Benedetto Marcello Psalms; Voces8, Les Inventions; Signum Classics
Reviewed by Robert Hugill on Sep 22 2015
Star rating:
A delightful discovery, Marcello's settings of the psalms in a lovely new disc from Voces8
Who knew that these delightful works existed? Benedetto Marcello's psalms, Estro poetico-armonico are settings of the first fifty Psalms of David in Italian paraphrases. This disc on Signum Classics label from Voces8 and Les Inventions contains four psalms in English made by the 18th century English composer Charles Avison, Psalm 11, Psalm 32, Psalm 50 and Psalm 46 along with Marcello's Ciaccona from Sonata Op.2 No.12 and Canon Triplex.
Reviewed by Robert Hugill on Sep 22 2015
Star rating:
A delightful discovery, Marcello's settings of the psalms in a lovely new disc from Voces8
Who knew that these delightful works existed? Benedetto Marcello's psalms, Estro poetico-armonico are settings of the first fifty Psalms of David in Italian paraphrases. This disc on Signum Classics label from Voces8 and Les Inventions contains four psalms in English made by the 18th century English composer Charles Avison, Psalm 11, Psalm 32, Psalm 50 and Psalm 46 along with Marcello's Ciaccona from Sonata Op.2 No.12 and Canon Triplex.
Benedetto Marcello was a Venetian born composer, from a respected family so that he combined career in law with one in music, studying with both Lotti and Gasparini. His Estro poetico-armonico was published in 1724 to 1726, setting the first 50 psalms in paraphrases by Girolamo Ascanio Giustiniani. The psalms were immediately extremely popular, and were translated into a wide number of languages. Venice had the oldest Sephardic community in Italy, and Marcello's music seems to include sections based on Hebrew psalmody. In fact, Marcello's psalms were used in a wide variety of religious traditions including Lutheran, Anglican and Jewish.
The psalms were published with a simple figured bass with no indications of instrumentation, so for variety and flexibility, this disc uses harp, theorbo, organ, cello and double bass, and occasionally there is an obligato instrument.
Voces8 |
This means that the music is more varied and more chorally interesting than something like a 17th century Verse Anthem. Some sections are extremely varied and highly detailed in their textures, whereas others include long structured sections such as Psalm 32 with its Blessed is the man over a long ground bass, but others are truly quicksilver. There is an appealing artlessness and directness of expression in this music, but it is certainly by no means simple or simplistic.
The writing is quite madrigalian and different psalms use different choral forces, alongside the soloists. In the performances there is a fine match between the work and the vocalism with Voces8's highly polished very solo-based ensemble (a style that I feel has not always matched their repertoire in the past) working well. As we would expect from this group, the vocal performances are very polished with fine diction (you don't need the words, which are however printed in the CD booklet). Les Inventions provide fine support.
The instrumentalists get to show their paces on their own with the Ciaccona from Marcello's sonata, which is a lovely dancey piece. The disc concludes with the wonderfully rich six-part canon which comes at the end of Marcello's Estro poetico-armonico.
This is a lovely disc and a delightful discovery. These works certainly deserve to be better known and what better way to get to know them via these wonderfully fresh performances.
Benedetto Marcello (1686-1739), edited/translated Charles Avison (1709-1770) - Psalm 11: In the Lord my God put I my trust (1724-26/1757) [9.07]
Benedetto Marcello (1686-1739), edited/translated Charles Avison (1709-1770) - Psalm 32: Blessed is he whose wickedness is forgiven (1724-26/1757) [17.06]
Benedetto Marcello (1686-1739) - Ciaccona from Sonata Nr12 Opus 2 [4.16]
Benedetto Marcello (1686-1739), edited/translated Charles Avison (1709-1770) - Psalm 50: The Lord Jehovah, even the most mighty God, hath spoken (1724-26/1757) [16.01]
Benedetto Marcello (1686-1739), edited/translated Charles Avison (1709-1770) - Psalm 46: God is our refuge and our strength (1724-26/1757) [9.00]
Benedetto Marcello (1686-1739) - Canon Triplex: In omnium terram exivit sonus eorum [4.25]
Voces8 (Andrea Haines, Emily Dickens, Barnaby Smith, Christopher Wardle, Charles MacDougall, Robert Mingay Smith, Paul Smith, Dingle Yangle)
Les Inventions (Reinhild Waldeck - harp and recorder, Etienne Galletier - theorbo, Mark Dupere - cello, Thomas de Pierrefeu - violone, Patrick Ayrton - organ)
Recorded France, 17-17 August 2015
SIGNUM CLASSICS SIGCD391 1CD [59.57]
Elsewhere on this blog:
- Gripping: Bellini's I Puritani in Cardiff - Opera review
- Serious Drama: Handel's Orlando in Cardiff - opera review
- Hear the message: Bob Chilcott's The Angry Planet - CD review
- The lute song re-invented: Amores Pasados, from John Potter, Anna Maria Friman, Jacob Heringman and Ariel Abramovich - Cd review
- Through a romantic lens: Hideko Udagawa in baroque repertoire - Cd review
- Festival finale: King's College Choir & Stephen Cleobury in Mozart's Requiem at Hatfield House - concert review
- On Thrilling Form: English National Opera in Lady Macbeth of Mtsensek - opera review
- London International A Cappella Choir Competition: Heat 2 at St John's Smith Square - concert review
- New orchestra, new concert hall: I chat to Laurence Equilbey about Accentus, Insula and La Cité musicale départementale de l'Ile de Seguin - interview
- Red Note Ensemble: Entangled Fortunes, music of John McLeod - CD review
- Post-Freudian opera: Pierre Bartholomee's Oedipe sur la route - Cd review
- Celebrating 10 years: Stile Antico - Cd review
- Intimate and inward: Mahler songs from Anne Schwanewilms - CD review
- Remarkable engagement between artist and role: Juan Diego Florez in Gluck's Orphee et Eurydic - Opera review
- Building on the Schubert Project: My encounter with Oxford Lieder Festival founder Sholto Kynoch - interview
- Virtuoso drama: Pergolesi's Adriano in Siria from Opera Settecento - opera review
- Home
No comments:
Post a Comment