Concerti Curiosi reviews

Concerti Curiosi

Signum Classics SIGCD249

The Independent

Concerti Curiosi builds on the popularity of Charivari Agréable's recent recording of "Pachelbel's Vespers", the period ensemble here turning its attention to assembling a range of concerti by lesser-known composers of the Baroque era.

The highlight is Pietro Domenico Paradies' aptly-titled "A Favourite Concerto", a delightful harpsichord piece that affords the ensemble's director Kah-Ming Ng full rein to display his keyboard prowess. Soloist Jamie Savan is similarly dazzling on the two cornett concerti, by Pietro Baldassari and polymath Johan Daniel Berlin, of which the latter's "Sinfonia à 5" offers an intriguing blending of the cornett's neat, upright tone with the droney textures of strings and harpsichord.

Andy Gill

The Guardian/Observer

…charming journey through the baroque backwaters

As its name suggests, this is a real cabinet of curiosities – rarely heard but charming concerti by the smaller stars of the baroque firmament, played with energy and flair by the multi-talented soloists of the Oxford-based Charivari Agréable (or "pleasant tumult"). Composer Pietro Domenico Paradies' "A Favourite Concerto" provides a fine vehicle for director Kah-Ming Ng to impress at the harpsichord, but it is Jamie Savan's cool, straight tone on the cornett that stands out, both in Pietro Baldassari's Sonata for cornett and strings and in Johan Daniel Berlin's Sinfonia à 5.

Stephen Pritchard

The Sunday Times

Each of the seven works here – many by names unfamiliar even to those who frequently graze baroque fields – is beautifully crafted and ear-teasing. The CD opens brilliantly with the Neapolitan Paradisi's A Favourite Concerto for the organ or harpsichord. In Anton Reichenauer's Concerto à 5 for oboe, and in Pepusch's so-called Concerto, for four violins, we hear Vivaldi's influence, while Croft's Sonata possibly arises from a Torelli piece. Otherwise there's a lovely trumpet concerto by Hertel and a lovely pair of works for cornett by Baldassare and Berlin.

Stephen Petitt

The Gramophone

Not just several 18th-century concertante works probably making first appearances on disc but also an unusual range of scorings that gives the young soloists of Charivari Agréable chances to shine. No one could fault this ensemble for taste or stylishness. The recorded sound mixes bloom and transparency perfectly. These concerto rarities - lovingly unearthed by this enterprising little orchestra - do indeed provide much to interest the curious-at-heart.

Lindsay Kemp

WDR (West-deutsche Rundfunk) http://www.wdr3.de/tonart/details/artikel/wdr-3-tonart-fa0eb4d080.html

Brimming with the warmth of British excellence - pleasant, crystal clear and decorous - Concerti Curiosi is a programme selected with great forethought, comprising cleverly ordered treasures of baroque and early classical concertos, each in its own distinct style. Soloists and ensemble merge into a musical unity, and so it should be: playing concertos not by pitting one against the rest, but in harmonious cohesion. As Kah-Ming Ng plays his runs with elegance and a lightness of touch, Charivari Agréable accompanies with delicacy and precise intonation.

"This curious conglomeration of concertos is a celebration of contrasts" - "Diese kuriose Zusammenstellung von Konzerten ist ein Fest der Kontraste", schreibt der Leiter des britischen Ensembles Charivari Agréable, Kah-Ming Ng, über die neueste CD mit "Concerti curiosi", Solokonzerten von Pietro Domenico Paradies, Johann Daniel Berlin, Johann Christoph Pepusch und anderen. Mit dieser CD feiert Charivari Agréable ein kleines Jubiläum: es ist der zwanzigste Tonträger in 18 Jahren. Vielfalt und Kontrast waren dabei immer die Maximen der Musikauswahl - und so verhält es sich auch mit den "Concerti curiosi" der neuen CD. Da erfährt man etwa, dass selbst nach Bachs Tod noch Konzerte für Zink geschrieben wurden, ein Instrument, das zu diesem Zeitpunkt seit Jahrzehnten nur noch ein Schattendasein führte. Ein solches Konzert stammt von dem preußischen Komponisten Johann Daniel Berlin, der 1744 als Organist in Trondheim das erste musikalische Lehrbuch in norwegischer Sprache verfasste. Auch zwei englische Komponisten sind vertreten: William Croft und der in Berlin geborene Johann Christoph Pepusch, die beide 1713 in Oxford zu Doktoren der Musik promoviert wurden. Während Crofts Musik heute aber vollkommen vergessen ist, konnte sich Pepusch wenigstens mit seiner "Beggar's Opera" (der Vorlage für Brechts "Dreigroschenoper") einen Namen machen. Auch die anderen Komponisten - Anton Reichenauer, Pietro Domenico Paradies, Pietro Baldassari und Johann Wilhelm Hertel - kennt man kaum. Ihre Konzerte atmen den virtuosen und frischen Geist Vivaldis, verknüpft mit der Empfindsamkeit des Rokoko. Vor allem eines an dieser Musik sei faszinierend, schreibt Kah-Ming Ng: dass sie zwei gegensätzliche Konzepte vereine, nämlich auf der einen Seite die Individualität des Solisten, der sich über das Ensemble erhebt und eine Sonderrolle beansprucht, und auf der anderen Seite das "Konzertieren" im ursprünglichen Wortsinn von "concertare" - "übereinstimmen". Mit diesen beiden Schlagwörtern sind auch die Qualitäten des Ensembles Charivari Agréable treffend umschrieben: die perfekt eingespielte Gruppe bildet einen homogenen und dabei stets äußerst vitalen Klangkörper, gleichzeitig aber glänzen die Solisten (allesamt Musiker aus den eigenen Reihen) mit feuriger Virtuosität..

