Johann Sebastian BachThe Art of the FugueBradley Brookshire, harpsichordBach Harpsichord, Inc BHI1080 73:00 minutes

In a world full of Bach wor-shipers, it is known to the small cir-cle of my friends, at least, that I amthe first to suggest that it is time forthe great man to be removed fromhis pedestal to rejoin the ranks ofmere mortals—like Telemann orFroberger, say. The well-intentionedfavor that Bachians do (with malefi-cent results) is to extract Sebastianfrom his milieu so that his AbsoluteMusic founded on TimelessCounterpoint (Teutonic Capitalsneeded for the Full Effect) will live

forever,whetherplayed onensembles ofkotos, saxo-phones, orinstrumentsyet to be in-

vented for future episodes of StarTrek—with the effect of architecture,not music. Here the most perfectreading would be a human channel-ing a midi-realization of the score….Not!

Harpsichordist BradleyBrookshire, based at SUNY Purchaseoutside New York City, has an excel-lent vitae, including study withAndreas Staier, Edward Parmentier,and William Christie, so I should notbe surprised that the artist’s visionof the quintessential Bachian monu-ment leaves the structural andgrandiose to fend for itself in favorof a highly personal and rhythmically

inflected performance that recallsthe freedom of a Frescobaldi toccataor an unmeasured prelude by LouisCouperin. (And Brookshire makesthe point in his erudite notes that in-deed such a highly structured workis in no need of a starchy perform-ance to hold it together.) The result,to use a favorite word of the criticRichard Buell, is in-drawing, entranc-ing the ear and mind, rather thanoff-putting in the way Sebastian’scounterpoint can be in the wronghands (where, indeed, I would agreewith Scheibe that it makes a turgidand confused effect). Indeed, thismight well be the first Art of Fuguethat will welcome me back for repeated listenings.

In the interest of completenesslet it be noted that the box alsopresents a CD-R with the score ofthe work. —Tom Moore

Giacomo CarissimiJonas & JephteThe Oxford Chorale; New TrinityBaroque, Predrag Gosta, directorEdition Lilac 300807-2 52:18 minutes

Giacomo Carissimi (1605-1674)is best known for these two addi-tions to the early oratorio genre,and so it is no surprise to find themrecorded together on this release.What is a surprise, and a pleasantone at that, is to see that this ver-sion of Jonas contains previously un-recorded material—the arias “Sedfrustra gementes” and “Clamor hincet inde luctus” and the duet “Et Diinon erant.” These portions of thework are in a manuscript now lo-cated in the Czech Republic, and it isindeed fortunate that a recording ofthe more complete work now exists.

And it is a decent recording.New Trinity Baroque, performingbeautifully as always on period in-struments, accompanies the vocalparts simply and tastefully. Despiteits length of only 30 seconds, theopening sinfonia, in its dramatic restraint and sense of ensemble, sets the tone for the rest of therecording.

However, while the instrumentalportion of the recording is consis-tently delightful, the vocal portionsare just a bit more hit or miss. The

Oxford Chorale, consisting of stu-dents, faculty, and staff at EmoryUniversity, does an admirable job inthe choral sections, most notably in“Fugite, cedite impii” and the clos-ing “Plorate filii Israel” in Jepthe.Individually, though, some of the or-namentation feels a bit forced, andat times, some of the solos drift

slightly (anduncomfort-ably) flat.On thewhole, theduet andtrio sectionsprovide

some of the loveliest moments in ei-ther work, as in the aforementioned“Et Dii non errant,” which featuresJulia Matthews and ElizabethPackard Arnold. It must be said,though, that Julia Matthews’s rendi-tion of the nameless daughter inJephte is particularly beautiful—defi-nitely a highlight of the recording.

Of the two oratorios, Jephte isstronger, both in its dramatic pres-entation and in its musical precision.However, this is certainly a record-ing that would provide a great intro-duction to either work and would bea welcome addition to any Carissimi-lover’s collection. Well done.—Karen Cook

Jean MoutonVivat rex! Sacred Choral Musicof Jean MoutonThe Suspicious Cheese LordsSelf-produced, SCL-503 66:34 minutes

This is the world premiererecording of eight sacred motetsand the Missa “Alma Redemptorismater” of Jean Mouton (before1459-1522). Mouton was born innorthern France and rose thoughthe ranks as a singer and composer.In 1501 he ended up as choir direc-tor at a church in Grenoble, leavingthe following summer for the courtof Anne of Brittany. By 1514, whenAnne died, he was a member of theFrench royal chapel. His excellentreputation as a composer far out-lived him, and Claudio Monteverdiwas among his admirers.

