style and generosity of layout. Translations
are also provided: French, English, German.
Antonio
VIVALDI (1678-1741)
Sonata
a Tre La Follia - The Trio Sonatas
Véronique
Mejeam, Käthi Gohl, Jesper Christensen
Ensemble
415/Chiara Banchini
rec.
January 1991. DDD
HARMONIA MUNDI GOLD
HMG501336 [69:37]
Here
we have six of Vivaldi's 27 Sonatas for two violins and
harpsichord. Banchini and Ensemble 415 bring pointed
elegance with playing that subtly and with passion finesses
the tendency towards bone china preciousness. The Grave
of the RV6 sonata is memorable for its melancholy serenity.
However the lively flightiness of the Four Seasons is
also in evidence as we hear in the Giga of the
op. 1 Sonata. The annotation is well complemented by
a Vivaldi chronology.
Henry
PURCELL (1659-1695) Music
for a While
Alfred
Deller (counter-tenor); Wieland Kuijken (bass viol);
William Christie (harpsichord); Roderick Skeaping (violin);
Robert Elliott (organ); Jane Ryan (bass viol)
rec.
April 1979. ADD
HARMONIA MUNDI GOLD
HMG50249 [55:18]
This
is one of the gems of the Harmonia Mundi back-catalogue.
Even at the age of 67 and recorded within three months
of his death Deller preserves his special purity almost
completely unimpaired. Only at the end of some demanding
phrases is there the slightest hint of crumbling. What
remains is his exemplary purity of stratospheric tone.
He makes play with a delightful affected tremble in If
Music be the Food of Love and his bird-like attack
in miniature on quite high notes is memorable in Not
all my torments. A sepulchral cortege is evoked through O
lead me to some peaceful gloom with its evocative
shrill trumpets. Equally stygian is the instrumental
tissue for O Solitude while Deller's voice courses
high above. The instrumental ensemble comprises various
permutations of clavecin, baroque violin, organ and bass
viol. The notes include a useful chronology of Deller's
life and there are essays by David Vickers, Gustav Leonhardt,
Nikolaus Harnoncourt, René Jacobs, Paul Elliott and Bernard
Coutaz. A rich context indeed.
Lamentations de la Renaissance
Huelgas-Ensemble/Paul
Van Nevel
rec.
April 1997, l'Abbaye-aux-Dames de Saintes.
HARMONIA MUNDI GOLD
HMG501682 [69:43]
The
Huelgas-Ensemble and Paul Van Nevel have a distinguished
HM discography which includes discs of Ferrabosco, de
Kerle, de Lassus, Richafort (his requiem in memoriam
Josquin Desprez) and various themed anthologies. Here
the unifying thread is the Biblical Lamentations of Jeremiah.
Those by the Augustine monk Tiburtio Massaino (c1550-1609)
have the criss-cross serene vocal interplay of Monteverdi's
madrigals. Robert White (c1538-1574) was master of choristers
at Ely and then Chester. He fell victim to the plague
in 1574. Again a complex skein of interweaving lines
this time recalls Tallis. Marbrianus de Orto (c1460-c1529)
seems to have received his training at Tournai Cathedral.
The deeper voices contribute a rich bass burr to this
1506 Venetian version with breathy organ and quiet instrumental
lines providing moments of reflection. The final Lamentations
is in three segments and is by Roland de Lassus (1532-1594).
It is in five parts but the counterpoint of vocal lines
is a shade less intricate than in the other works here.
If you enjoy the Monteverdi madrigals then do try this.
Marc-Antoine
CHARPENTIER (1643-1704) Te
Deum H146; Missa 'Assumpta est Maria' H11; Litanies
de la Vierge H83
Les
Arts Florissants/William Christie
rec.
October 1988, Eglise Notre Dame de Travail, Paris.
HARMONIA MUNDI GOLD
HMG501298 [74:47]
Imperial
confidence is the stamp of these grandly public devotional
works. Drums and romping brass declare a Purcellian confidence
untroubled by doubt. It is just a little complacent though
this is in no way a criticism of the artists and the
boisterous qualities of the work are fitting to a Te
Deum. Tenderness has its place too but it is second place
- try the singing of Veronique Gens (later to make such
a splash with her two CDs of the Canteloube Auvergnat
songs) in Te ergo Quaesumus of the Te Deum.
