Matthias WECKMAN (1616-1674)
Abendmusiken
Wie liegt die Stadt so wüste 1663 [16:25]
Sonata à 4, No. 2 [5:04]
Weine nicht, es hat überwunden 1664 [13:04]
Komm heiliger Geist, Herre Gott, chorale prelude for organ by 1675
[8:34]
Sonata à 4, No. 9 [6:20]
Partita for organ in D major [7:28]
Wenn der Herr die Gefangen zu Zion erlösen wird, cantata [10:18]
Benoît Arnould (baritone); Eugenie Warnier (soprano); Robert Getchell (counter-tenor);
Damien Guillon (counter-tenor); Olivia Centurioni (violin); Les Cyclopes/Bibiane
Lapointe; Thierry Maeder
rec. 27-29 January, 21-24 April 2010, l'Église Évangélique Allemande, Paris,
France; 10 May 2010, l'Église St Ludger de Norden (Basse-Saxe), France. DDD
ZIG-ZAG TERRITOIRES ZZT110502 [64:42] 
This is a beautiful, stylish, transparent and thoroughly enjoyable hour's
worth of early Baroque chamber choral and instrumental music by Thuringian
composer Matthias Weckman. He was born in 1616 and died 11 years before Bach
was born in the same region. A pupil and protégé of Schütz in Dresden and
Jacob Praetorius in Hamburg, Weckman was also familiar with Tunder and Froberger.
He travelled widely in northwestern Europe leading something of an illustrious
professional life and being responsible for several innovative musical currents
- both in terms of compositional style and instrumental practice. Given the
profoundly moving and technically exacting music which we know Weckman to
have written, it's surprising that so little of this currently exists in recordings
… only a handful of CDs are available.
Weckman was obviously a confident, dedicated and rounded musician. Colour,
precision, invention, practicality, unabashed responsiveness (to the horror
of the Thirty Years War, the plague and death in other forms) to the world,
and a determination to accentuate his redeeming faith all characterise the
music of a composer who's due for greater attention if anyone of the period
is.
The seven substantial pieces on this CD present a rounded picture of Weckman's
output. Wie liegt die Stadt so wüste [tr.1] laments the state of a
city laid low by disaster. Using text from the 'Lamentations of Jeremiah',
it nevertheless advances optimism as a possibility. The two Sonatas [tr.s
2, 5] are none the less affecting for lacking words. Their drive, textures
and dogged clinging to the themes elaborated at their starts suggests determination
(in the face of fate, disaster, loss, misery) every bit as much as the closing
cantata, Wenn der Herr die Gefangen zu Zion erlösen wird [7]; while
the solo organ and harpsichord works [tr.s 4, 6] only add to the sense that
Weckman could and did turn his hand to anything. Indeed, the defiant Weine
nicht, es hat überwunden [tr.3] adds to the sense that Weckman is a composer
of comprehensive and far-reaching skills as capable of meeting a range of
challenges as most of his contemporaries. This latter work, apparently, was
written in response to a rebuff from his Kantor: Weckman returned home, opened
the Bible at random and set the text which he saw - almost in retaliation.
Obviously an astute musical 'operator', diplomat, student and quick and flexible
learner, we are probably just as impressed by the rich and highly satisfying
legacy of compositions which Weckman has left us as we are by that musicianship.
Here Les Cyclopes and an array of extremely proficient soloists under conductors
Bibiane Lapointe and Thierry Maeder show Weckman to his very best. Their pacing
and tempi never labour the point that Weckman was reacting to events around
him (as were so many European composers in the mid seventeenth century). Rather
they put him in full control. The delicacy and precision of the solo pieces
- particularly the harpsichord Partita - give no hint of stridency or bombast.
Yet convey the sense of predation and overwhelming sadness with which so many
had to respond to events; and without indulgence or spectacle.
The singing is measured, controlled and flexible. Yet lacks nothing in fervour
and commitment. Benoît Arnould's baritone is particularly pleasing. But there
is a togetherness and sense of familiarity, purpose and confidence in the
ensemble work that only advances Weckman's cause at every turn. The order
- and aforementioned variety - of these seven gems of works also enhance our
sense of attending a rather special recital, imaginatively conceived, immaculately
prepared, intelligently performed. What's more - and this is important - the
performers make few or no assumptions about the possible range of receptions
on the part of listeners who are familiar, struck, attracted to and likely
to seek out more of this special yet neglected composer.
Rather, Les Cyclopes and soloists unswervingly let Weckman speak for himself.
Let the beauty, unstudied intricacy coupled with untrammelled clarity in the
interests of impact affect us each in our different ways. But the performers
never allow us to ignore the gifts that Weckman possessed. They were many.
So it's to be hoped that this bright release from the equally enterprising
Zig-Zag Territoires will generate enough interest in Matthias Weckman for
much more of his understated yet highly affecting music to become available
on CD.
The acoustic is close though not oppressive. The booklet in the nicely-designed
'Digipak' is informative and provides a useful introduction to this composer
who - solely on the evidence of this CD - deserves to be much better known.
A real find then: the ever-adventurous Zig-Zag Territoires continue to present
performances of otherwise out-of-the-way repertoire to the advantage of anyone
open to new experiences. In this case, only delight can be the result.
Mark Sealey
A real find. -- Mark Sealey, Friends of Radio 3 www.for3.org