We have 15 extant masses byMouton, scored for four and fivevoices, and a large number of sacred

motets, mostly for four voices, manyof which are difficult to attributewith certainty. Thomas G.MacCracken, a long-time Moutonscholar and the editor of the com-poser’s complete works edition, pre-pared the performing editions forthis recording.

The Suspicious Cheese Lords,based in Washington, DC, are an all-male choral ensemble specializing inMedieval and Renaissance music.This is their third CD, following upon a world premiere recording ofmusic by Elzéar Genet (c.1470-1548) and another world premiereof sacred music by Ludwig Senfl(c.1486-1543). Obviously this is agroup that likes to explore the obscure.

They certainly make the Moutontheir own. This is beautiful music,with an almost celestial quality toit—particularly the mass. Its struc-ture is also very complex, and one ofthe things I like best about this per-formance is its clarity. For example,in “Antequam comedam suspiro,”Mouton sets a text in four partsfrom the book of Job. Then he addsa fifth voice that sings the wordsand melody from a French secularsong. This song is sung at half speedin the first part of the motet and atfull speed in the second part, withno attempt to coordinate the phraselengths of the two texts. This soundslike a recipe for mud, but thesinging—all the parts—is lucid andcrystal clear.

This kind of clarity requires all 14singers to listen—really listen—toone another. That intense listening

also yields abeautifulblend ofvoices thatgives the CDa rich, warm,intimatesound. The

singing is almost gentle. Anotherbonus is an impeccable sense ofrhythm—a quality that is far too of-ten ignored.

To be fair, I must mention thatthe high voices sound a little thin attimes. But it is a miniscule shortcom-ing compared to the strengths ofthis CD.—Beth Adelman

recordingreviews

18 Spring 2009 Early Music America

Early Music America magazinewelcomes news of recent re cordings. Please send CDs to be considered for review and pertinent information toTom Moore, Recording ReviewsEditor, 2937 Chapel Hill Road, Durham, NC 27707; recordings@earlymusic.org. EarlyMusic America cannot guaranteethe inclusion of every CD sent forreview. All published reviewsreflect the personal opinions ofthe reviewer only.

Edited by Tom Moore

Melchior NeusidlerLute MusicPaul O’Dette, luteHarmonia Mundi HMU90738877:47 minutes

Not so very long ago, scholars ofmusic and performers of musicmade common cause in a missionthe fundamentals of which dateback to the Renaissance—the redis-covery of forgotten art in order torevive its effects on the human soul.In our century, this did not meanstudying the music of the Antique,but rather the masters of theRenaissance itself, the earliest stagesof which were obscured due tochanges in musical notation, andthe musical practice of which couldonly be recovered by imaginativelyreading the sources and documentsof the 14th, 15th, and 16th cen-turies. Musicians could take pride inknowing that they were helping toshed light on forgotten master-pieces, and library shelves graduallyfilled with modern editions.

As we enter the third millen-nium, scholars have left their posi-tivistic pursuits, but we can be

gratefulthat con-temporaryperformersare still attheir work,so that al-though the

flow of editions has slowed to atrickle, recordings continue to flow.

Melchior Neusidler is not un-known to lute aficionados, butthough isolated tracks have beenrecorded before, this is the first discdedicated entirely to his work.Melchior (1531-1590) is the son ofHans Neusidler, most well known forhis Judentanz. The son was an al-most exact contemporary of thegreat Orlando di Lasso and indeedseems to have attempted repeatedlyto gain employment at the ducalcourt in Munich where Lasso wasemployed, though without success.

