Early Music America Fall 2007 17

Raphaella AleottiLe Monache di San VitoCappella Artemisia, Candace Smith, directorTactus TC 57010169:09 minutes

Raphaella Aleotti (1575-1646?)was born to a prominent family—her father was the ducal architect ofthe Estense court. The first nun topublish music, she took the veil atthe age of 14 and was prioress ofSan Vito, a convent in Ferrara. SanVito was known for its musical nuns,and, according to some contempo-rary sources, performances weregrand affairs with voices joining allmanner of instruments.

This recording features Aleotti’smusic along with music dedicated toher (the nuns’ work was well-knownoutside convent walls). Most aresacred works from Aleotti’s 1593publication Sacrae cantiones (forvarious combinations of voices),along with a secular collection ofmadrigals published the same year.The madrigals were attributed toVittoria Aleotti, now recognized asRaphaella using her secular name.

Aleotti created some top-shelfmusic. The Sacrae cantiones arefilled with simple harmonies, somecrafty rhythmic devices, solidcounterpoint, and bold inter action

between thechoirs. Theperformanc-es are allsolid, andthere are anumber ofstandout

moments, such as the exuberant“Ascenden Christus in altum” andthe brightly-colored “Angelus adPastores.” Enlightening liner notesby Cappella Artemisia’s director,Candace Smith, round out anotherfascinating glimpse behind the cloister walls. —Craig Zeichner

Johann Sebastian BachLute Works, Volume IPaul O’Dette, Baroque luteHarmonia Mundi HMU 90743867:44 minutes

In 1966, Julian Bream made arecording of two of J.S. Bach’s(1685-1750) solo lute works, per-formed on guitar. (Bream was atthat time also performing on lute.)

Emanuel Winternitz’s liner notesquote Bream as saying that the“drama of Bach’s lute music ‘fallshappier’ on the guitar,” which seemsquaint now. But the drama andexcitement and care lavished oneach line of the (sometimesbutchered) counterpoint remains.

Since that time, there have beensome truly fine recordings of theseworks by a number of wonderful

Baroquelutenists. But,until thisrelease byPaul O’Dette,I’ve neverheard quitethe same

level of passion and excitement as in Bream’s version of long ago.O’Dette has successfully combined ascholarly performance with a visceraland moving one.

The pieces included in this CDare the Suite in A Minor (BWV 995),originally in G minor, in a version inBach’s own hand, which is essential-ly the same as the C minor Suite Vfor solo cello; the Partita in E Major(BWV 1006a), which is a transcrip-tion in grand staff of the last Partitafor solo violin (BWV 1006), also in Emajor; and the Sonata in G Minor(BWV 1001), which is the first soloviolin partita, arranged by O’Dettefor lute (an arrangement of thesame piece was recorded by StephenStubbs in a recent release). The basisfor making such an arrangement isthat we do have a copy of a lutetranscription by Johann ChristianWeyrauch, a contemporary ofBach’s, of the fugue from that work.

So, now that we have Volume Iwith BWVs 995, 1001, and 1006,can we look forward to more vol-umes, perhaps including 996, 997,998, and 999? I certainly hope so! —Stephen Dydo

Guillaume DuFayMotets, Hymns, Chansons,Sanctus PapaleBlue Heron, Scott Metcalfe, directorBlue Heron BHCD 100173:58 minutes

This marvelous debut recordingby the Boston-based choir BlueHeron focuses on music by the bril-liant Guillaume DuFay (c.1397-1474). DuFay excelled in all thesacred and secular vocal forms of

the day, and one of the pluses ofthis CD is the scope of the musicpresented. While we don’t have anyof DuFay’s settings of the Mass ordi-nary (might we have that in futurerecordings?), there is enoughremarkable sacred music to shedlight on this genius composer.

The most powerful works on thedisc are the isorhythmic motets,written in commemoration of spe-cial occasions. “Isorythmic motet” isa contemporary term (and a stiffone at that) that describes a tech-nique where a repeating rhythmicpattern is found in one or more ofthe voices while the melodic materi-al changes. Dry stuff in theory, butDuFay performs miracles with theform. “Apostolo glorioso” is glowingand beautifully florid, while “Ecclesiemilitantis,” possibly written for theanniversary of the coronation ofPope Eugenius IV, is a masterpiece ofdense textures and rhythmic ingenu-

ity. Bothmotets(and theothermotets,too)receive glo-rious per-

formances with incandescentsinging (the high voices really shine).Add perfect blend and balance, witha nice addition of brass in “Ecclesiemilitantis,” and you have somethingvery special.

