Serikon, dir. Daniel Stighäll, Along Uncharted Routes: Improvisation over Standards from the Renaissance, (Footprint Records, FRCD 056), Recorded 15-16 May 2009 and 26-26 November 2010.

It is ironic that the modern impression of sixteenth-century diminution practice has been so formed by a number of pieces given as examples in didactic treatises by figures such as Diego Ortiz, Girolamo dalla Casa, and Francesco Rognoni, among others. While these works do indeed give a compelling sense of the vocabulary of florid ornamentation so characteristic of late sixteenth-century Italian music, as fully notated works they come freighted with a degree of fixity that veils what is arguably the essence of the practice: improvisation. In the veiling we often seem to lose sight of the dynamic of spontaneity, as the “division piece” becomes a florid, fixed composition to be negotiated by the player or singer, rather than a dynamic process through which compositions are enlivened and graced. As the title implies, in Along Uncharted Routes, the superb Swedish ensemble Serikon takes a different path, offering performances of the same sort of pieces that Ortiz, dalla Casa, and Rognoni enshrined as examples—“Susane un jour,” “Anchor che col partire,” etc.—but with improvised diminutions. Of course, the recording medium itself introduces an unavoidable degree of irony, for with repeated hearings the renditions take on a certain fixity, as with written examples, but significantly, the improvisational element is easily discerned nonetheless, and is very gratifying. This seems especially evident in the wonderful version of “Susane un jour,” where the embellishment from within the ensemble by mute cornett and trombone had the effect of creating an easy fluidity and flavorful seasoning rather than attempting to steal the show with long-rehearsed, musical pyrotechnics.

Additionally, Along Uncharted Routes shows a wide range of approaches that an ensemble can take in rendering diminution pieces. Here there are examples of a sung melody with polyphonic voices played and embellished, an ornamented upper voice played to the accompaniment of lower instrumental parts, and keyboard and plucked string reductions of the polyphony with the upper voice ornamented. The more successful route seems to be where individual polyphonic lines are preserved, rather than reduced on a non-sustaining instrument. The preservation of the inner lines seems not only to offer a functional counterweight to the floridity of the ornamental line, but also keeps the harmonies clear, as the theorist Vicentino reminds: “To avoid losing harmony in composition while singers display a refined talent for diminuition, it is a good idea to have such diminution accompanied by instruments that play the composition accurately, without diminution. For harmony cannot be lost through diminution if the instrument holds the consonances for their full value” (trans. Anne Smith).

The ensemble is an engaging one that understands the synergy of collaboration. Yet individually there is also much to savor. The beautiful cornett playing by William Dongois is wonderfully vowel-rich, with gracefully contoured phrasing and an exceedingly gratifying low register. Daniel Stighäll’s trombone playing is both as sensitive as it is agile. The main focus of the recording is the improvisational rendition of standard works. But for good measure, the ensemble has also included a few composed division pieces—Notari’s “Ben qui si mostra” (Cipriano da Rore) and Francesco Rognoni’s “Pulchra es” (Palestrina)—as well as a modern work for tenor sackbut by Aron Hidman.

If Serikon’s musical routes are “uncharted,” we might in the future all hope they become more frequently traveled paths, and for that particular journey the members of Serikon will continue to prove wonderfully congenial traveling companions. Buon viaggio!

-- Steven Plank
 

Johann Sebastian Bach
Easter Oritorio, BWV 249
Le Petite Bande
cond. Sigiswald Kuijken
Recorded 4/2009
Academiezcal Sint-Truiden, Belgium
Accent Records ACC 25313
 

Le Petite Band is involved in a Bach Cantata project which has them recording one cantata for each Sunday as well as the high feasts of the liturgical year. If the present recording is any indication of what shall follow in the series, I heartily recommend them in advance to our Historic Brass Society members and, really, to all interested in the music of Bach.