O’Dette’s selections fromNeusidler’s lute books contain a finevariety of familiar tunes: the lewd“Ung gai bergier” by Crecquillon, inwhich an otherwise willing maid re-jects the gay shepherd “car tu n’aspas la lance qui me fault”; the virtu-osic “Chi passa per sta strada”; “Ichgieng einmal spatzieren,” later thesubject of an immense variation setby Hassler; the famous “Ancor checol partire”; “Pass’e mezzo anticocon suo saltarello”; and free ricer-cars and fantasias. The perform-ances and the recording are up to

O’Dette’s exemplary standard, whichis to say, as good as it gets any-where. O’Dette’s career is a serviceand a gift to lovers not only of thelute, but of music. May he continueto thrive.—Tom Moore

François Rebel andFrançois Francoeur Pirame & Thisbé Stradivaria, Daniel Cuiller, director;Choeur de l’Académie Baroque,Philippe Le Corf, director; ThomasDolié, baritone; Judith Van Wanroij,soprano; Jeffrey Thompson, tenor Mirare MRR 058 140:00 minutes (2 CDs)

François Rebel (1701-1775) andFrançois Francoeur (1698-1787) areusually referred to together as lesPetits Violons (“the Little Violins”).Starting in the early 1720s, Rebeland Francoeur frequently played vio-lin duets at the Concert Spirituel;they would soon start to write musictogether. Their first work, Pirame etThisbé, premiered at the Paris Opérain October 1726, and the composerstogether authored stage works forthe Paris Opéra until Rebel’s death in 1775. Both were appointed in-specteur général (a function similarto that of a musical director) of theAcadémie Royale in 1743, and in1757, they saw their license ex-tended by the King for the next 30years. Rebel and Francoeur’s outputremains largely representative of theoperatic style typical of the ParisOpéra before the 1752-54 Querelle

desBouffons;subsequentmusical in-fluences,whetherfrom theopéra-

comique or from Gluck’s andPiccinni’s operas during the 1770s,never really impacted their musicaland dramatic conceptions.

Originally told in Ovid’sMetamorphoses, the story ofPyramus and Thisbe, whose recipro-cal love is condemned by their re-spective fathers, has been the modelfor many subsequent versions andadaptations, among them Shake -speare’s Romeo and Juliet. Jean-Louis-Ignace de La Serre’s librettofor Francoeur and Rebel’s opera re-mained faithful to the Ovidian plot,ending with the suicide of bothlovers, but expanded this rathershort tale to five acts (as required bythe formal design of the French“tragédie en musique”), interspersed

Early Music America Spring 2009 19

with several danced divertissements.If there is not much to say about thepoetical virtues of La Serre’s libretto,Rebel and Francoeur’s music for thisopera certainly recommends the cur-rent disc—a world premiere, al-though this does not seem reallysurprising, considering the scarcediscography available for les PetitsViolons.

Daniel Cuiller, musical director ofthe ensemble Stradivaria, chose thethird and last version of Pirame etThisbé, from 1771, available in anengraved edition. The presentrecording was made in May 2007 atthe Théâtre Graslin in Nantes,France, during the first revival of thework since 1771. Although the per-formance seems to lack a bit of pas-sion and liveliness, the average levelof the singers is indeed excellent.

According to Cuiller, this finalversion allies the style of the Lulliantragédie with a more modern con-ception of the orchestra, influencedby Rameau’s instrumentation.Probably several of the danced diver-tissements were expanded andrewritten during the 1770s—a fre-quent practice at the Paris Opéra bythen. Yet how much did the 1771version keep from the original,which premiered in 1726? I cannothelp but think that several choruseshave also been simplified, if notshortened (to name but one, the“Air pour les Africains et lesMaures,” Act Two, scene four, re-veals a homophonic stiffness ratheruncharacteristic of the 1720s). Butthe highlights of the score are to befound in the vocal parts of Pirameand Thisbé, the latter beautifullysung by Judith Van Wanroij. The flu-idity of the musical prosody in herrécit “Le danger ne peut rien” (ActThree, scene two), delicately inter-twined with the flute, certainly leansmore towards Rameau than Lully,and the dark harmonies that followher dialogue with Pirame (ThomasDolié) show les Petits Violons at their very best. —Jacqueline Waeber

Philip RosseterThe Songs of Philip Rosseter,Part 1Music’s Quill (Timothy Neill Johnson,tenor; Timothy Burris, lute)Music’s Quill 39:00 minutes

The Elizabethan-and-after era insong is often represented with

recordings in the sampler style,showcasing one or two tracks byeach of an array of composers, fromDowland and Byrd to Campion andRosseter. Figures such as Rossetercan be overshadowed by the biggernames, never quite coming into fo-cus on their own. An album devotedentirely to the songs of this com-poser—plus a couple of his lute so-los—is a welcome addition to the li-brary. Published in 1601, the songsare mostly on the short and gemlikeside, giving elegantly meanderingmelodic shape to the epigrammaticpoetry.