The secular works are also filledwith technical wizardry, and themembers of Blue Heron, in groupsof two or three voices, sing beauti-fully. This recording is a triumph foran American ensemble in a fieldlong dominated by Europeans.—Craig Zeichner

George Frideric HandelAlexander’s FeastJohann Sebastian BachAlles mit Gott und nichts ohn’ ihn

Amanda Balestrieri, soprano; Scot Cameron, tenor; DavidNewman, bass-baritone; The Bach Sinfonia, Daniel Abraham,artistic director, conductor;The Handel Choir of Baltimore,Melinda O’Neal, artistic directorDorian DSL-20604101:30 (2CDs)

Since the 14th century, the Chris-tian martyr Cecilia has been depictedplaying the organ, a reflection of thelegend that her heart sang God’spraises at her forced nuptials to thepagan Valerianus. Throughout thehistory of Western art, Cecilian soci-eties have been dedicated to thispatron saint of music. For one ofthese, John Dryden wrote twoworks, “A Song for St. Cecilia’s Day”in 1687 and “Alexander’s Feast, orThe Power of Music” in 1697, andHandel (1685-1759) set them bothto music. Like an opera, Handel’sAlexander’s Feast features recita-tives, arias, and choruses, and itspopularity chalked up 25 perform-ances in almost as many years afterits premiere in 1736.

Since the 1990s, the BachSinfonia has developed a fan base inthe Washington, DC, area; its pair-ing with Baltimore’s Handel Choiroffers a performance that demon-strates the integrity with which bothgroups approach their work. DanielAbraham paces his orchestra per-fectly, carefully supporting thesingers and chorus. Equally rich isthe participation of the choir.Soprano Amanda Balestrieri offers afine performance, although her navi-gation of those long-breathedHandelian runs is sometimes more

valiant thanprecise.Balestrierialso garnersthe solo inthe perform-ance of therecently dis-

covered birthday ode by J.S. Bach,“Alles mit Gott und nichts ohn’ ihn.”Praise goes as well to tenor ScotCameron and baritone DavidNewman. This two-CD performance,a reprise of the performance these

recordingreviewsEdited by Craig Zeichner

Early Music America magazinewelcomes news of recent re cordings. Please send CDs to be considered for review and pertinent information toCraig M. Zeichner, Reviews Edi-tor, 69 Poplar Street, Apt. 2C, Brooklyn, NY 11201; recordings@earlymusic.org. EarlyMusic America cannot guaranteethe inclusion of every CD sent forreview. All published reviewsreflect the personal opinions ofthe reviewer only.

18 Fall 2007 Early Music America

same forces gave before theAmerican Musicological Society in2005, may well give wider exposureto two worthy regional ensembles.—Denise Gallo

George Frideric HandelIl Duello AmorosoAndreas Scholl, countertenor;Hélène Guilmette, soprano;Accademia Bizantina, Ottavio Dantone, directorHarmonia Mundi HMC90195772:23 minutes

Late last year, Andreas Schollannounced that he was returning toHarmonia Mundi because the kindof projects he was interested inrecording just didn’t suit his newrecording label, Decca. This CD is the

first fruit ofthat renewedcollabora-tion. It’s acollection offour secularcantatas onthe theme of

love, all written by George FridericHandel (1685-1759) when he was inhis early 20s and working in Italy;the disk also includes the TrioSonata, Op. 2, No. 1.

The music itself is Handel-lite:lovely little confections composedfor various Italian patrons to per-form in their villas on Sunday after-noons. Scholl’s wonderful affinity forHandel, though, combined with hisabsolute emotional commitment toeverything he sings, brings out thevery best in these rarely heard works.

In the title track, Scholl is joinedby the superb Canadian sopranoHélène Guilmette, but the otherpieces are recitatives and arias forsolo voice. It’s an excellent opportu-nity to hear what makes Scholl sucha great singer—beyond his voice,about which more eloquent criticshave already written volumes.