The Missa: Assumpta est Maria is a understated
devotional work although the bubbling feathery Sanctus provides
much needed relief even if it is all over too quickly.
The muscular and vehement Domine salvum ends the Missa.
The Litanies offer further contrast reducing textures
down to only six parts, two treble viols, bass viol and
organ. Again we receive full notes and texts with translations
into French, English and German. The recording is closely
balanced revealing every detail. How delightful is the
dancing delicacy of the Speculum justitiae and
the Rosa mystica.
German
Baroque Cantatas
Schutz, Rovetta, Bach, Tunder, Legrenzi,
Buxtehude, Erlebach, Albertini
Andreas
Scholl (counter-tenor)
Concerto
di Viole; Basel Consort
rec.
October 1997, Studio Tibor Varga, Sion, Suisse.
HARMONIA MUNDI GOLD
HMG501651 [71:50]
The
purity and uncanny steadiness of Andreas Scholl's extraordinary
voice is here celebrated. He does not lack for representation
in the Harmonia Mundi catalogue - some seventeen entries.
In this case we hear him in the ineffably beautiful and
minimally scored (lute only) O Jesu, nomen dulce.
Johann Christoph Bach's extraordinarily romantic Lamento is
unforgettable with its strange foreshadowings of the
cimbalom. Legrenzi's purely instrumental Sonata Quinta is
rather ordinary in this company. Scholl unwaveringly
maintains the concentration of the sombre Buxtehude Klag-lied.
Erlebach's Wer sich dem himmel is a more pliantly
devotional vehicle with more scope for Scholl to spread
his emotional wings. Instrumental contrast is offered
again in the form of Ignazio Albertini's Sonata IV for
violin and continuo. It's another discovery in a disc
of discoveries. For its age - Albertini's dates are c1644-1685
it is very romantic in style. When first played many
parts of this 5:33 piece must have seemed outlandish
indeed.
Johannes
Hieronymus KAPSBERGER (c.1580-1651)
Lute
Works - Il Tedesco della Tiorbe
Paul
O'Dette (lute)
rec.
November 1989, Manchester, Michigan, USA. DDD
HARMONIA MUNDI GOLD
HMG507020 [69:27]
Here
are 25 short pieces by the much derided Venice-born Kapsberger.
They are variously for the lute (13) and the chitarrone
(12). The music is heard in editions by O'Dette. The
instruments sound douce indeed. They are 1984 replicas
of originals by Hans Frei and Vendelio Venete. The music
is peaceful, and seems lovingly relished, stately and
expressive even when technically complex as in the case
of the Corrente (tr.11). The CD starts with the
minmalist Toccata arpeggiata which has the centuries
melting away in a slowly mercurial ostinato. Odette also
provides the practically supportive notes.
Wolfgang
Amadeus MOZART (1756-1791) Chamber
Sonatas for
two violins, organ, cello and double-bass
London
Baroque/Charles Medlam
rec.
February 1984, St Martin's Church, East Woodhay, Berkshire.
DDD
HARMONIA MUNDI GOLD
HMG501137 [47:37]
Short
measure in terms of sheer playing minutes. Mozartians
will experience a much higher yield from these vivid
played and recorded Church sonatas. There are 14 of them
with the organ bubbling away happily in many cases as
in the Sonata in C major K336. Nothing sounds uncharacteristic
- bustle, and a sure architectonic ear are in evidence
across these works written between 1772 and 1780.They
are jewelled little works each in a single movement – the
longest 4:52 and the shortest 2:26. Ideas and invention
flow superbly. Looking for a short overture-style start
to your chamber concert then try this selection - plenty
to choose from. In Beecham plumage they would also offer
a soothing lollipop with which to end a concert preoccupied
with tragedy, heroism and the eternal verities. The recording
is forward and unapologetic - perhaps a mite unremittingly
in your face but Charles Medlam and his players deliver
some really engaging exuberant Mozart.
Carl
Philipp Emanuel BACH (1714-1788)
Symphonies
and Concertos
Raphael
Alpermann (clavecin, Dietrich Hein 1999)
Peter
Bruns (cello, Carlo Tononi Bolognese, Venise, 1730)
Akademie
für Alte Musik Berlin
rec.