The trumpet players on this recording are Jean-Francois Madeuf, Jean-Charles Denis, and Graham Nicholson. They are playing natural (unvented) trumpets made by Graham Nicholson (after Ehe), and Egger BL #1 mouthpieces (which are similar to the mouthpiece found with the Bull trumpet, further see Eric Halfpenny, Galpin Society Journal 20 [1967], 76-88). Their playing is superb; a complete delight. I am impressed by the smoothness of articulation, the perfect blending of timbre, the refined phrasing, and excellent intonation. On the last category, special recognition should go to Jean-Charles Denis for his lovely sustained 11th partial in the Chorus “Kommt, eilet und laufet.”

Sigiswald Kuijken’s approach to this music, outlined in the liner notes, emphasizes the importance of paying attention to the text: for what it says, for how Bach is setting it musically, and for such elements as rhyme and rhythm as being important elements which help form the rhetoric. Additionally he discusses the use of da spalla performance practice used for the violincello piccolo. His performance on that instrument for the obbligato of the aria “Ach bleib bei uns, Herr Jesu Christ” in Cantata 6 is very light and refined which allows the listener to better hear the interplay of text and counterpoint.

In adhering to the now-accepted practice of using one vocalist per part and minimal numbers of instrumentalists, Kuijken presents Bach with a lightness and transparency which allows the genius of the counterpoint and text to be revealed to the listener. Madeuf and his trumpet section play with complete mastery of the natural trumpet and in so doing, help elevate this performance to greatness, demonstrating that it is not only possible to perform Bach’s trumpet parts on the truly natural trumpet, but that it is preferable to do so.

This recording project of Bach cantatas by Sigiswald Kuijken and Le Petite Bande on Accent Records is deserving of our highest attention.

-- James Miller
Editor's note: Le Petit Band's recoding of Bach's Brandenburg Concertos has also been reviewed by the HBS.

J.S. Bach: The Brandenburg Concertos
Sigiswald Kuijken and La Petite Bande
Jean-François Madeuf, trumpet and horn; Pierre-Yves Madeuf, horn
A=415Hz, recorded October 2009
Accent Records, ACC 24224

With so many high-quality historically-informed recordings, one might think that there is little reason to re-record Bach’s Brandenburg Concertos. While that might be true for some, staunch brass purists know that there has never been a recording of the Second Brandenburg using a natural trumpet without any modernization to assist with tuning. No recording, that is, until the present 2009 recording by La Petite Bande with Sigiswald Kuijken conducting (Jean-François Madeuf on trumpet). Kuijken’s recording of the set wears its agenda plainly on its sleeve (pardon the pun): to be the first “no compromises” historical recording of the six works and to do so with artistic and listenable results.

The ramifications of a true no-compromise approach to these works are manifold, and some of them have nothing to do with the trumpet. Kuijken and his players hold themselves to this standard with commendable zeal. First, he feels compelled to play Concertos Nos. 1 and 2 with only one player per part (including the accompanimental/orchestral parts). Noting that conductors have long accepted that Concertos Nos. 3-6 have been performed in this way, he states that he can see no reason for approaching the first two works of the set any differently. The debate over the forces at Bach’s disposal has raged for decades (especially regarding multiple singers in Bach’s choral music) and will doubtless never be resolved to everyone’s complete satisfaction. The present reviewer is of the opinion that the few surviving sources do not require Kuijken’s hard-line stance for these works, but neither do they refute the possibility that Bach used one player per part. Second, Kuijken feels the need to use the violoncello da spalla (a “shoulder cello” upon which he has elsewhere recorded Bach’s cello suites) as his cello of choice, citing recent research that this instrument, rather than the “normal” cello, was what Bach normally indicated with his generic term “violoncello.” I am not in an informed enough position to evaluate the merits of this approach, but concede Kuijken’s point that the result is a continuo section that is “very transparent and yet solid support” for the ensemble. Admittedly, I probably would not have noticed any difference had he omitted the reference in his liner notes.