The key is that he is a greatactor. Nowhere is this more evidentthan in the way he sings recitative;every nuance of feeling in the text isexpressed without being overdone.He also has a keen sense of rhythm,perhaps best showcased in Nel dolcetempo. And the choices he makes inthe da capo sections of his arias—which can teeter on the edge oftediousness with a less skilledsinger—are always intelligent andcarefully considered.

My favorite piece is the last, Mi

palpita il cor, which begins with asequence of rising notes that imi-tates the singer’s beating heart andthen descends gently but surely intothe depths of despair. The very fineplaying of Accademia Bizantinameanders around Scholl’s soft,sweet, agonized singing. The espe-cially complex, sensitive work ofOttavio Dantone at the harpsichordand Marcello Gatti on the flute arefully realized here.—Beth Adelman

Pietro LocatelliConcerti grossi Op. I: No. 2, 4, 7, 8, 9, 10Freiburger Barockorchester, Gottfriedvon der Goltz, violin, directorHarmonia Mundi HMC 90188961:03 minutes

Bergamo-born Pietro Locatelli(1695-1764) moved to Rome at theage of 16 to further his musical edu-cation. Locatelli’s travels broughthim to a number of European cities,where he wowed audiences with vir-tuoso violin playing. When he finallysettled in Amsterdam, a hub ofmusic publishing, he devoted him-self to composition and publishing.The works on this recording, a set ofconcerti grossi, owe something tohis Roman days, where he mighthave made the acquaintance of thefather of the form, Arcangelo Corelli.

This first set of concerti grossicertainly looks back to Corelli’sgroundbreaking Op. 6. The familiarexchanges between the ripieno andconcertino players are present, butLocatelli bolstered the traditional

concertinosection oftwo violinsand cellowith viola(two of themin concertos7 and 8),

creating a denser contrapuntal texture.

The performances by theFreiburger Barockorchester are tech-nically impeccable. The fast outermovements of the concerti arebreathless, the solo violin passagesin the concertino are beautifullyplayed, and the silky smooth soundof the ripieno strings is gorgeous.Yet for all this technical perfectionand beauty, there is a lack ofwarmth that stops me from reallycozying up to this recording. Per-

RECORDINGreviews

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J. S. BACH: The Works for HarpsichordLatest ReleaseDas Wohltemperierte Clavier, Book IPeter Watchorn (harpsichord)(Critic’s choice, Musicweb, 2006)

THE ROMANTIC SERIESFranz Schubert: Die schöne Müllerin,Winterreise & SchwanengesangRobert Schumann: DichterliebeMax van Egmond (baritone)Penelope Crawford &Kenneth Slowik (fortepiano)Latest New ReleaseFranz Schubert & Robert Schumann:“Trout” Quintet & Piano Quintet, Op. 44

FELIX MENDELSSOHN 2009:Complete Chamber Music for Piano & Strings,commemorating the 200th anniversary of his birthLatest ReleaseD Minor Trio, Op. 49 & Sextet, Op. 110The Atlantis Trio & Ensemble: Jaap Schröder (violin),Enid Sutherland (cello), Penelope Crawford (fortepiano)

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The Atlantis EnsembleMax van Egmond

ROBERT SCHUMANN:PIANO QUINTET, OP. 44

FRANZ SCHUBERT:“THE TROUT”

The Atlantis EnsembleMax van EgmondThe Romantics 8

Early Music America Fall 2007 19

haps it’s an inherent slickness that Ifind in Locatelli’s music or an intan-gible Italianess that’s lacking, butafter repeated listenings I am dazzled by the execution but emotionally earth-bound.—Craig Zeichner

Jean-Baptiste LullyThéséeHoward Crook, tenor; LauraPudwell, mezzo-soprano; EllenHargis, soprano; Harry van derKamp, bass; Boston Early MusicFestival Orchestra and Chorus, PaulO’Dette & Stephen Stubbs, directors CPO 777 240-2175:08 minutes (3 CDs)

It is one of the ironies of musichistory that the establishment of anoperatic tradition in France that wasmore essentially French than any-thing previously attempted was real-ized by the Italian Jean-Baptiste Lully(1632-1687). Thésée, his thirdtragedie, finds Lully in full stride; itwas popular in France for more thana century. The various elements ofhis dramatic vision—includingsupernatural spectacle, active partic-ipation of the chorus, dance inter-ludes, the juxtaposition of pastoraland heroic elements—fall seamlesslyinto place.

