Early Music America Fall 2013 - (Page 55)

The all-female Capella Artemisia opts for the less mind-bending solution of transposing tenor and bass parts up an octave while doubling the voices with instruments playing at the indicated pitch, a common practice in convents at the time. The ensemble’s performing forces change with each album, and here they’ve assembled an especially fine roster of vocalists, several of whom stand out for their exceptional beauty of tone. This is a recording that makes the injunction “get thee to a nunnery!” sound like an altogether delightful prospect. —Berna Can Sentirete una Canzonetta: Improvisations and 17thCentury Italian Music Harmonious Blacksmith (Ah Hong, soprano; Justin Godoy, recorder and director; Joseph Gascho, harpsichord and director; William Simms, theorbo and Baroque guitar; Nika Zlataric, cello; Christine Hauptly Annin, violin) http://harmoniousblacksmith.com Recorded in 2008, this album is Harmonious Blacksmith’s first release. The album seeks to explore the wide variety of music available in the 17th century—songs performed exactly as they were composed (or, at least, written down), others that have been ornamented or that form the basis for different types of diminutions, and still others that are born completely out of improvised material. The group chose a variety of instrumental pieces—Frescobaldi’s Toccata No. 1, sonatas by Fontana and Bertoli, and so forth—as well as vocal works by Lasso, Merula, and Monteverdi, among others. The result is a nicely varied, exciting recording. Ah Hong’s soprano is supple, clear, and exceedingly well suited to the material. Justin Godoy’s recorder work is quick and precise, Joseph Gascho’s harpsichord shimmers without sacrificing support, and Simms and Annin shine. The real joy for me is Nika Zlataric’s cello, which offers the exuberance, strength, and playfulness that should be evident in improvised material. The recording really hits its stride in the second half. Lasso’s Susanne ung jour is vivacious, the following instrumental pieces are some of the strongest on the disc, and the Monteverdi is a stunning closer. All in all, a fantastic offering. Harmonious Blacksmith has a recording forthcoming with percussion master Glen Velez. I can’t wait. —Karen Cook Vacillantis: La canción amorosa, religiosa y moralista en el siglo XII Magister Petrus (José Pizarro, Irantzu Zuasti, Meritxell Genís, Pepe Morales Luna, Mauricio Molina, Oriol Casadevall i Crespo, Nestor Pindado, Antonio Ruiz; Mauricio Molina, director) Enchiriadis EN 2034 http://enchiriadis.com This recording brings to life the Latin monophonic song of the 12th century, especially that of Philip the Chancellor. The liner notes are densely packed with musical and historical context, highlighting the numerous sources that the group relied on for their stylistic approach. Contemporary iconography and literature informed their choice of percussion and stringed instruments, while modern musicological sources aided them in rhythmic decisions. The album is named Vacillantis after one of the selections the group recorded: the sequence Vacillantis trutine libramine, which contrasts a scholar’s rightful love of learning with the temptation of more carnal pleasures. This disc certainly straddles that divide; it’s an enjoyable recording nicely backed up by historical understanding. There’s a great contrast between the boisterous Ecce Tempus Gaudii and the more devotional Lilium floruit. The instrumental selections are tastefully presented; of particular interest is the grouping of Preconia virginis laudum/Novum festum celebremus/In natali summi regis, where the performers emulate the ways in which educated instrumentalists might have improvised additional voices to a known composition. My one criticism is in the layout of the liner notes. While I’m all in favor of providing information in multiple languages, I would much prefer to have the translations of each piece written alongside the original texts so that the listener can follow along with each piece. That quibble aside, the recording would be a fine addition to anyone’s collection. —Karen Cook I new york early music celebr ation pro musica polonica october 4–20, 2013 OCT 4 Drom presents – Prusinowski Trio* Brooklyn Baroque OCT 12 Polyhymnia OCT 5 Phoenix Tail OCT 13 Church of the Epiphany presents – Il Giardino d’Amore* OCT 6 Renaissance Street Singers Music Before 1800 presents – Ensemble Peregrina* OCT 14 Trinity Wall Street “Bach at One” Rebel OCT 8 CUNY Graduate Center seminar / master class – “Bach & the Polish Style,” with Raymond Erickson & Szymon Paczkowski* Amy Bartram The Morgan Library & Museum presents – Arte dei Suonatori* OCT 17 Midtown Concerts “Presents” Saint Bartholomew’s Church presents – Narol Baroque with Camerata Silesia* OCT 18 Galileo’s Daughters OCT 19 Miller Theatre of Columbia University presents – Le Poème Harmonique OCT 10 Midtown Concerts “Presents” Carnegie Hall presents – Carolyn Sampson OCT 20 Renaissance Street Singers Holy Trinity Lutheran “Bach Vespers” OCT 12 Early Music Foundation presents – Early Music New York / Frederick Renz, Director Participants as of July 1, 2013 *Polish guest artists 4th triennial service project of the Early Music Foundation, Inc., in partnership with the Polish Cultural Institute New York More information & updates: www.nyemc.org Early Music America Fall 2013 55 http://www.enchiriadis.com http://www.harmoniousblacksmith.com http://www.nyemc.org

Table of Contents for the Digital Edition of Early Music America Fall 2013

Early Music America Fall 2013