Jan Ritterstaedt

BR–Klassik Tafel-Confect (Bayerische Rundfunk)

http://www.br-online.de/br-klassik/tafel-confect/kostprobe-tafelconfect-110522-ID1305618794165.xml

Above all, one thing that fascinates in this music is the unity of the two dichotomous concepts of, on the one hand, the individuality of the soloist, which rises above the ensemble and thus demands a special role, and, on the other, 'playing in concert' - ie. playing in accord. Both bywords also aptly illustrate the attributes of Charivari Agréable: the perfectly congruent group paints a homogenous and an unfailingly outstanding vital sonority, allowing the soloists (selected from within their own ranks) to shine with fiery virtuosity.

Wolfgang Schicker

Classissima.com

http://www.classissima.com/de/reader/de-322240/eNoNyVEKgCAMXDDQu_Q_Z0EQdhob4gbqxK371_t9lq4jbew-E6IQA-enQC2sZXl4mlab6oG04xH3HeOJpIP-FKB3iZqASR1vB2rZTMgCe2_b_QF1pB-X/

It is ensembles such as Charivari Agréable, for which we have to thank for bringing to our attention – and for discovering – that there is yet ravishing music that merits revival. The works on this CD are scintillating, perfectly crafted, and, so original that one would want to hear them again immediately. … Those who wish to perform such works must undoubtedly expend the effort to make performing materials out of the autographs. In this case, it has been worth all the effort. Kah-Ming Ng and his musicians have found an interesting concept for their 20th CD. The soloists are without exception excellent, and the selected rarities are presented with vibrancy and verve. Worth a listen!