The plot revolves around thethwarted love of the eponymoushero and his betrothed, Aeglé, by

King Aegéeand Médée,each ofwhom covetone half ofthe fetchingcouple forthemselves.

The amorous proceedings are con-veyed through exquisitely delicatemusic, punctuated by Médée’s vio-lent outbursts. Comic grotesquerieprovides levity, as in the dissonantnasal whining of two aged (andtipsy) revelers urging festivity even asthey invoke their approaching mor-tality in Act 2, and in the jeeringchorus of devils in Act 3. The haunt-ing, almost religious overtones ofthe Athenian chorus imploring theprotection of their hero in Act 2 istelling in the context of Louis XIV’sabsolutism.

The orchestra in this recording isin luscious sound, with co-directorsPaul O’Dette and Stephen Stubbsdoubling as continuo players; theykeep the bass line wonderfully busyand varied. Howard Crook’s velvetytenor is ideal as Thésée, and LauraPudwell’s commanding soprano ani-mates Médée with obvious relish,

while Harry van der Kamp projects anatural authority as Aegée.—Berna Can

Guillaume de MachautMesse de Nostre DameZephyrus, Paul Walker, directorVirginia Arts VA-0643649:03 minutes

Seminal works of music, such asthe Messe de Nostre Dame of Guil-laume de Machaut (c.1300-1377),do not always elicit the enthusiasmfrom their audiences that their his-torical importance would suggest.However, this recording of the Massoffers an attractive blend of musicalsensitivity and solid scholarship.Making use of recent discoveries,

Zephyrusrecorded theentire Mass,includingthe poly-phonic Ordi-nary and theappropriate

chants for the Proper, producing anhistorical re-creation.

The liner notes provide listenersunfamiliar with the repertoire a fineguide for an appreciation of the per-formance, which encompasses chantranging from simple intonations tomore elaborate and melodious ones(all sung with clarity and elegantphrasing). The musical interest lies,in part, in the contrast of chanttypes that, in turn, provide a foil forthe glorious polyphony. It is easy tounderstand why the idea of poly-phonic mass Ordinaries became sopopular.

Machaut’s Mass offers musicboth beautiful and exciting, as thecool, relaxed “consonant” sounds offifths and fourths ebb and flow withthe more striking, “dissonant” ones.The Zephyrus Medieval Quartet alsoacoustically alters the recording inthe studio to try to re-create thesound as it would have been in itshome in 14th-century Reims Cathe-dral. The result is a lovely trans-parency of line with the depth ofadded resonance.

One wishes the group mighthave been less careful in its pronun-ciation of the Medieval French Latinbecause it sounds forced and unnat-ural. Still, this is a small quibble for arecording that succeeds in creatingattractive music for modern earsthat nevertheless is historically faithful.—Deborah Lawrence

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La Donna Musicale’s new CD!!Julie Pinel (fl. 1737) is the featured composer of this CD’sairs sérieux et airs à boire (serious and drinking songs),celebrating passionate longing and dissolute intoxication.Music composed by unknown Parisian women and byElisabeth Jacquet de la Guerre is included as well.

This CD recreates the luxuriant environment of an intimateParisian salon, replete with the sounds of voices in solo, duo, andtrio settings, with flute accompaniment and supported by thecaptivating tones of the theorbo, baroque harp, harpsichord, andviola da gamba.

For more information and to purchase our new CD please visit www.ladm.org or call us at 617-461-6973Continued overleaf

20 Fall 2007 Early Music America

Missa Solemnis; Regina coeli;Salve Regina; Litania de B.Maria VirgineConcerto Polacco, Sine Nomine,Marek Toporowski, directorDUX 035259:15 minutes

Little is known about AmandoIvani Osppe (1727-1790?). Croatianby birth, he entered the Paulineorder (where he took the nameAmando), lived in Graz, and taughtin what is now modern Slovakia. Aprolific composer, his works are

found inarchivesthroughoutCentral andEasternEurope.The MissaSolemnis

and Marian works heard on thisrecording were found in an archivein Modra, near Bratislava.

