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Reviewer: Peter
Loewen Patrick Allies approaches the music of Bach’s Leipzig from an unusual angle. It is not the music of Bach he’s interested in, but rather an anthology Bach purchased for the Thomaskirche in 1729. Erhard Bodenschatz’s Florilegium Portense (1618) includes music that was current in his time, by familiar German and Netherlandish masters such as Hans Leo Hassler, Orlando de Lasso, his student Andrea Gabrieli, and no fewer than 11 works by Hieronymus Praetorius (1560-1629). That is esteemed company for a little-known organist from Hamburg. And yet, on closer examination, one can see how well his music comports with masterpieces like Lassus’s motet ‘Tristis est Anima Mea’. For example, Praetorius’s motet ‘O Vos Omnes’ for Good Friday shows carefully controlled voice leading and an expressive use of dissonance, sometimes quite breathtaking, especially in his setting of the final text phrase “si est dolor similis sicut dolor meus”. It reminded me briefly of Tomas Luis de Victoria’s style.
The program is organized according to the days of Holy Week, with an emphasis on works by Praetorius for Easter Sunday. The major work is the Tulerunt Dominum Meum Mass, a parody of Praetorius’s motet ‘Tulerunt Dominum Meum’. The motet is remarkable for its jarring harmonic progressions (usually by thirds) and rhythmic agitation, which are typical of the early 17th-Century stile moderno. Mass movements begin with the same point of imitation before departing into new material. Allies programs Andrea Gabrieli’s ‘Maria Stabat ad Monumentum’, a gorgeous motet in its own right, between the Gloria and Credo of the Mass. The juxtaposition proves, again, how well Praetorius’s music comports with the standards of recognized masters of the age. The program concludes with Praetorius’s ‘Surrexit Pastor Bonus’.
One wonders whether the subtle genius of Praetorius’s music would be so pronounced were it not for the diligence of Siglo de Oro. Their pitch is spot on, harmonies balanced, phrasing well refined, regardless of its contrapuntal intricacies. The group made its professional debut in 2014 and they’re already accomplished. I’m ready for more. Texts and notes are in English. | |
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