The most daunting impediment to a true no-compromise recording of the Brandenburg Concertos is, of course, the remarkable solo trumpet part in Concerto No. 2, BWV 1047. The increasing number of “historically-informed” performances of this work have one commonality: the use of vents (extra holes) to tune the natural trumpet’s 11th and 13th partials. Many also make a variety of hidden compromises in lead-pipes, mouthpieces, and bell shapes. Jean-François Madeuf, the HBS’s 2009 Christopher Monk Awardee, meets this challenge head-on. Playing a faithfully reproduced unvented early eighteenth-century J.W. Haas trumpet and an unnamed “conscientious copy of the period mouthpieces,” Madeuf performs commendably and virtuosically. I doubt that any 1720s trumpeter could have played the piece any better than Madeuf does on this recording, and few modern-day trumpeters could equal Madeuf’s feat given the same equipment restrictions. The recording includes the quirks typical of any unvented natural trumpet recording, most audibly the occasionally out-of-tune 11th and 13th partials. Madeuf’s ability to bend these pitches into tune has minimized the tuning problem to a remarkable extent. Another noticeable result is the trumpet’s somewhat foggy sound in its highest register (above the 14th partial). This too is part of the instrument’s sound when playing without the clarity provided by nodal holes. In Madeuf’s case, the fogginess is unduly accentuated by the crisp playing produced by Kuijken’s one performer to a part policy. In spite of this mountain of technical difficulties, Madeuf’s playing is superb.

As might be expected given the laws of physics, these same problems appear on the recording of Concerto No. 1, BWV 1046, where Madeuf’s horn playing, and that of his brother Pierre-Yves Madeuf, is quite good nevertheless. Here the brothers have opted not to use hand-stopping whatsoever. This makes for a more raucous, rustic sound on the whole, but also highlights the difficulties of tuning unvented horns. Perhaps they would have been better served to stop some of the sections when necessary (surely this would not have violated their strict approach?), particularly towards the end of the first movement (~3:00) where both horns play out-of-tune partials simultaneously. Of course, if Bach’s horns did not hand-stop either, then the results would have been the same as on this recording, but it seems highly unlikely that 1720s horn players did not use the technique as needed.

While technical accomplishment is nice, the goal any recording must be something that is artistic and enjoyable to hear. Having played an unvented natural trumpet for many years, I am not squeamish in the least about the tuning problems created by the unaltered harmonic series. I find Madeuf’s playing excellent in its artistry, regardless of technical considerations. For the purposes of teaching and as a means to understanding how the natural trumpet “really sounded” when played competently, owing this recording is a no-brainer. On the other hand, the casual listener accustomed to vented or otherwise modernized Baroque trumpets will probably prefer a different recording for daily listening. Regardless of preference, the technical decisions made by these performers have ensured that the recording is as close as we may ever come to hearing the Brandenburg Concertos as Bach might have heard them c. 1720.

-- Bryan Proksch, McNeese State University

Editor's note: Le Petit Band's recoding of Bach's Easter Oratorio has also been reviewed by the HBS.

Three Recordings by Rabaskadol led by Fritz Heller

Ensemble Website: www.rabaskadol.net

Publisher Website: www.aliudrecords.com

In Principio
Rabaskadol with Rostocker Mottenchor and Markus Johannes Langer
Aliud Records (ACD HA 010-2) recorded June and July 2006

Saskia van der Wel, soprano
Fritz Heller, straight and mute cornetto
Arno Paduch, curved and straight cornetto
Tim Dowling, Cas Gevers,Detlef Reimers, and Peter Sommer, trombone
Mechthild Alpers, bass shawm
Vincent Van Lazar, positive organ

Martin Peudargent
Rabaskadol with Capella ’92 and Gerben Van Der Veen
Aliud Records (ACD HN 016-2) recorded June 2006 and February 2007