The largest work on the record-ing is the Missa Solemnis. It is firmlyrooted in the classical tradition, andwhile there is nothing revelatoryhere, the Gloria has an irresistibleenergy and the Benedictus is lovely.The Marian works are appealing aswell: the Regina coeli is a slightthing with melodic lilt, while theSalve Regina is memorable for itsfine solo vocal writing. Best of all isthe Litania de Beata Maria Virgine,with its excellent duets and somefine orchestral writing that’s reminiscent of Haydn.

The performances are all solid,with soprano Anna Mikolajcyzk astandout among the soloists, excel-lent choral singing by Sine Nomine,and top-notch orchestral playing byConcerto Polacco. While there areno heart-stopping moments here,this is enough well-performed,engaging music to win the hearts offans of the classical tradition.—Craig Zeichner

Peter PhilipsHarpsichord WorksElizabeth Farr, harpsichordNaxos 8.55786478:04 minutes

Why isn’t the music of PeterPhilips (1560/61-1628) betterknown and more widely performed?Perhaps, as Peter Holman suggest-ed, he was a victim of musical chau-vinism. Philips, a Catholic, left Eng-land to escape religious persecutionand eventually settled in the Spanish

Netherlands. Was he viewed by theEnglish as not English? And/or seenas an outsider in Holland?

Philips’s keyboard works werepopular in his day, though neverpublished. Nineteen of his 32 surviv-ing keyboard pieces are included inthe Fitzwilliam Virginal Book, and healso left a body of sacred works inthe European style—presumably further alienating the English.

The keyboard works on thisrecording, played by Elizabeth Farron a beauty of a 1658 de Zentisinstrument, are mostly intabulationsof French and Italian songs, fan-tasias (also after vocal models?), andEnglish dances. Farr is an emotiveand technically proficient player anddoes a fine job here. She brings asense of noble grief and tendernessto the “Paget Pavan and Galliard,”possibly written for Philips’s patron,the exiled Catholic Lord ThomasPaget. The intabulations are tasteful-ly ornamented and dabbed withcolor. Most interesting are Philips’s

take on Las-sus’s “Bonjour moncoeur” and“Le Rossign-uol.” Excel-lent linernotes (by

Farr), top-notch engineering, and a budget Naxos price make this anirresistible purchase.—Craig Zeichner

COLLECTIONSThe DaVinci Collection: Italian Music from the Time of LeonardoThe Toronto Consort, David Fallis, artistic directorMarquis 8135770:32 minutes

Leonardo da Vinci (1452-1519)was known in his day as a musicianas well as an artist. He played thelira da braccio, an instrument withfive bowed strings and two thatvibrated sympathetically in conjunctwith the others. Lira music was gen-erally improvised along with thesung recitation of verse; hence, noneof da Vinci’s compositions areextant. The Toronto Consort’srecording, then, can only boast arepertoire of da Vinci’s era.Although he may have heard someof it (or none of it), one can onlyclaim that he heard music like it.

The Consort presents a collection

RECORDINGreviews

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Early Music America Fall 2007 21

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22 Fall 2007 Early Music America

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of vocal and instrumental piecescomposed by the likes of Bar-tolomeo Tromboncino (c.1470–after1535), Marchetto Cara (c.1470–c.1525), and Joan Ambrosio Dalza(fl.1508). By genre, they span 15th-

centurydescendantsof originallyUmbrianlaude, ultra-secular canticar-nascialeschi

of Medici Florence, popularcanzone, and dances such as thefrottola and pavana.

