I must admit that when
this CD plopped onto the doormat I was
less than excited thinking that we had
yet another set of mostly mediocre 18th
Century note-spinners compiled from
CDs more than ten years old. Well you
will no doubt be pleased to know, dear
reader, that your reviewer is quite
glad to have made the acquaintance of
this disc. Although he sees many such
compilations this one has something
memorable that makes it worthy of its
spot on the ever burgeoning shelf. Let
me explain further.
First, of course, you
are in the capable hands of Concerto
Köln under Werner Erhardt, a group
of baroque musicians you can trust.
Secondly most of the music is at least
very interesting and at best terrific.
The disc opens with
a splendid Vivaldi concerto and
ends with one too. These are from the
Opus 10 set and are notable for their
descriptive titles, for example ‘La
tempesta di Mare’ with a great storm
in the ‘golf de venezia’ practically
flooding the solo recorder with coruscating
musical textures. The last concerto
‘La Notte’ has a delicious fourth movement
(there are five) marked Largo ‘Il Sonno’.
Here chords drift aimlessly and drowsily
being reminiscent of the middle movement
of ‘Autumn’ from ‘The Seasons’ which
represents sleep induced by wine.
Another highlight is
the A major keyboard concerto by Francesco
Durante, played on harpsichord.
Durante was a famed musician and influential
teacher. His music had a certain reputation
for eccentricity and shock value during
his lifetime. This is a little difficult
to grasp now, but this work, and the
B flat concerto which precedes it, are
not your usual late baroque three movement
note-spinners. They certainly seem to
have something to say.
It’s good to hear an
orchestral work of Domenico Scarlatti.
Granted, it is an early piece written
before he made for the court of Spain,
but even so it allows one some idea,
in three fiery but brief movements,
of the direction in which he might have
developed.
As for Leonardo
Leo, the Cello Concerto is in many
ways not a typical work, although it
is oft times recorded. You are more
likely to encounter him as a composer
of sacred works, for example the famous
‘Miserere’, probably written in Naples
where he worked. He is considered in
many a learned tome to be, like Durante
and Pergolesi, one of the Neapolitan
school. Talking of Pergolesi one is
reminded what talent was lost by that
composer’s tragically early death. The
Concerto’s frank, brazen, tutti opening
is almost Haydnesque although the plan
of the concerto is more typical of Vivaldi.
Andrea Keller throws himself passionately
into the virtuoso passages and has a
glorious tone in the Siciliano middle
movement. The Finale with its eccentric
rhythm is quite foot-tapping.
With recordings made
at different times especially if they
are over ten years old one can often
find discrepancies in the recording
quality or acoustic but here is a remarkable
consistency here adding to by consistently
superb performances.
There is a useful essay
by Peter Wollny as well as a potted
history of Concerto Köln’s development
since they were founded in 1985. They
are quite ‘in-your-face’ as a group
and they are aided and abetted by the
up-front recorded sound. I like this
approach but you need to keep a steady
nerve and your volume setting down a
little more than usual. There is little
attempt at soft focusing. I am sure
though that the music benefits from
this approach.
Gary Higginson