Fritz Heller, straight, curved, and mute cornetto
Katherine Barml, alto shawm
Cas Gevers,Deflef Reimers, and Peter Stelzl: sackbut
Mechthild Alpers and Ursula Bruckdorfer: bass curtal;
Martin Lubenow, positive organ , spinet, curved and mute cornetto

In Passione Domini
Rabaskadol with William Byrd Vocal Ensemble and Nico Van Der Meel
Aliud records (ACD HJ 044-2) recorded October-December 2009

Saskia van der Wel, soprano and bass violin
Fritz Heller, cornetto and mute cornetto
Arwen Bouw, violin,tenor violin
Regine Haussler, Mechthild Alpers, and Jose Rodriguez Gomes: curtal
Bernard Bartelink, organ (Willibrodus organ)

Instrument Details: Fritz Heller: straight cornetto at A-440 after Berlin instrument A=632 and mute cornetto after S. Hier (Leipzig). Both instruments were make by Heller; curved cornetto by Siem van der Veen after Hambug Museum fur Kunstgesichte; all mouthpieces built by Heller.
Other cornetto players:  instruments built by Roland Wilson and Paolo Franciulatti. Sackbutts: Cas Gevers: Geert Jan van der Heide after Hainlein, 1630, mouthpiece by van der Heide; Peter Stetzl: Meinl after Drewelwecz, 1595, mouthpiece by Peter Sommer; Tim Dowling: Meinl after Drewelwecz, 1595, mouthpiece by van der Heide; Detlev Reimers: Egger after Hainlein, 1630, mouthpiece by Thein, Bremen; Peter Sommer: bass sackbut “basso variable” by Sommer & Kempkes, mouthpiece by Peter Sommer.

The three recordings under consideration here are the fruit of Fritz Heller and his ensemble, Rabaskadol. Rabaskadol was founded in 1985 to perform wind music on period instruments and their repertoire spans medieval, renaissance, and early baroque eras. In addition to being its founder and leader, Fritz Heller plays various cornetti (straight, curved, and mute). He is also an accomplished instrument maker. Unfortunately, no information pertaining to the specific make of instruments used is provided in the otherwise extensive and informative liner notes, however the reviewer recieved detailed information from Heller which has been included above under "instrument details."

The music of “In Principio” comes from a collection of some 140 works gathered by a trumpeter of the court band of Graz, Niclas Rekh in 1585. The collection contains motets, madrigals and instrumental pieces which prescribe specific instrumentation: cornets (straight for German works, curved for Italian), shawms, and trombones. Some of the works on this recording have not been performed for 400 years. Composers represented are Orlando di Lasso, Andrea Gabrieli, and Giaches de Wert.

The second CD considered here features the music of Martin Peudargent (ca. 1510-before 1594), who composed for the Court of Duke Wilhelm V of Jullich-Keve-Berg. The majority of music on this recording is from the second of his three books (1555).

In Passione Domini is a collection of Passion motets by Johannes Flamingus (d 1598?), Orlando di Lasso, Alexander Utendal (ca. 1535-1581), Michel DuBuisson (fl. 1560-73) and Jan Vakestijn (b. 1928). While the 16th century music will likely be of more interest to our HBS members, Vakestijn’s music is interesting in that the composer has scored it for cornetto, strings and curtal. Rabaskadol performs it wonderfully, giving great care to phrasing and blend. The result is an attractive blend of 16th century timbres and 20th century harmonies.

The quality of these three recordings is impressive. I was moved by their richness and grandeur as well as their especially fine blend and sensitive phrasing. Some tracks are purely instrumental performances of vocal music. Care is taken in articulation to “sing” the underlay. I also admire Heller’s sensitive playing with soprano Sakia van der Wel (whose warm expressive voice is itself inspiring) on Peudargent’s “En Foecunda Aquila.” Indeed, so well matched are they that it is easy to mistake cornetto with voice in the interweaving and imitative lines. This quality can be heard throughout. In total, this group of Fritz Heller’s recordings deserves our members’ highest attention.

--James Miller