Most of the pieces are ably per-formed—in fact, the instrumentalselections are all top-notch. Some ofthe vocals, however, have a ques-tionably “modern” resonance. Theresult is not reflective of a perform-ance practice that strives to seek anoriginal sound, but of a group of21st-century singers simply perform-ing 15th-century music. For exam-ple, although Italian Renaissancemusic clearly approaches functionaltonality, the layering of triadic-basedharmonies in “Viva Cristo” robs this

lauda of “authenticity.” The songs were perhaps per-

formed to appeal to a modern audi-ence’s ears. Would da Vinci haveheard them performed in this fash-ion? Probably not. But given hispenchant for artistic novelty, hemight have enjoyed and appreciatedthem.—Denise Gallo

De Mar a Mar: Music in theMedieval Iberian PeninsulaSendebar, Mauricio Molina, music directorOne Soul Records44:37 minutesNotes and text: www.sendebar.org

In De Mar a Mar, Sendebar cre-ates a sonic image of music at thecourt of Alfonso the Wise in the late13th century. It was at this multicul-tural (Christian, Jewish, and Islamic)Spanish court that the Cantigas deSanta Maria was created and writ-ten—the collection of songs fromwhich the majority of the pieces onthis recording come. Illuminations inmanuscript sources show Alfonso’smusicians: men and women playing

Continued on page 57

RECORDINGreviews

24 Fall 2007 Early Music America

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Dominique Lortie SackbutJohn Grew OrganWilliam Porter Organ, ImprovisationHank Knox Harpsichord & ContinuoTom Beghin FortepianoSylvain Bergeron LuteValerie Kinslow VoiceJulian Wachner Choral musicPeter Schubert Early Music TheoryJulie Cumming Musicology

a variety of instruments, many ofwhich are heard here, such as oud,bagpipes, vielle, and a variety ofdrums.

Drawing on scholarship indicat-ing that Medieval Iberian musicalpractices may still survive in tradi-tional Iberian, Latin American, and

North Africanmusic,Sendebaruses aspectsof theserepertoires tocreate com-pelling per-

formances, with North African tradi-tions most prominent. The singers,Alexandra Montano and Rebecca Fasanello, have sweet,clear voices and comfortablepronunciation of the Galician- Portuguese texts.

Despite the high quality of musi-cianship, a lack of variety mars thisrecording as a whole. Most tempossuggest dance pieces, and the liberalapplication of percussion exagger-ates that feel. The occasional slower,more contemplative introductions

for solo or duet are a welcome con-trast to the livelier main events thatfollow.

Sendebar also includes threeother works from Medieval Iberiansources, two of which are secularlove songs. While the liner notesgive brief descriptions of what thepieces are about, there are no trans-lations: we are directed to Sende-bar’s web site for additional infor-mation, texts, and translations.Despite the absence of this material,the recording is attractive and alluring.—Deborah Lawrence

Music for the Coronation of James II, 1685The Choir of the Chapel Royal andthe Musicians Extra-Ordinary,Andrew Gant, directorSignum SIGCD 09470:11 minutes

According to the detailed eye ofthe Lancaster Herald, Francis Sand-ford, the festivities celebrating thecoronation of King James II andQueen Mary featured a massive ban-quet—with such yummies as cold

stags’ tongues and hot coxcombs—processions, fireworks, and, ofcourse, music. This recording pres-ents some of the music that washeard, or could have been heard, atthe coronation ceremony. While nota strict reconstruction, it nicely cap-tures the flavor of the event.

There is plenty of remarkablemusic on this program, and the factthat it is sung by the Queen’s ownChoir of the Chapel Royal (of whichthe young Henry Purcell was a mem-ber) lends a kind of quaint authen-ticity. The use of litany (ThomasTallis’s gorgeous setting) and chant(Willam Turner’s “Come Holy Ghost”

with its awk-ward butcompellingupwardchromati-cism) add tothe “authen-tic” feel.

It’s refreshing to hear the excel-lent music of William Child (1606-1697) and Turner (1651-1740), whorepresent the long continuous life ofthe Chapel Royal—Child linking thechoir of Orlando Gibbons to Purcell,and Turner linking Purcell to Handel.Naturally, there is also music by JohnBlow (1649-1708), “God spake

sometime in visions,” and Purcell(1659-1695), “My heart is inditing.”Both works are cornerstones of theearly Anglican choral tradition andare nicely performed here.