Allmählich werden sie wiederentdeckt – jene barocken Solokonzerte, die nicht (mehr) unseren Vorstellungen entsprechen, wie ein Solokonzert auszusehen hat. Mitunter liegt es am Solo-Instrument: Ein Fagott als Solist im Konzert des städtischen Sinfonie- orchesters? Da fliegen die Brauen in die Höhe. Schon eine Viola wäre ein Ereignis. Über eine Harfe, Violine, ein Violoncello oder ein Klavier hingegen wundert sich kein Mensch. Vieles ist also Konvention, und es ist nicht zuletzt Ensembles wie Charivari Agréable unter Kah-Ming Ng zu verdanken, wenn wir darauf aufmerksam werden - und entdecken, dass da noch immer wunder- schöne Musik auf ihre Wiederaufführung wartet. Die Werke auf dieser CD sind geistreich, handwerklich perfekt gemacht, und so originell, dass man einige gleich noch einmal hören möchte, um sich verwun- dert die Augen zu reiben: Eine Sonate für Zink und Streicher, wie sie Pietro Baldassari (etwa 1683 bis nach 1768) komponiert hat, wäre vor hundert Jahren schon deshalb nicht aufführbar gewesen, weil kaum noch jemand in der Lage war, den Zink zu blasen. Dieses Instrument, das man sich wie eine Blockflöte mit Trompetenmundstück vorstellen muss, war bis Mitte des 17. Jahrhunderts sehr beliebt, weil es die menschliche Stimme besonders gut imitieren soll – und es verschwand mit dem Aufkommen der modernen Violine nahezu schlagartig. Auch unter den wenigen überlieferten Werken von Johann Daniel Berlin (1714 bis 1787), einem dänisch-norwegischer Komponisten, findet sich eine Sinfonia à 5 für Zink. Die Violinen, damals noch neu und sozusagen in Erprobung, sind auf dieser CD ebenfalls mit zwei Werken präsent — beide stammen aus Großbritannien, und beide verwenden das Streichinstrument gleich im Rudel: Johann Christoph Pepusch (1667 bis 1752) schrieb ein Concerto für gleich vier Violinen (aber ohne Orchester); sein Kollege William Croft (1678 bis 1717) hingegen billigte den fünf Soloviolinen, die er für seine Sonata vorschreibt, immerhin noch die Unterstützung durch ein Continuo zu. Weniger experimentell, sondern eher solides Handwerk sind das Favoritkonzert für Orgel oder Cembalo von Pietro Domenico Paradisi (1707 bis 1791), das Concerto à 5 für Oboevon Anton Reichenauer (1694 bis 1730), das doch stark an Vivaldi erinnert, sowie das Con- certo Nr. 3 für Trompete von Johann Wilhelm Hertel (1727 bis 1789). Bei der Auswahl sowie der Anzahl der Soloinstrumente und bei der Gestaltung der diversen Parts scheinen sich die Musiker seinerzeit wohl eher an den Vorlieben des Publikums, der Besetzung der je- weiligen Kapelle und den Fähigkeiten der Beteiligten orientiert zu haben als an abstrakten Regelwerken oder hochfliegenden ästhetischen Konzepten. Mancher Virtuose schrieb sich schlicht die Konzerte für sein Instrument selbst. So scheinen denn die Handschriften aus jener fernen Zeit in erster Linie Auskunft über die Musizierpraxis zu geben. Wer solche Werke aufführen will, der muss freilich erheblichen Aufwand treiben, um aus Autographen ein brauchbares Aufführungs- material zu erstellen. In diesem Falle hat sich die Mühe gelohnt. Kah-Ming Ng und seine Musiker haben für ihre 20. CD ein interessantes Konzept gefunden. Die Solisten sind durchweg exzellent, und die ausgewählten Raritäten werden frisch und schwungvoll präsentiert. Hörenswert!

Music Web International

http://www.musicweb-international.com/classrev/2011/June11/ConcertiCuriosi_SIGCD249.htm

The ensemble Charivari Agréable was founded in 1993. Since then it has made recordings on a regular basis. A feature of its discography is that its director, Kah-Ming Ng, avoids the well-trodden paths. No Brandenburg Concertos, no Handel concerti grossi or Vivaldi's Four Seasons. He rather turns his attention to psalm settings by English composers of the 17th century, songs and dances from the Hispanic Baroque or "Music for Gainsborough by his contemporaries". All these recordings contain rare music which is seldom heard and often never recorded before. That makes the ensemble take a special place in the early music scene.

It is only fitting that their 20th disc is devoted to "concerti curiosi". All these pieces are rare indeed and for various reasons. Some composers are not very familiar, like Johan Daniel Berlin, Pietro Baldassari and Johann Anton Reichenauer who doesn't even have an entry in New Grove. Some compositions are curious because of the uncommon scoring. That is certainly the case with the two compositions for four violins, and even more so with the two in which the cornett plays a solo role.

The cornett was a common instrument in the 16th century, and often participated in performances of sacred music, either supporting or replacing singers. In the early 17th century it was used as a solo instrument in sonatas and canzonas, and was highly celebrated for being a close imitation of the human voice. From the mid-17th century it gradually fell into disuse. In the 18th century hardly any composer wrote music for the cornett. One of the last composers who made use of it was Johann Sebastian Bach in some of his cantatas. It still remained a part of the ensembles of the Stadtpfeifer in Germany and comparable ensembles in Italy. The most famous of the latter was the Concerto Palatino of Bologna which was active until 1779. Even so it is quite remarkable that Pietro Baldassari composed a Sonata for cornett and strings, one of two for this scoring. The form of a piece for solo cornett and strings is quite rare. Over the years I can't remember having ever heard a composition like it. It should be noted that the terms concerto, sinfonia and sonata are to a large extent interchangeable. Therefore Johan Daniel Berlin's Sinfonia No. 2 à 5 for cornett and strings is not different in the treatment of the cornett. Berlin was of German birth, but spent most of his life in Norway. He was not only involved in music, but also acted as an inventor. Most of his music is lost, amongst which is a concerto for an instrument called cembalo da gamba verticale. In the writing of his Sinfonia he may have been inspired by the Stadtpfeifer he met in Copenhagen, where he stayed for seven years. These pieces by Baldassari and Berlin are musically quite good and an interesting addition to the repertoire for cornett players. They are given fine performances by Jamie Savan.

