Customer Reviews

Das Partiturbuch: Instrumental Music at the Courts of 17th Century Germany

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This is a delightful collection of music by obscure composers who worked in the German-speaking areas of Europe during the 17th century. It is also an entertaining exploration of the various approaches to the ostinato; four of the works are titled "ciaconna", and at least two others have substantial sections featuring bass ostinati. The strongest works in terms of inventiveness are the three by Antonio Bertali, whose Sonata in D minor has a beautifully moving section in it that reflects a familiarity with certain works by Monteverdi, and whose Ciaconna in C major rivals the famous ostinato aria by Merula in its joy and cleverness.

Ensemble Echo du Danube, playing on period instruments, is a good group, although there is a bit too much of the pulling-a-cat-through-a-keyhole tone from the violins for my taste. Nonetheless, a good disc for listeners who enjoy exploring the unknown and discovering gems.

If you're curious as to the value that I place on this recording, consider the following: out of my personal collection of approximately 6,500 CDs, this is the only disc that has ever prompted me to write a review. I consider it to be that good. If one is a devotee of Baroque chamber music, he or she will find many delights in both the compositions and in the performances. If one is particularly enamored of Baroque chaconnes, passacaglias, ground bass, and variations, then this recording will be an absolute pleasure.

I find that the Ensemble Echo Du Danube takes a well-balanced approach to this music. The group, which uses an historically informed approach, is able to remain faithful to the period while avoiding the pitfall of becoming slaves to dry academia. The Ensemble brings this music to life. Unlike a previous reviewer, I find the tone of the strings to be perfect for these pieces. Naturally, this is a matter of personal taste, and my comments aren't meant to disparage another's preferences, but to my ears, the sparing use of vibrato on what must be gut-strung instruments, only serves to help move the melodic line forward. It serves to put more emphasis or focus on the compositional line, rather than on flowery technique. Incidentally, to hear the dulcian, the forerunner of the modern bassoon, played in this context is a delightful surprise. When one does get to hear a dulcian in performance, which isn't often, it's nearly always in concerts of Renaissance music. One usually hears instead the bassoon being used in Baroque chamber music, and, with some exceptions such as Vivaldi's bassoon concerti, most often as a continuo instrument. It is the care and attention to details such as this which only add to the quality of this recording. I only wish that all one hundred pieces in the Partiturbuch were available on disc, and hopefully by this ensemble. One can only hope that Naxos will release a second volume of pieces from this source.

For those listeners who do find this type of chamber music to be to their taste, may I also recommend the Kuijken's version of Marais' La Sonnerie De Sainte Genevieve. Nearly everything that the Kuijken brothers perform is top-notch. Jordi Savall's performance of La Sonnerie is also excellent, as well. Couperin and Vivaldi, among other Baroque composers, have written variations on La Folia. There are good versions, again by Savall and Hesperion XXI, on their disc "Altre Follie", which is on the Alia Vox label.

One has to commend Naxos for making this music available. By having a well-distributed, yet reasonably priced line of recordings, not only will the music lover be exposed to new treasures, but formerly obscure composers can be stopped from being relegated to the dustbin of time. In these days in which so many forms of media are switching to a virtual format, it is heartening to see that there are a few labels that continue to produce tactile recordings that one can actually hold and examine!

Please obtain this disc, and help keep the music alive, and available.