There are instances when someof the boys of the choir bray theirmusic, but Andrew Gant reins themin, and the listener is ultimatelystruck more by their enthusiasmthan their occasional wanderingpitch or lack of ensemble. Contribu-tions by the strings, cornetts, andsackbuts of the Musicians Extra-Ordinary are tasteful if somewhatmuted in the murky acoustic of theChapel Royal of St. James Palace.Despite some quibbles, I love theprogram concept and most of the execution.—Craig Zeichner

The Pleasures of the FrenchBrooklyn BaroqueQuill Classics QC 100760:01 minutes

This is the second release by theensemble of Andrew Bolotowsky(Baroque flute), David Bakamjian(Baroque cello), and Rebecca Pechef-sky (harpsichord). This collection ofFrench works gives a close-up viewof Parisian chamber music from theend of the 17th century through the

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first half of the 18th. Pechefsky’s typically engrossing

notes focus on the Italian influencepervading French musical culture atthe time, beginning with FrançoisCouperin (1668-1733) and his Qua-torzième Concert for flute and con-tinuo. In the case of Jacques Hot-teterre’s (1674-1763) Sonata in B

Minor (forrecorder,flute, andcontinuo),the lastmovement ismarkedVivement, et

croches égales, and the effect israther more Italianate.

That there was such an influenceis clear from this recording; on theother hand, it reminds me a bit ofMilton Babbitt’s All Set for jazzensemble; no one who has heardboth jazz and serial music wouldthink of it as anything but a serialpiece. So, for all of the references toCorelli and Geminiani, the result, aspresented in this recording, is pureFrench.

As usual, however, there areexceptions that prove the rule. TheSonata in G Major by Elisabeth-Claude Jacquet de La Guerre (1665-1729) is a captivating amalgam ofnot only French elegance and Italianmelody, but also moments of realdrama. Bolotowsky, whose playingthrough all of the tracks is sensitiveyet pointed, breathes special intensi-ty and excitement into the piece.And we get not only lush playingbut also fireworks from Bakamjian inthe Sonata in E Major for cello andcontinuo by Jean-Baptiste Barrière(1707-1747), himself a cellist. Thissonata, from a 1733 collection, is areal masterpiece of virtuosity andcompositional inventiveness, proba-bly unknown for the cello at thetime.

Pechefsky’s playing is typicallyfluid, and the interplay between herand Bolotowsky is very sensitive.Gregory Bynum (recorder) and Chris-tine Gummere (Baroque cello) haveprovided additional skillful support.—Stephen Dydo

Chants d’Acadie: Tout passe Suzie LeBlanc, soprano; DavidGreenberg, violin; Chris Norman,flute; Betsy MacMillan, viola dagamba; Sylvain Bergeron, lute; DavidMcGuinness, harpsichord; Shawn

Mativetsky, tablaATMA Classique ACD2 252260:19 minutes

The Acadians are the descen-dants of 17th-century Frenchcolonists who settled in the Canadi-an Maritime provinces. Living on thefrontier between French and Britishterritories, Acadia was passedrepeatedly from one side to theother, and the Acadians learned tosurvive by refusing to take up armsfor either side.

At the beginning of the Frenchand Indian War in 1755, Acadia was British, and the governmentdemanded that its inhabitants fightagainst the French. Most refused.

The Grand Dérangement, orGreat Expulsion—the forcible depor-tation of the Acadians—followed.Thousands were killed, thousands

moreexpelledfrom theirhomes; fami-lies weresplit, and theAcadianswere scat-

tered throughout the Americancolonies and Europe. Gradually,some made their way to Louisiana,where they eventually becameknown as Cajuns. They were allowedto return to Canada in 1764, butmany never made it home andremained scattered.

Acadian soprano Suzie LeBlanchas assembled this collection of herhomeland’s folk music by travelingup and down North America, as farnorth as Newfoundland and as farsouth as Louisiana. Acadian musicsounds a bit Celtic, a bit French, buthas a character all its own. The 10songs and eight instrumental pieceshere are about change, pilgrimage,and life far from home. Some arehauntingly sad, some are brightreels, and some are sweet lovesongs.

The performances are uniformlyexcellent—heartfelt, moving, expres-sive, with the highest standards ofmusicianship. There is a perfect bal-ance between LeBlanc’s vocals andher very talented band. ATMA bringsits usual high recording standards tothe project, and LeBlanc expertlyuses her astonishingly beautiful,muscular voice to tell rich, passionate stories. —Beth Adelman

58 Fall 2007 Early Music America

Recorder and Viol PlayersElderhostel Workshops

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www.hiddenvalleymusic.orgHVMS@aol.com

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