The Maine-based duo of TimothyNeill Johnson and Timothy Burrisbrings a natural rapport and gentledelivery to these songs. Johnson’s

lines are silkyand warm;Burris’s ac-compani-ment isplaced sim-ply andgracefully.

Johnson’s vibrato, while usually notobtrusive, offers a different perspec-tive than the cool or slightly delirioustone that Elizabethan song oftenbrings forth among early music spe-cialists. An occasional drift towardsflatness on cadential notes mars theeffect only a bit. The songs’ repeti-tion of final quatrains or coupletscomes across nicely, insistent yet notaggressive, and they linger prettily inthe ear. “Kind in Unkindness” buildsup a convincing strophic structure,holding a steady sense of cumulativerepetition while both musicians varythe expression and ornamentation insatisfying ways.

The two instrumental solos arean otherwise untitled pavin and gal-liard from Jane Pickering’s Lutebook.These have such a musing quality,both in writing and in delivery, thatat times they sound more like fan-tasias than dance pieces, particularlythe metrically un-galliard-like gal-liard. Burris seems to favor detailover destination, emphasizing lessthe overall phrase shapes than themomentary turns of harmony orgesture, which he leans into withawareness and taste.

Hard-core audiophiles may bedistracted by a slight murkiness ofthe background acoustic. No record-ing engineer is listed among the album’s credits; perhaps the musicians recorded it themselves.

20 Spring 2009 Early Music America

www.telarc.com

CD-80698

“ ...for the brisk and exciting performances... as well as for Telarc’s brightly lit and clear recorded sound, the Boston Baroque’s program of Vivaldi and Corelli deserves a warm commendation. ”

“ Christina Day Martinson plays with a strong and somewhat edgy strength... ”

– Fanfare

Christina Day Martinson, soloist

RECORDINGreviews

Early Music America Spring 2009 21

Overall, the album is easy on theears. Those who like a thread ofweirdness in their early 17th-centuryEnglish music might wish for a moresinewy engagement with some ofthe images in the song texts. But lis-teners who like it pretty—and gen-uinely so—will be well satisfied.—Shulamit Kleinerman

Tomás Luis de VictoriaAd VésperasLa ColombinaK617 20974:00 minutes

There has been a quantum leapin the quality of Renaissance cham-ber singing during recent years —think of Michael Noone’s recentwork with Ensemble Plus Ultra orthe splendid music made by a num-ber of young European ensembles.Another group worth watching is LaColombina, a Spanish vocal quartetdedicated to early music. Their newVictoria CD features 10 recently-dis-covered works, psalm settings thathad been lost in an obscure Italianmanuscript until the late 20th cen-tury. This is the first recording evermade of these psalms.

When we think of Victoria, wetend to think of emotionally wrench-ing music of the penitential sort,such as his Requiem or his respon-sories for Tenebrae. This music pro-

ceeds on aslightlymore evenkeel, withplenty ofsubtle detail.Victoria,

as a composer for whom no notewas trivial (one of his contempo-raries called his music “most judi-cious and sweet”), was the idealperson to write in this more austerestyle. The singers of La Colombinarespond beautifully to it.

Victoria’s psalm settings are in-terspersed with short Gregorian an-tiphons. There is no attempt to re-construct an actual liturgical serviceon disc, which is frankly rather re-freshing (though a few purists mightbristle.) The alternating rhythm ofchant and polyphony gives a satisfy-ing shape to the whole recording.There are also half a dozen assortedworks, including a radiant, perfectlyjudged performance of the Adventmotet “Ne timeas, Maria,” a piecewhich any choir could relish singingin December. Ad Vésperas hasended up, rather to my surprise, asthe default CD in my car stereo.

