[ Note: This is a text version of a document available on the web at
http://www.medieval.org/music/early/00.html
The remaining URLs in this document are links to detailed content
listings for the recordings mentioned. ]
Medieval & Renaissance Recordings of the Year - 2000
I spent a good deal of time in previous years discussing some of my
criteria for recordings, and it becomes tedious (at least to me) to rehash
them. At this point, there is so much context, with documents from years
past online in a variety of areas, that my choices themselves say more
about my priorities than any abstract statements. A recording has to
show me something. It has to be new somehow, and it has to be musically
impressive in an abstract sense. Every year, there are numerous recordings
which are much like previous recordings, and even if they are accomplished,
unless they are remarkable or to be preferred in some concrete way, I
ignore them.
The 14th and 15th centuries remain my focus here, and there are still many
fine contrapuntal works from this period which have never been recorded, as
well as innumerable ways in which previous interpretations can be improved.
This year was a rather slow year for recordings of note in this core area,
making the present listing relatively short. I must state emphatically
that I do not compromise on what I include, so that every included
recording is worthy. If I ever have to make a list of only two recordings
for a year, I will do so.
In some ways, this situation is a welcome change from the past few years,
where it seemed as though too many recordings had excellent claims for
Record of the Year, and I began to run out of superlatives. The top four
recordings last year would have been the first choice this year; likewise
three from 1998. This is more a year of consolidation, a statement offered
for perspective only, and one which should not detract from the actual
choices. The top two recordings (between which I had some difficulty
deciding) are clearly outstanding, although each ensemble has a recording
I would grade slightly higher (and which did not win). I will discuss that
below.
Living in a cultural backwater such as the United States makes it
increasingly difficult to hear interesting recordings at all. Many are
never released here, or only with a few copies or after large delays.
Although I manage to cope with these issues, even if I lament the state of
my own country, the result is that it can be difficult to say "This is a
recording from 2000." I might not learn of a recording until later, or I
might anticipate that it will not appear in the US and buy it abroad prior
to a regular US release. I also receive many promotional copies, but this
can be even more haphazard. Although these details seem trivial, I want to
be accurate, and so cannot attest to the precision of my "released in 2000"
criterion. I do my best on this point.
Record of the Year
Regular readers will know that I do not hold Josquin as the greatest
composer of his generation. There is no question but that Josquin was
extremely influential, and indeed that he was a very accomplished and
persuasive composer, but the techniques Josquin pioneered too often became
routine & mechanical in the hands of his followers. This is not the fault
of Josquin himself, of course, but it also means that I will not let
influence trump quality. Some of his contemporaries were composers of at
least equal imagination and skill. This is true of both Pierre de la Rue
and Jakob Obrecht (1457/8-1505). Obrecht's predilection for abstract
large-scale counterpoint is almost unprecedented, and his music is
consequently sphinx-like in its grandeur. Until recently, although Obrecht
possessed a complete scholarly edition and extensive published discussion,
his recorded discography was modest at best. That changed first with the
Tallis Scholars and continues to change. Among early composers, there is
no question but that Obrecht's masses are the most symphonic, and
consequently occupy a special place. His sense of counterpoint, of
contrapuntal momentum as it applies to individual phrases, combined with
overall architectural planning serves to make Obrecht's masses into premier
examples of small-to-large scale development and organic dependence.
Obrecht: Missa Si dedero / Missa Pfauenschwanz
Ars Nova Secunda Chorus - Janos Bali
Hungaroton 31946
http://www.medieval.org/emfaq/cds/hgr31946.htm
The second Obrecht recording by Janos Bali's ensemble is certainly no
disappointment, forming a worthy successor to the first. Although that
first recording made the greater impact, coming out of (seemingly) nowhere
as it did with such an amazing confidence and compelling presentation of
some of Obrecht's best music, if anything, the next recording is even more
abstract and intriguing. In some ways, Obrecht is almost an instrumental
composer, and indeed Agricola's Si dedero, on which the first mass is
built, survives in instrumental version most prominently. Obrecht's own
secular music does not survive with words, and no one seems to lament
their loss. Obrecht's text setting is sometimes lax, but his structural
achievements are enormous, especially as explored in the present program.
