Fanfare Magazine: 44:4 (03-04/2021) Pour
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Harmonia Mundi
HMM905322
Code-barres / Barcode : 3149020941669
Outil de traduction ~ (Très approximatif)
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Reviewer: Michael
De Sapio
This
disc aims at evoking the musical atmosphere of London in the early 18th
century, when the city was under the sway of Italian opera and Italian
instrumental music in the Corellian style. The booklet notes, by the
ensemble’s leader Florence Bolton, give us valuable historical background on
musical patronage and an engaging portrait of London musical society,
including the many foreign musicians who made their careers there. There
seems to be a subtext in the program about the displacement of the recorder
by the transverse flute, which happened around 1730; both instruments are
featured extensively. Alas, this is one of those instances where the booklet
notes are more interesting than the music. Much of this strikes me as pale,
bourgeois imitations of better models. This is particularly true of the
offerings by William Babell and Johann Christian Schickhardt. The one
exception is the Handel Sonata for Viola da Gamba, a work often played on
the violin (the London publisher John Walsh started the confusion by
presenting it as a work for violin, flute, or oboe). The early Handel
Concerto a quattro, at one time attributed to Telemann, is formula work and
fairly undistinctive. Schickhartdt’s arrangement of one of Corelli’s opus 6
Concerti Grossi for recorders and continuo adds nothing to the luster of the
violinistic originals. Even Geminiani’s op. 1 Sonata seems to be riding the
coattails of Corelli without adding anything much that’s new or original.
Instrumental arrangements of opera arias by Handel and Nicola Haym fail to
make any impression. The interpretations of the French group La Rêveuse
typify a certain style of Baroque performance today: slightly caustic and
astringent, slightly mannered, a bit overly enthused with itself.
In sum, this is
a fairly nondescript addition to the never-ending flow of Baroque
recordings. It would have perhaps been more interesting to hear from some
native English composers of this period.
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