A final note: much of this music

was originally written for a close-harmony quartet of SSAA and trans-posed down to fit the vocal rangesof La Colombina. There is a splendidCD still waiting to be made by anall-female group. —Kerry McCarthy

Antonio Vivaldi 12 Concerti per ViolinoHarmonie Universelle, Florian Deuter, director Eloquentia-EL 0815 109:00 minutes (2 CDs)

Although I am aware that oneshould consider Stravinsky’sthoughts as those rare ones to ab-sorb without contesting, I firmly dis-agree with his famous catty remarkthat Vivaldi wrote the same concerto500 times. A confessed fan of maes-tro Antonio, I was happy to see yetanother recording of his violin con-certi, especially those usually left inthe shadows. This release offers al-most all (unpublished) concerti thatled to this maturity, the early ones inthe so-to-speak experimental phaseof Vivaldi’s creative life, most dated1700-1710. The 12 concerti demon-strate that Vivaldi knew his flavorsearly on and also knew how few ofthem he had to use to create a sur-prising yet comforting dish.

Florian Deuter’s name is onewell-respected by early music lovers,and his experience in the historicallyinformed field is to be envied: hehas played with ensembles led byGoebel, McCreesh, Herreweghe,Minkowski, and Koopman, to namea few. Together with MónicaWaisman, Deuter founded HarmonieUniverselle in 2003, naming thegroup after Marin Mersenne’s 1636treatise.

Deuter’s playing throughout thealmost two hours of music is brave,secure, and grandiose, resonantwith the temperament for which

Vivaldi isknown—thisis best de-picted in thesomehowvery familiarconcerto RV338. The en-

semble responds in equal force.Particularly noteworthy is the use ofharp in the continuo (with a heart-warming bonus solo in the largo ofRV 220), a practice not used oftenenough nowadays (whether origi-nally assigned or not). The group iscohesive, and there is a homoge-neous quality in the sound of thestrings (see the second movement ofthe same RV 338 and also the

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KARINA GAUVIN

Karina Gauvin’s new Purcell recital is as beautiful as can be. Her voice setsnew standards for Baroque color and richness, and beyond Baroque, too!”

— THE AUDIOPHILE AUDITION [USA]

Gauvin sings with passion, ingratiatingcharm, sincerity and utter conviction… a marvellous artistry which makes everything she does totally captivating.”

— INTERNATIONAL RECORD REVIEW [UK]

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PRAISE FOR KARINA’S PURCELL DISC:

second movement of the previousconcerto, RV 274) that I find rare inthe ever-changing group formationsthat are so characteristic of the earlymusic scene.

The largo of concerto RV 176walks the fine line between conso-nance and dissonance in life, some-thing simply expressed but deeplyfelt. It is so beautiful that it’s hard tocredit the performers for this blessedmusic, even if it is thoughtfully andmasterly executed. I would haveloved to hear a cadenza at the end,however.

The recording ends with RV Anh.130, a typical early Vivaldi concertoin which thematic cohesion isn’t yet so firmly established. The cre-ative and touching adagio of thisconcerto is a true pearl.

A welcome addition to the arrayof Vivaldi recordings, this will be afrequent visitor to my CD player.—Inês d’Avena

Antonio VivaldiThe Four SeasonsFrancesco Geminiani Concerti Grossi Nos. 4 and 12Boston Baroque, Martin Pearlman, director; Christina Day Martinson, violinTelarc CD-8069859:26 minutes

Releasing a disc of the FourSeasons is a special challenge,whether for a period instrumentband or a modern ensemble (and re-viewing one is as well, for many of

the samereasons).Perhaps theonly otherworks thathave evenclose to thesame market

penetration for the Baroque reper-toire are the Brandenburgs. A newissue must cut through the dullinglacquer with which time and famil-iarity have covered the once-brilliantcolors of these masterworks, mustsay something new about pieces al-ready heard dozens, if not hun-dreds, of times and for whichrecorded competition is similarlythick on the ground. Sometimes thecritic gets the feeling that a disc ap-pears just because a recording com-pany knows it will certainly sell wellenough to make a profit (I won’tmention the recent CD by a well-re-

spected young American that fitsthat category….).