He represents the end of at least one strand of medievalism in his refusal
to let issues of text underlay detract from the desired motivic development
of his music. I had the good fortune to hear concert recordings by the Ars
Nova Secunda Chorus from prior to their recording career, and in their
Missa Adieu mes amours (also by Obrecht) from 1993, one can hear a fairly
serviceable interpretation of some fine music, in a similar tentative style
to that of many recorded versions of music from this era. However, one can
also perceive the very determined effort of this group to improve their
command and conviction, and as their interpretations improved through the
years with programs of Ockeghem and Brumel, they were able to burst on the
recorded scene with an Obrecht program recorded in 1998. As I remarked
last year, the energy displayed is impressive, as is the command of the
music, and similar comments apply to this followup disc. These are some
of the most energetic renditions available, and that energy does not come
at the expense of distorting the music for effect. The second mass, in
particular, constructed on a basse danse (much like Faugues'), is an
incredible contrapuntal-architectural monument, performed with verve and
precision. Even as a "second volume," this interpretation impresses.
One might wonder how I can bemoan the poor articulation in some other
renditions, yet adopt an enthusiasm for specific settings which are almost
indifferent to text. The answer is a simple one: I want the phonemes of
the music to vary its sonority and color, and not let the vocal tone become
homogenous and colorless. The present ensemble never falls into this "new
age" trap of warmed-over nothingness. Obrecht's is the kind of music which
deserves a much wider following, one in keeping with his reputation as
formed in the modern age by Webern et al., and it consequently needs a
forceful performance to have its full impact.
Runner Up
Composers bridging the stylistic gap between Dufay and Ockeghem had been
relatively slow to appear on recording, but this situation is changing.
Recently we've received worthwhile programs devoted to Tinctoris and
then Faugues, but some important composers of the period have remained
essentially unrecorded. This year saw the situation with regard to
Johannes Regis (c.1430-1496) rectified, and even included a a new recording
of his famous motet O admirabile commercium to supplement the landmark
interpretation by James Woods. The primary release was certainly that
devoted to Regis' two mass cycles.
Regis: Missa Ecce Ancilla Domini / Missa Dum Sacrum Mysterium
Schola Discantus - Kevin Moll
Lyrichord 8044
http://www.medieval.org/emfaq/cds/lyr8044.htm
Kevin Moll seems to record only programs of the highest interest, and
this one is no exception. The comparison to Faugues should not be taken
lightly, as the writing shares many stylistic elements, but the novelty
of an all-Regis program is likewise notable. The complexity of the first
mass in particular is high, marking it as one of the central works of the
mid-to-late 15th century. Like Obrecht's, Regis' writing displays a great
command of contrapuntal ideas, as well as a boundless energy. The
large-scale architecture is not at the same level, but the sense of melody
in even the most remote "corners" of the work is among its most impressive
traits. As noted, I would not grade this disc at quite the level of Moll's
previous Ockeghem recording (which should perhaps have been Record of the
Year for 1997), due to the fact that the second mass (although adding to
the l'homme arme discography) is not quite of the same caliber. However,
the interpretive advances achieved in that recording are evident here, in
a very confident and compelling delivery, combined with a personal and
transparent sonority. The interpretation is as accomplished as can be,
setting new standards of contrapuntal transparency for what is otherwise
difficult and potentially confusing music. By establishing Regis in the
recorded discography, this recording is ensured of remaining notable for
years to come.
More Medieval Repertory...
Perhaps even more notable in terms of the repertory itself, a quality
interpretation of Dufay's complete isorhythmic motets appeared on a single
CD in 2000. Dufay's motets are the final examples of the isorhythmic
style, and so serve to bring the medieval era to a close in at least one
sense. The grandeur and intellectual complexity of this music are almost
unparalleled, making this series of motets a singular landmark of Western
music.
O Gemma Lux
Dufay: Integrale des motets isorythmiques
Huelgas Ensemble - Paul Van Nevel
Harmonia Mundi 901700
http://www.medieval.org/emfaq/cds/hmu1700.htm
The performance by the Huelgas ensemble is certainly a worthy one, but
can hardly be called outstanding. The dominant texture of soprano voices
and low instruments does serve to project a fine sense of space, but is
also idiosyncratic and enforces a particular interpretive slant on the
motets. The renditions themselves are quite meticulous, showing many
details of the music, but are also rather stiff & sterile at times. This
ensemble, although it continues to record notable repertory in quality
interpretation, seems to be losing its warmth. The decision to prefer
this interpretation to the previous one by Helga Weber is a difficult one.
The performances are very similar in conception, both in their use of
instruments and in their overall pace. Van Nevel does portray more details
and a greater sense of space, while Weber has the warmer & more organic
style. The decision ultimately boils down to one thing: While Weber's
fine set is on 3 CDs (including other items, and the chants on which the
motets are based), Van Nevel's is on a single CD. It will also serve to
make these works better known, and already seems to have attracted interest
from the general public. This is surely a very good thing, although
somewhat surprising to me, as this music is rather more complicated than
that which the public usually embraces.