January 2000, Christuskirche, Berlin-Oberschöneweide
HARMONIA MUNDI GOLD
HMG501711 [79:24]
Squeezed
into one very well filled CD these are fizzingly energetic
and emotionally freighted performances of three symphonies
and two concertos by CPE Bach. If you have only one disc
in your collection this could easily be it. Three ten
minute symphonies flank and centre a collection that
includes a concerto for harpsichord and a concerto for
cello. CPE wrote music of great originality and hearing
the stately strangeness of the Larghetto with
its odd harmonic adventures is something of a shock after
which the Cello Concerto Wq 170 comes as balm. The 22-strong
Akademie seem a well bedded-in ensemble attuned to this
composer's art. Their advocacy should continue to do
much for CPE's music.
Robert
SCHUMANN (1810-1856) Lieder (1840): Frauenliebe und Leben (8); Nikolaus
Lenau Lieder (7) and other songs (9).
Bernarda
Fink (mezzo)
Roger
Vignoles (piano)
rec.
June 2001, Reitstadel, Neumarkt
HARMONIA MUNDI GOLD
HMG501753 [60:25]
For
me the slight hint of a beat in the voice of Bernarda
Fink places this although high in the stakes somewhat
below the most exalted. And yet ... and yet Fink acts
and gives every sign of feeling every word. When it comes
to songs such as Du ring an meinem Finger I am
competely won over - the words are caressed. As for Roger
Vignoles' part in the partnership, he is attentive and
in no significant sense a mere accompanist. Fink and
Vignoles touchingly shape, entrance and serenade the
listener in the Heine setting Die Lotosblume.
Not everything is serious or intense. Try the playful
silvery light-as-down Die Kartenlegerin, a song
to words by the same Chamisso whose poetry is set in Frauenliebe
und -leben. The darker overtone's of Fink's voice
sound out as if a National anthem in the first of the
Lenau Lieder with the piano part picking out the Smithie's
hammer-strokes. Most striking and well ahead of its time
is Einsamkeit which in its own way may well have
provided inspiration for the songs of Bernard Van Dieren
and for Peter Warlock's By the Stream and The
Frostbound Wood.
French
and English translations side by side with the sung German.
Johannes
BRAHMS (1833-1897) Ein
deutsches requiem
Christiane
Oelze (soprano)
Gerald
Finley (baritone)
La
Chapelle Royale; Collegium Vocale Gent
Orchestre
des Champs Élysées/Philippe Herreweghe
rec.
9 June 1996, l'Auditorium, Igor Stravinsky de Montreux.
DDD
HARMONIA MUNDI GOLD
HMG501608 [66:15]
Herreweghe
and his French orchestra are practised in the classical
era genre with recordings of Beethoven (Missa Solemnis,
Symphony 9), Bruckner (symphonies 4 and 7) and Schumann
(the symphonies and two of the concertos). Here recorded
naturalistically in a massive acoustic Herreweghe and
his forces approach the Brahms Requiem reverentially
without ever becoming stolid or becalmed into stasis.
One movement I played time after time was Denn alles
fleisch - it strikes the mot juste in tempo,
in confiding tenderness and in rhetorical flourish. In
the Wie lieblich movement the quality of the singing
links to Brahms volkslieder in its sincerity and innocence.
This is deeply moving music-making. Texts and translations
are provided in sensible typography and format.
The
Melos Quartett were at one time something of a property
of Deutsche Grammophon. This disc appears to be one-off
with HM recorded some seventeen years ago. It is a splendid
version although at 44:04 the playing time is short.
Yet the performances are totally committed and absorbing.
The Melos delve deep into the bustle and mercurial flow
of the music. These two works of the 1920s are such a
well known coupling but one would generally hope to hear
another work alongside them. The newly written notes
are by Michel Marie. They are supplemented by another
splendid composer chronology – just the right thing to
help find your artistic and historical bearings. Good
to be reminded that the Second Quartet dates from the
composer's last year. Its last movement recalls the life-enhancing
surge of metropolitan cafe culture in Smetana's First
Quartet.
This is truly a golden harvest breathing new life into large
swathes of the Harmonia Mundi back catalogue.
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