The new disc by Boston Baroquepasses these tests with flying colors.The soloist is the young ChristinaDay Martinson, a Canadian whostudied at the New EnglandConservatory and Boston Universityas well as at the Royal Conservatoryin the Netherlands. Her tone is leanbut beautifully produced and con-trolled, with just the right touch ofvibrato, and in the slow movementsshe ornaments the line, somethingrarely heard but unquestionably ap-propriate and effective. UnderPearlman’s veteran direction thetempos are well-chosen, the articu-lations and inflections of the bandincisive and expressive, and thesound of the strings captured by the producer and engineer inWorcester’s Mechanics Hall close toideal. An added bonus is that thetwo works filling out the programare Geminiani concerti based onCorelli’s Op. 5 sonatas for violin and continuo: No. 4, which will befamiliar to recorderists who haveplayed the virtuoso anonymousarrangement, and No. 12, the Folliavariations.

Don’t hesitate to add this one toyour collection and to give it to yournear and dear. —Tom Moore

Antonio VivaldiSacred Music, Volume III Aradia Ensemble, Kevin Mallon,conductor; Carla Huhtanen, EveRachel McLeod, Lynn McMurtry,Jennifer Enns Modolo Naxos 8.570445 73:51 minutes

Even though I am a fan ofVivaldi’s music, there were surprisesin store for me in this disc: worksrarely performed, passages so beau-tiful they make the spine tingle. Thisvery fact, the spine-tingling element,speaks on behalf of the CanadianAradia Ensemble and its young conductor, Kevin Mallon.

In this third volume of sacredworks from the Venetian master,Aradia sheds a gentle beam on sub-lime moments in this powerfully andmasterfully written music. Under thislight—soft, natural, unclouded—thedissonances are full, the chromati-cism fluid and organic, the fugatophrases clear and well-etched. Theorchestra moves along, with class

and cohesion, following the lead of its excellent concertmaster andsmoothly creating the basis for the vocal soloists’ displays of virtuosity.

Everything about this recordingis polished and professional, effi-cient and agreeable, from the com-petent instrumentalists to the solidvoices of the choir. The pieces cho-

sen are allfirst-classand includesome out-standingmoments,such as thedeceptively

simple writing of “Cum dederitdilectis suis,” with its mesmerizingevocation of sleep, or the aptly furi-ous opening lines of “In furoreiustissimae irae.”

Whether or not you will like thisCD depends on your penchant fordrama. To my taste, a harsher, moretheatrical light would have beenwelcome. I tend to yearn for exag-gerated gestures, huge contrasts indynamics, big sweeps in colorpalette. This applies particularly tothe vocal soloists. Especially in thefrequent melismatic passages, the no-frills approach leaves me unsatisfied.

The problem is not that the diffi-cult vocal parts are beyond the tech-nical reach of the talented womenon this CD, but rather that their veryar-ti-cu-la-ted enunciation feelssomehow unnatural and overly op-eratic. In this kind of repertoire, I fa-vor voices that are more angelic andlight, even if less emphatic and se-cure, and a projection that resem-bles that of speaking rather thanthat of bel canto. I would enjoycrescendos that really start fromnowhere, or decrescendos that turninto a whisper, word painting that isimmediately decodifiable, musicalgestures that amplify feelings. But Iknow that this is a matter of per-sonal taste. This recording will bringmuch pleasure to anyone who enjoys the music of Vivaldi.—Laura Rónai

COLLECTIONS

Avecillas Sonoras: Villancicos from 18th-CenturyLatin AmericaMúsica Temprana, Adrián RodriguezVan der Spoel, director; MarisúPavón, Xenia MeijerEtcetera KTC 1358 71:35 minutes

This latest release from Música

Temprana is a selection of duetsfrom a variety of 17th- and 18th-century Latin American sources, andI find it hard to think of enough su-perlatives with which to describe it.

That is not to say that it is a per-fect recording—no, it has somesmall foibles. For example, on one ortwo of the tracks, the low boomingpercussion almost overbalances theensemble. I wish that more informa-tion had been given for the purelyinstrumental tracks. And, for a mo-ment or two, I wondered why arecording devoted to Latin Americawouldn’t offer Portuguese linernotes. Lastly, the lyrics of one of myfavorite tracks, the delightful “Losimposibles,” are not included in theprinted materials. But aside fromthese few things, it is difficult to findmuch to criticize.