---
When Kevin Moll's recording of sacred music from the Apt & Ivrea codices
appeared, it was the only one available, and the first (aside from a few
tracks) since a relatively obscure Arion LP. This is complicated music,
frequently neglected, but nonetheless intriguing on both historical &
musical grounds. The isorhythmic counterpoint can be quite animated
rhythmically, and some of the harmonic ideas therein are rather unique as
well. Suddenly there are real options for hearing it... recordings by
the Clerks' Group, Diabolus in Musica, and others. After Moll's, the most
impressive program in terms of scope appeared toward the end of 2000 from
the Cantica Symphonia ensemble of Italy.
Almisonis Melos
Latin Motets and Mass Fragments in the Ivrea Codex
Cantica Symphonia - Giuseppe Maletto
Opus 111 30-309
http://www.medieval.org/emfaq/cds/op1-309.htm
Besides the featured mass movements, this program includes motets by De
Vitry and others. The interpretation itself is set apart by its use of
instruments. Giuseppe Maletto does not engage in any sort of double-talk,
but rather states that although evidence today tends to argue against
instruments in sacred music of this era, the ensemble has simply chosen
to use them anyway. This is in distinction to the group's earlier Dufay
program, which argues that instrumental support would have been common
during Dufay's Italian residency. At any rate, my main concern is the
music itself, and this rendition manages to convey an intimacy which some
others lack. The instruments serve to hold these frequently difficult
pieces together and make intonation easier for the singers. The result is
an appealing one, insightful and evocative. The program is what really
makes this selection, as it is packed with fine & varied music from
beginning to end.
---
It is difficult to believe that there are so few programs devoted
exclusively to Landini, and in fact his anniversary (1997) passed with very
little fanfare. This is a composer who has always been held in the highest
esteem, one who has a cadence named for him, and one who appeals reliably
to specialists and general listeners alike. Although it did not make a big
splash, a fine & unassuming program did appear in 2000.
Landini: Ballate
Camerata Nova / Ensemble Chominciamento di Gioia - Luigi Taglioni
Tactus 321201
http://www.medieval.org/emfaq/cds/tct21201.htm
Perhaps I put too much pressure on this release, as I had enjoyed this
(combined) group's previous recording quite a bit. The interpretation does
have a nice sophistication to it, and an enjoyable sense of subtlety. The
songs are well-chosen, and well-performed, but perhaps lack some of the
dynamism for which I had hoped. These songs have an explosive quality
about them, one which often seems only latent, but can leap into sound in
the best work of such groups as Micrologus. While they might not be of
that caliber yet, this Italian ensemble does continue to impress, and we
can await their next release with some anticipation.
---
Recordings of English mass cycles from the 1400s are starting to reappear
in discographies, and indeed there is a fine variety of music from this era
in Continental sources awaiting recording. Whether English or otherwise,
there are many mass cycles (and motets) of the 1400s which can compete in
quality with those of the more famous names whose music is recorded more
often. The music of Regis named above is a good example. Although not
as dynamic as Regis or Faugues, Frye is the most distinguished
English-Burgundian composer of the mid-1400s, and so his finest mass has
now been recorded twice.
Brussels 5557
Frye: Missa Flos Regalis / Plummer: Missa Sine Nomine
Clerks' Group - Edward Wickham
Signum 015
http://www.medieval.org/emfaq/cds/sgn015.htm
Much like Van Nevel's Dufay recording, the choice of this recording
over that by the Hilliard Ensemble is not as easy as it could be. Both
ensembles are rather monochromatic, and sometimes lack for articulation.
The Clerks' Group is working with the greater experience at this point,
having recorded Ockeghem's complete masses and other works of the era, and
so does have the better command, even if does not always show. Choosing
between the two interpretations is again accomplished by other factors, in
this case the intriguing 3-voice setting by Plummer which is included on
the present program. Although not of the stature of Frye's setting, this
is a good example of the variety still lurking in manuscripts from this
period, a period prior to the homogenization of European technique in the
wake of the printing press. Finally, I should note that the Clerks' final
Ockeghem program will not make its way to me until January, although I did
discover (while preparing this write-up) that it appeared in November in
some parts of the world. Note that it was actually recorded prior to the
present recording, but will not appear until my 2001 listing. The Clerks'
Group continues to make the most recordings by number of my favorite music.