Whereas the cornett became obsolete the trumpet was given an increasingly important role. Originally it was used for military and ceremonial purposes. That role was reflected in a way in the 17th century, when trumpets were used in music of a military character or in sacred music written to celebrate military victories. Settings of the Te Deum, but also of the Magnificat, often included parts for one or more trumpets. With the emergence of the concerto in the early 18th century the trumpet was given a solo role by some composers. The fact that the number of concertos is limited is probably due to a lack of skilled players. This can be put down in particular to the fact that the trumpet had no finger holes and was hard to play in tune. Two composers of the German baroque nevertheless gave the trumpet special attention by writing several solo concertos: Johann Wilhelm Hertel and Johann Melchior Molter. Hertel's trumpet concertos belong to the best-known part of his oeuvre. They were written for the court of Schwerin, where the trumpet virtuoso Johann Georg Hoese was working. Their popularity among modern trumpeters can be easily explained, for instance by the Concerto No. 3 in D. The music is attractive, but also technically demanding for the soloist. Simon Desbruslais's performance leaves nothing to be desired: it is musically compelling and technically very impressive.

Compositions for four violins not as rare as concertos for the cornett. They were mostly written in Italy, and the former German ensemble Musica antiqua Köln once devoted a complete disc to such pieces (Archiv). In this respect the four concertos for four solo violins without accompaniment by Telemann also deserve to be mentioned. In those pieces the various violins get solo passages, whereas the others accompany. William Croft's Sonata for four violins and bc follows the same procedure, although Croft adds a part for the basso continuo. One probably wouldn't expect such a piece from Croft, in particular as it is written in a purely Italian style. The Concerto for four violins in a minor by Johann Christoph Pepusch is different in various respects. The four violins are not treated on an equal footing as they are in Croft's sonata. One of the violins gets a solo role whereas the others furnish accompaniment. Pepusch has also added a part for a viola, and that makes this concerto more like a 'conventional' solo concerto in Vivaldian style.

The influence of Vivaldi is traceable in all concertos on this disc. It was in particular his opus 3, L'Estro armonico, which was printed in 1711, which had a lasting influence on composers all over Europe. This opus also included several concertos for four violins, and these could well have inspired the likes of Croft and Pepusch to write for this scoring too. Of all composers on this disc Johann Anton Reichenauer seems to have had the most direct access to Vivaldi's music. He was at the service of the Bohemian count Wenzel von Morzin, who was the dedicatee of Vivaldi's op. 8. Reichenauer's Concerto à 5 in F is scored for oboe, strings and bc. The first movement begins with a passage in which the oboe plays colla parte with the first violin. Here Geoffrey Coates' oboe blends beautifully with the strings. In the adagio he can show his lyrical qualities.

Pietro Domenico Paradies was one of the many composers from the continent who settled in London in the first quarter of the 18th century. He composed several operas which were performed in the Haymarket Theatre in London. But he was mainly admired for his keyboard music. A set of 12 sonatas was printed in London in 1754 and found wide dissemination. They received praise from Leopold Mozart who urged his daughter Nannerl to study them. Two concertos for keyboard and strings are known from his pen. The Concerto in B flat was printed around 1768; the solo part can be played on harpsichord or organ. Although the concerto is in three movements like all pieces on this disc, the first movement consists of two sections, vivace e staccato and allegretto. In the first section we only hear the strings, in the second the keyboard comes in. Kah-Ming Ng gives a lively account of the solo part.

I have greatly enjoyed this disc and this is very much down to the original repertoire and the playing of the soloists. The performances of the tutti by the strings could have been a bit more colourful and dynamically differentiated. The violins are at their best in the two concertos for four violins. The recording is excellent and so are the liner-notes by Kah-Ming Ng. It is a shame that the track-list is somewhat inaccurate: neither keys - I have tried to add them as far as possible - nor the exact scoring are given.

This is a disc for adventurous music-lovers who like to extend their horizon and are not satisfied with listening to the same masterpieces over and over again. Charivari Agréable deserve our congratulations with this 20th volume in their impressive discography. May many more follow.

Johan van Veen

Tracklist

Pietro Domenico Paradies: A Favourite Concerto [solo harpsichord: Kah-Ming Ng] Anton Reichenauer: Concerto in F major [solo oboe: Geoffrey Coates]

Johan Daniel Berlin: Sinfonia à 5 [solo cornett: Jamie Savan]

Johann Christoph Pepusch: Concerto for four violins [solo violin: Persephone Gibbs]

Johann Wilhelm Hertel: Concerto per la Tromba [solo trumpet: Simon Desbruslais]

William Croft: Sonata for four violins + bc

Pietro Baldassari: Sonata per il cornetto [solo cornett: Jamie Savan]