The voices of the two femalesoloists are superbly suited to thistype of music—both are rich in toneand timbre, blend gorgeously, andcan be as fun and lighthearted asthey can be mournful or romantic.Pavón and Meijer wring every ounceof dramatic nuance from the textwithout ever going overboard. Themale vocalists (Van der Spoel and

GabrielAguileraValdebenito)are only fea-tured ontwo tracks,namely “Yose que no he

de ganar” and “Oigan, escuchen,atiendan,” but are also aptly suitedto the sentiment and flavor of thepieces. And the instrumental selec-tions are quite simply spot on. Eachmember of the ensemble, whethervocalist or instrumentalist, attackswith gusto the syncopations andunique rhythms that are so key tothis genre, and the overall effect isthat of a group that has been play-ing together for decades longerthan the mere seven years that havepassed since the group was formed.

Particular highlights of the discare the stunningly gorgeous “Entredos álamos verdes,” featuringPavón, the instrumental selectionsby Santiago de Murcia, and my per-sonal favorite, the villancico negro“Tarará, qui yo soy Antón,” therhythms and speech patterns ofwhich reflect the long history of in-teractions between Iberia and Africa.Some of the tracks are slow andsweet, others upbeat and bouncy,but all demonstrate just how muchfun this ensemble had in makingthis recording—a sentiment that is

22 Spring 2009 Early Music America

RECORDINGreviews

Early Music America Spring 2009 23

LE CLAVECIN FRANÇAIS

La TerpsicoreElisabeth Jacquet de La Guerre

François Couperin

LE CLAVECINFRANÇAIS

Arthur HaasHarpsichord

Nicolas Dumont (Paris, 1707)

Louis MarchandLouis-Nicolas Clérambault

LE CLAVECINFRANÇAIS

Davitt MoroneyHarpsichord

Nicolas Dumont (Paris, 1707)

E a r l y M u s i c o n A n t i q u e I n s t r u m e n t s

Coming Summer 2009

Plectra Music’s Critically Acclaimed Survey of17th- and 18th-Century French Harpsichord Music

w w w . p l e c t r a . o r g

24 Spring 2009 Early Music America

RECORDINGreviewssure to be noticed by any listener.An excellent disc that deserves thehighest recommendation.—Karen Cook

Flyleaves: Medieval Music inEnglish ManuscriptsLiber unUsualisPassacaille 938 56:24 minutes

Medieval music theorists consid-ered the number three to be a signof perfection. Listening to the bestpieces on this recording, one has towonder why European composersever felt the need to add a fourthvoice to their standard lineup. The

Boston trioLiberunUsualishas put to-gether aneclectic pro-gram ofMedieval

English music sung with panache,intelligence, and beautiful vocaltone. The entire album in one sittingmight be heavy going for audiencesunaccustomed to Medieval poly -phony, but each individual piece iswell worth a careful listen. High

points include the haunting littlelament “Doleo super te / Absolon,fili mi” and the gorgeous “Veinepleine de ducur” by an anonymous13th-century composer who haddiscovered the sweetness of the ma-jor triad and made the most of it.Chaucer fans will enjoy the creativere-interpretation of the popularEnglish song “Gabriel fram heven-king,” which Liber unUsualis drawsfrom a number of manuscriptsources, progressing verse by versefrom a simple solo melody to asonorous trio.

These are clearly musicians whoenjoy working together, and plentyof collegiality and musical wit can beheard between the lines. I can tellfrom this recording alone that theywould be a real delight to sing with.I would highly recommend Flyleavesto any singer or collegium directorwho would like to get better ac-quainted with Medieval repertoire.Anonymous 4 fans suffering fromwithdrawal pangs would also dowell to keep an eye on this group,which appears to be every bit as talented as its better-known predecessor.—Kerry McCarthy

