John Christopher SMITH (1712-1795)
The Seasons - An Oratorio (1740) [93:24]
Emma Kirkby (soprano); Tim Mead (counter-tenor); Hans Jörg Mammel (tenor); Markus Simon (bass)
Festivalchor Musica Franconia; La Banda/Wolfgang Ridelbauch
rec. live, St Sebald Church, Nürnberg, Germany, 14-15 July 2012
text and German translation included (sung in English)
CHRISTOPHORUS CHR77382 [39:43 + 53:41]
Johann Christoph Schmidt was born in Ansbach, the son of a wool merchant
who was a friend of Handel. Handel persuaded his friend to move to London
in 1716 and he was followed by the rest of the family in 1720. The boy
changed his name to John Christopher Smith and worked with Handel from
the age of thirteen. He became the latter’s amanuensis in his latter
years, and after Handel’s death arranged two pastiche oratorios
from a variety of his works. He is probably best known nowadays, at least
by name, for the two operas he wrote based on Shakespeare to libretti
by David Garrick: The Fairies and The Tempest. What
we have here, however, is an even greater rarity – an oratorio based
on James Thomson’s poem The Seasons which had been published
in 1730.
Smith’s version of The Seasons is very different to that
by Haydn which derives from the same source. It lacks any narrative content
and is a setting of the final Hymn which follows the main body of the
poem. Its message that the variety of the changing seasons illustrates
the varying aspects of God allows a series of airs and choruses of suitably
differing character. Smith seizes when he can of opportunities for illustrative
effect, especially of birdsong, but for the most part the music is pleasant
and enjoyable after the manner of Handel — of course — and
even more of Arne. It would be an exaggeration to describe this as a lost
masterpiece but for anyone interested in music of this period, especially
British music, there is much to relish here.
The soloists do what they can for it, especially Emma Kirkby who sings
with all the character and purity we expect from her. The orchestra, on
period instruments, play with great spirit and finesse. The choir is less
satisfactory, at least as recorded here. They sound muddy and their diction
is unconvincing but this is not enough to detract from the overall impact
of the work.
The full text is included in the booklet together with useful and interesting
essays on the composer and the oratorio. This is a valuable addition to
the catalogue, doing justice to a work previously barely even a footnote
in musical history.
John Sheppard
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