17th Century German Harpsichord Music

Johann Kaspar Kerll(1627-1693)
Toccata in A minor
Toccata in C major

Melchior Schildt(1592-1667)
Paduana Lachrymae(after Dowland)

Heinrich Scheidemann(1595-1663)
Preambulum
Galliarda
Jesu wollst uns weisen

Anon.
Resonet in laudibus

Matthias Weckmann(1619-1674)
Toccata in D major
Canzona
Suite in C minor

Johann Krieger(1652-1735)
Fuga

Dieterich Buxtehude(1637-1707)
Toccata in G minor
Suite in F major
Variations Rofilis

Georg Bohm(1661-1733)
Gelobet seist du, Jesu
Suite in D major

Wildboar WLBR 9202
Recorded 1992 - Released 1998
Edward Parmentier, Harpsichord
TT 68:42

Among baroque harpsicord recordings having mixed programs, you can't
do better than select this outstanding Wildboar release from Edward
Parmentier.  The pieces he plays represent superb programming, and their
ordering is perfect.  His harpsichord, a Keith Hill instrument modeled on
a two-manual harpsichord by Hans Ruckers, has a bright, sharp, and stark
sound excellently suited for the programmed works.

Although you may not recognize every composer on the program, rest assured
that 'high quality' is always at your fingertips; that even goes for the
'anonymous' track as well.

The intended theme of the disc concerns the change in keyboard works from
the 16th century's "Stylus Antico" to the "Stylus Phantasticus" of the
17th century.  The style basically changed from one of strict structural
requirements to a relatively unrestrained approach involving more diversity
and contrast.

The program begins with two toccatas composed by Johann Kaspar Kerll.
These are great works to start off with as they span a wide range of
emotions and require great virtuosity.  Most important, the two works
excellently display the "Stylus Phantasticus" approach to composing that
became prevalent in the 17th century.  Parmentier fully delivers the best
that the music offers; he's exciting, poignant, and vibrant.

The mood and energy level changes significantly with Melchior Schildt's
Paduana Lachrymae.  It's a lovely and emotionally rich set of variations
on Dowland's theme, and Parmentier finds every nuance with a rhythmic
elasticity that's quite relevatory.  Further, Schildt's piece displays the
older style of the late renaissance, while you can easily notice how more
'free' Kerll is with his extreme contrasts and sudden changes in tempo,
dynamics, and rhythm.

Then come three excellent Scheidemann pieces.  Now Scheidemann represents
one of the crucial links between the two styles highighted on the disc.
His music easily reveals its 16th century roots while climbing toward an
unrestricted domain.  My favorite of the three works is the Galliarda for
its high level of ceremony and rhythmic vitality.  I close my eyes, and
it's a high time at the palace.  The anonymous music is also ceremonial
and thoroughly vivacious.

Matthias Weckmann receives generous treatment by Parmentier.  Weckman
is a little too early for the full flowering of the free approach, but he
clearly is getting close.  For what it's worth, I feel that Weckmann rates
much greater recognition than he receives, and I'm always glad to see a
fine artist like Parmentier provide some Weckmann music.  The Toccata in D
major starts with a flourish of improvisatory declamation and then provides
some of the most poignant and lovely musical passages I've ever heard.  The
Canzona is quick, bouncy, driven, and sharply played by Parmentier; I've
not heard it performed better.

Weckmann's Suite in C minor is an excellent work of the period which
adopts the French style that Weckmann likely picked up from Froberger who
was his good buddy.  Inserting Krieger's short and comforting Fuga between
the vigorous last movement of Weckmann's Suite and the powerful Toccata
From Buxtehude is another excellent programming decision by Parmentier
and Wildboar.

With the arrival on the disc of Buxtehude, we reach the pinnacle of the
"Stylus Phantasticus".  Although architecturally commanding, Buxtehude's
music just seems to go off in any direction it spontaneously chooses to.
Parmentier gives us one of these works with the Italian-style Toccata
in G minor, then he moves on to the French influenced and more tightly
structured Suite in F major.  Again, the programming is spot-on and there's
a bonus with the enchanting and invigorating Variations Rofilis.

Two works by Georg Bohm complete the disc's program.  Bohm was only
fourteen years younger than Bach and an advocate of the French style.
Although his musical inspiration does not approach that of Bach or
Buxtehude, his music is enchanting and greatly benefits from Parmentier's
rhythmic elasticity.

Don's Conclusions: The Parmentier disc works wonderfully from a number
of considerations.  Every one of the sixteen works is very rewarding at a
minimum, and Parmentier gives sterling and insightful performances fully
the equal of any I've heard.  Further, the goals of the program are
exceptionally met.  The disc is an excellent avenue to get in touch with
the movement from "Stylus Antico" to "Stylus Phantasticus".  The frosting
on the cake is how expertly the tracks are arranged; I particularly like
how the disc doesn't just trace the movement along the spectrum, but starts
off with two powerful examples of the new style for reference purposes.  An
absolute must for baroque harpsichord and 'style evolution' enthusiasts.

Don Satz
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