Johann Kaspar Kerll lived from 1627 to 1693. He was quite popular while
alive, but discarded like so many other composers after death. Kerll
studied with Carissimi in Rome, and spent most of his career in Vienna.
All his eleven operas and most of his sacred works are lost with the result
that his works for keyed instruments constitute most of what we can hear of
his total output.
Johann Heinrich Schmelzer was born in 1620 and died in 1680. Quite
precocious, the writing of Suites and Sonatas were his specialties.
Schmelzer succeeded Kerll as the organist for the Imperial Chapel of
Vienna. In recent years, there's been a little flourishing of Schmelzer
recordings, and the reviews of his music have been highly complimentary.
I have two recordings for your consideration:
Johann Kaspar Kerll
Toccatas 1 thru 8
Canzoni 1 thru 6
Ricarcata
Passacaglia
Capriccio sopra il Cucu
Battaglia
Ciaccona
Motette 12161 - Volume I
Recorded: 1996
Bernhard Billeter, Organ & Clavichord(Ciaccona only)
TT 70:32
Johann Kaspar Kerll & Johann Heinrich Schmelzer
Kerll - Toccatas 1, 3, 4, and 5
Canzona 4
Passacaglia
Schmelzer - Sonatae Unarum Fidium
K617 - 617114
Recorded: 2000
Freddy Eichelberger, Organ
Odile Edouard, Violin
TT 69:56
So, with one disc it's all Kerll solo keyboard, while the other alternates
a Kerll keyboard work with a Schmelzer Sonata for Violin & Keyboard.
Bernhard Billeter received a doctorate at the University of Zurich with a
study on the harmony in Frank Martin's compositions. He has made numerous
concert tours and recordings. Currently, Billeter plays organ and teaches
at the Music Adcademy of Zurich.
Freddy Eichelberger has studied with Blandine Verlet and Jean Boyer.
He seems to be a 'free spirit' who goes off in all sorts of directions.
Currently, much of his time is spent teaching instrumental improvisation.
Odile Edouard has studied with John Holloway and been an assistant for
Chiara Bianchini. In 1990, Edouard began teaching, an art she still
engages in regularly. She has recorded for Harmonia Mundi, Arcana, Dorian,
L'Empreinte digitale, and now for K617.
The difference between the two discs in terms of the Kerll organ works
is dramatic. Eichelberger plays on the Silbermann organ at the Church
of Saint-Quirin in Lorraine. This is one rich sounding organ, and
Eichelberger never wants us to forget it. The only problem is that this
isn't French organ music. Eichelberger makes Kerll's music rich and thick
to the point of being syrupy. The performances are fine for their type,
but it isn't really Kerll.
Billeter plays on the organ of Kolsterkirche Rheinau(Schweiz), and
it's much better suited for Kerll. Further, Billeter gives splendid
performances with interesting registrations, power and lift when called
for, and fine tenderness and devotion as needed. Also, he has much more
edge to his playing than Eichelberger. Billeter's Toccata 5 is a fine
example of Kerll's musical inspiration and Billeter's knack of fully
conveying it. A great blend of power, poignancy, and lift is inherent
in the work; Billeter responds beautifully to every nuance and change
of musical style.
Kerll's eight Toccatas are very much in the style of Frescobaldi; that's
the main reason why the timings between the readings of Billeter and
Eichelberger are so different. Each Toccata is excellent except I'm not
enamored of Toccata 2.
The Canzoni have an intimate nature to them. Canzona 2 has a subtle
urgency which is compelling. My favorite of the six is Canzona 4 where the
urgency and momentum are the most intense of Kerll's Canzoni. Number 5 has
a light and swirling first section which is enchanting. Canzona 6 is also
light in nature and quite playful in its first section; the second section
increases the density and power of the music.
The Ricarcata is a powerful and noble piece with great yearning. Kerll's
Passacaglia is likely his most well known keyboard work; it has 40
extremely short variations displaying much harmonic variety. The result
is that the piece is never boring in Billeter's hands. In the Capriccio,
Kerll uses the cuckoo's call and integrates it into the work's fabric.
It's very playful and even poignant. The Battaglia is a great piece all
about the rigors of war and the joy of victory. Billeter makes his organ
sound just like a group of victorious trumpets; heroism drips off the
score. The Ciaccona is played on the clavichord, and that's a nice way
to round off the disc - a soft spoken fanfare.
In an ideal world, the verdict would be 'thumbs up' for Motette and
a rousing 'strikeout' for K617. But life and this review are more
complicated. What complicates the K617 disc is that the five Schmelzer
Sonatas are stunning works. Even more, Odile Edouard is a sensational
artist in this repertoire. The subtle sweetness of her violin is stunning
and makes for ravishing performances. This is love-making music of the
gentle persuasion. It's just that you then have to contend with the Kerll
organ works played in molasses.
Turning to the Kerll disc, listening to all of it at one stretch isn't
so easy. You start noticing phrases which sound very much like previous
phrases on the disc. And if truth be told, only the Ricarcata and
Battaglia remain in my memory.
Don's Recommendation: A qualified 'Yes' for both discs. With the
Motette disc, the qualifier is Kerll himself. For the K617 recording,
the qualifier is the performance of the Kerll organ works. It's now back
to you. As for me, I intend to program those Schmelzer Sonatas some
romantic evening.
Don Satz
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