Meet the reviewersBeth Adelman has been reviewing for Early Music America for almosta decade. She also writes the occasional feature article. Beth is an edu-cated and enthusiastic listener of early music who lives in BrooklynKaren Cook holds degrees in performance, theory pedagogy, andmusicology from Gettysburg College and Peabody Conservatory and iscompleting her Ph.D. in musicology at Duke University. She is an activebrass, early wind, and percussion performer and leads the Duke recorderconsort.Inês d’Avena was born in Rio in 1983. In 2001, she moved to Hol-land to study the recorder at the Koninklijk Conservatorium where sheearned her bachelors, masters, and teaching degrees. In 2006, d’Avenaco-founded the Collegium Musicum Den Haag, an orchestra with whichshe performs regularly throughout Europe.Shulamit Kleinerman teaches violin, plays Medieval and Renais-sance music, writes and lectures about music history, and runs hands-onhistorical arts workshops for school-aged children in Seattle.Kerry McCarthy teaches early music at Duke University. She is writinga new book on William Byrd for Oxford University Press.Tom Moore holds degrees in music from Harvard and Stanford andstudied traverso with Sandra Miller. From 2004 to 2007, he was visitingprofessor of music at the University of Rio de Janeiro (UniRio), where heco-directed Camerata Quantz. In April 2007, he became music librarianat Duke University, where he also directs the collegium musicum.Laura Rónai has played a major role in the early music life of Rio deJaneiro. A native Carioca, raised in Copacabana by parents who immi-grated from Hungary and Italy, she began her musical study on therecorder and later studied Baroque and modern flute with Sandra Millerin the U.S. She has contributed reviews to Fanfare since 2000.Jacqueline Waeber, associate professor in the department of musicat Duke University, is a music historian whose research focuses on the18th and 19th centuries (particularly the French Enlightenment).

La Donna’s groundbreaking CDs

“…exacting scholarship is backed up byhigh quality performances and productionvalues.” – Early Music America

“[a] haunting interpretation with muchwarmth and rich variety of tone.”– An. Schlaege

“This recording is a must for listeners.”– Early Music America

“…first-rate performances of unusuallydelightful music.”– International Record Review

“Everything about this American ensembleis first rate…” – Goldberg

“[the] ensemble plays with all the elegance and panache one has come toexpect of them.” – CD HotList

To purchase CDs or to hire La Donna Musicale,

please contact us at CD@ladm.org or call 617-461-6937.

For more information visit www.ladm.org

Early Music America Spring 2009 25

Study at one of the country’s preeminent centers for early music in a major university environment | Develop performance skills with a focus on Medieval, Renaissance, and Baroque orchestral and chamber music | Earn an internationally recognized degree from a top-ranked school of music | Join a growing number of distinguished alumni who perform and teach around the world.

at INDIANAEarly Music

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IANA

ADDITIONAL RESOURCESMusicology DepartmentMedieval Studies InstituteLilly LibraryCenter for the History of Music Theory and LiteratureDepartment of Ethnomusicology & FolkloreWFIU Public Radio (producer of Harmonia)Internationally Renowned Guest Artists

FACULTYMichael McCraw Director, Early Music Institute Baroque/Classical BassoonWendy Gillespie Chair, Department of Early Music Viola da gambaPaul Elliott, VoiceEric Hoeprich, Early ClarinetBarbara Kallaur, Baroque/Classical FluteEva Legêne, RecorderWashington McClain, Baroque/Classical OboeNigel North, LuteStanley Ritchie, Baroque/Classical ViolinRichard Seraphino", Natural HornKiri Tollaksen, CornettoElisabeth Wright, Harpsichord/Fortepiano

ENSEMBLESBaroque/Classical OrchestraPro Arte Singers Concentus (consorts of winds, strings, plucked instruments, and voices, performing in various combinations)Additional chamber music ensembles

AUDITIONS FOR ENTRANCE TOTHE IU JACOBS SHOOL OF MUSIC

Jan 11 & 12 | Feb 1 & 2 | Feb 29 & Mar 1Phone: (812) 855-7998Fax: (812) 856-6086E-mail: musicadm@indiana.edu Web: music.indiana.edu

Early Music Performance

Early Music FacultyA K G, ensemble direction, historical double reeds

E BBaroque violin and viola

L Charpsichord and continuo

K Chistorical vocal technique

S FBaroque violin and viola

R Grecorder, ensemble direction

C KBaroque bassoon

P SBaroque oboe and ensemble direction

W SBaroque cello and viola da gamba

S ZBaroque bass and viola da gamba

Musicology and Performance PracticeB A. BA K GR G

G O

For application materials and information about teaching assistantships and merit scholarships,including the Colburn Foundation Scholarships for the study of Baroque String Performance, contact:

For information about graduate degree programs visit:

Offering MA and DMA in historical performance. Also offered: PhD program in Historical Musicology with opportunities to engage extensively in early music research and performance.

Adam Knight Gilbert, director