Instrumental Music c.1600
Until a couple of items in the preceding section appeared late in the
year, it looked as though the present section would form the majority
of the listing this year. Regular readers will know that an interest in
the instrumental music of the Renaissance-Baroque transition has been a
constant for me. Indeed, I insist that the volume of this repertory on
this year's list does not represent an increase in personal interest or
change in priorities. Rather, it is simply the result of an impressive
outpouring of superb recordings in the genre. Although the title of my
listing has been "Medieval & Renaissance," let it be clear that the
title is intended to be descriptive, not prescriptive. An interest in
instrumental music throughout the 16th century and into its continuous
extension in the early 17th century cannot be swept aside by mere titles.
Recordings in this genre for 2000 were impressive indeed, with definite
landmarks appearing in multiple areas. Technique continues to improve,
more repertory appears, and interest generally rises. This is one area
where I feel confident that the best recordings will be immediately
appealing to partisans of more mainstream classical music. These items fit
neatly into catalogs, and do not require any extreme re-hearing to orient
oneself. They are, however, rather earlier than most of the popular
Baroque music, and so somewhat different, more free in their approach to
form and harmony. Whether a single year can again produce such a fine
listing of music within such a limited span of time remains to be seen,
but we should take advantage of it while we can.
---
For all its stature and celebrity admirers (e.g. Gould), Gibbons' keyboard
music earns little in the way of dedicated recordings. This music has a
very unassuming quality about it, solid yet subtle. It is also quite vocal
in its phrasing, yet abstract in content. Some of Gibbons' best pieces are
rather short, yet somehow suggestive of far more. I was nonplussed by the
heavy-handed approach of Richard Egarr of a couple of years ago (the first
all-Gibbons harpsichord recital on CD, amazingly), and although I did enjoy
Laurent Stewart's half-Gibbons program, I was looking for more. At last,
there is a thoroughly recommendable harpsichord recital devoted to Gibbons.
Gibbons: Music for Harpsichord & Virginals
James Johnstone
AS&V "Gaudeamus" 191
http://www.medieval.org/emfaq/cds/asv191.htm
I am not familiar with James Johnstone otherwise; apparently he has played
in ensemble with the Gabrieli Players and King's Consort, among others. He
does a wonderful job with this solo program, however. For unknown reasons,
this recording was deleted from the US catalog almost as soon as it
appeared, and seems not to have attracted any attention (other than mine)
whatsoever. It is a first-rate program and performance, and a must for
anyone interested in harpsichord music.
---
Another closely related lament was the lack of a systematic survey of
Gibbons' consort music. Although Gibbons' consort music has appeared in
several places, often in fine performance, a comprehensive survey adds a
nice sense of closure. This is also very fine music, sometimes more public
than the keyboard music, but of singular quality as well. In the liner
notes for this release, Gibbons is described as a "musicians' musician,"
which may be true, but this early chamber music has earned an increased
following with the work of Fretwork et al.
Gibbons: Royal Fantasies
Music for Viols, Volume 1
Concordia - Mark Levy
Metronome 1033
http://www.medieval.org/emfaq/cds/met1033.htm
Concordia has been on the viol consort scene for several years now,
although none of their programs had really impressed me, even if their
playing was more or less on par with that of other ensembles. They changed
that in a big way here, by doing a systematic survey of some of my favorite
music. The performances have a nice elegance to them, with a good sense of
melody and ornament, as well as an intimate overall sound. I might have
preferred an earthier, more aggressive style at times, but the present
performances are certainly worthy. Hopefully the second volume will appear
soon.
---
Continuing in the world of English consort music, William Lawes' music
has been receiving increased attention. Together with Gibbons', his is
probably the most singular output. His sense of harmony is almost entirely
his own, with many strange sequences and a flair for the dramatic. Lawes'
music has a sense of Beethovenian originality about it, except that any
followers he might have had were eliminated by the English Civil War and
his death in it. I do not enjoy everything Lawes wrote unreservedly, but
do take note of new recordings, especially the following one.
Lawes: Consorts in four and five parts
Phantasm
Channel Classics 15698
http://www.medieval.org/emfaq/cds/ccs15698.htm
Although they have attracted more attention, like Concordia, Phantasm
has been doing less appealing programs, whether mixed items or fringe
repertory. That is not the case here, as they follow some of Lawes'
best consort sets with some of his others. Performance-wise, I have to
say, I believe this is the best recording of viol consort music to date.
Technique, energy, color, ensemble coordination... all are a step above.
They remind me here of some of the great string quartets of the early
1900s. It is amazing to see how far consort technique has come in the past
10 years. The performances 10 years ago were pretty good, but now they are
so much better. I would like to see Phantasm followup this program with
one of Lawes' six-part consorts.
---
Among the instrumental works which mark the transition from Renaissance to
Baroque style, those in Italy are relatively poorly understood, especially
given their volume and centrality to the process. One composer of this era
who continues to appeal to me on an individual basis is Biagio Marini, and
indeed Marini's appeal is making its way to the general public. His
discography was essentially transformed this year.
Marini: Affetti musicali
Il Viaggio Musicale
Chandos Chaconne 0660
http://www.medieval.org/emfaq/cds/cha0660.htm
This is a recording of Marini's first publication (Venice, 1617), one
which still reflects many Renaissance ideas. Perhaps the most comparable
example would be Frescobaldi's canzoni (1628, 1634), and indeed the present
ensemble gained a place in my consciousness with their their fine second
recording of those canzoni. At the time, I felt they were the most
accomplished ensemble in the area of mixed wind & string Italian chamber
music, and their move to the higher-profile Chandos label seems to confirm
this stature. Although the pieces have definite similarities, Marini's
writing is more eloquently straightforward than the frequently bizarre
twists of Frescobaldi's, and indeed transparency of thought is one of
Marini's virtues (he, like Liszt, also took the route of young virtuoso
to the priesthood late in life). The present recording is actually not a
clear choice, as an earlier recording by Conserto Vago of the same program
is also accomplished, albeit obscure. Indeed, I have long enjoyed that
recording, but the present one is somewhat better. While Conserto Vago
emphasizes the embryonic trio sonata quality in Marini's first publication,
Il Viaggio Musicale emphasizes more of the Renaissance style, and has a
consequently greater sense of contrapuntal solidity.
---
However, the above was not the most important Marini recording the year.
Although the music becomes rather stylistically late, even for this
instrumental portion of my survey, Marini's work to define the violin
sonata cannot be ignored. When I asked myself, years ago, "Where did
Corelli's trio sonatas come from?" I eventually settled on Marini as the
most appealingly pivotal pre-Corelli figure. Of course, other Italians
have similar resumes, but Marini's music spoke to me more strongly. His
position as a violinist-composer was made largely by his Opus 8, and at
last we have a fine recording by which to enjoy it.
Marini: Curiose invenzioni dall'opera ottava
Monica Huggett / Galatea - Paul Beier
Stradivarius 33549
http://www.medieval.org/emfaq/cds/svs33549.htm
Paul Beier's group had already done a Marini program of some quality,
although it emphasized the vocal works, in which I have less interest.
The present program moves decisively to the violin music, and does so with
distinguished guest Monica Huggett as soloist. These are unquestionably
some of the finest early violin sonatas (and what were at the time closely
related forms), and this is an interpretation of magnificent stature. Any
readers more accustomed to later music should immediately obtain this
recording, as it fits very nicely into a Corelli mold, while showing some
intriguing traits of earlier style. Manze's recording of Marini, although
welcome for the obvious reason of exposure, has been something of an
embarrassment to me (as an advocate of Marini). It seems to have no sense
for the music, projecting a rather morose quality on the sunny Marini, and
emphasizes a grotesque virtuosity at the expense of substance and lucidity.
There is nothing of that sort from Huggett & Beier, and so here the music
is sympathetically performed in an affecting rendition.
---
Even more than Gibbons, Giovanni Gabrieli's music received mainstream
attention prior to the full-scale HIP revival. His canzoni continue to be
popular on modern brass, yet are surprisingly little-recorded on period
instruments, aside from tracks here or there. Again, that is changing,
first with Clemencic's unusual recital on recorders, then a more mundane
disc on Hyperion, and now with what must be seen as the most colorful and
expressive recording of Gabrieli's instrumental music to date.
Gabrieli: Sonate e Canzoni
Per concertar con l'organo
Concerto Palatino - Bruce Dickey & Charles Toet
Harmonia Mundi 901688
http://www.medieval.org/emfaq/cds/hmu1688.htm
Concerto Palatino has long been a leader in this repertory, and now has
tackled a recorded program of what may be its central works. The sense
of space in San Petronio is superb, as is the articulation of the music.
Gabrieli's music is only somewhat to my taste, as much of it tends toward
the showy and merely virtuosic. However, there are certainly some
interesting musical ideas expressed, especially in the posthumous (1615)
publication with its better sense of counterpoint. The present program
mixes more showy pieces with more musically sophisticated ones, but the
performance so exceeds previous performances in conception & expressiveness
that the former can be forgiven.
Happy 2001!
Todd M. McComb
[log in to unmask]
|
