Schmelzer Sonatae Unarum Fidium
German baroque repertoire that engages the head as much as the fingers, and in which John Holloway and his colleagues succeed triumphantly
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Heinrich Schmelzer, Anonymous, Antonio Bertali
Genre:
Chamber
Label: ECM New Series
Magazine Review Date: 1/2000
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: 465 066-2
Tracks:
Composition | Artist Credit |
---|---|
Sonata for Scordatura Violin and Basso Continuo |
Anonymous, Composer
Aloysia Assenbaum, Organ Anonymous, Composer John Holloway, Violin Lars Ulrik Mortensen, Organ Lars Ulrik Mortensen, Harpsichord |
Chiaconna |
Antonio Bertali, Composer
Antonio Bertali, Composer John Holloway, Violin |
Sonatae unarum fidium |
Johann Heinrich Schmelzer, Composer
Aloysia Assenbaum, Organ Johann Heinrich Schmelzer, Composer John Holloway, Violin |
Author: Jonathan Freeman-Attwood
The playing in this technically demanding repertoire is dazzling, and the intonation faultless. Yet equally impressive is the measured classicism and subtle poetical restraint of the protagonist, John Holloway. Not every bar of Schmelzer's set is compelling and Holloway opts for a consistent clarity of sound rather than milking every note as if it is of earth-shattering importance; he uses rubato discerningly, as in the introspective musings in the Fifth Sonata where the naturally delivered narrative is beautifully and elegantly articulated. The idea of a double continuo of organ and harpsichord is highly effective throughout. The first recording of Sonatae unarum was made by Romanesca, and they too opt for a counterpoint of continuos with organ and theorbo. The sense of a rich consort-like texturecan only bring a much-needed breadth to music which might otherwise test the concentration over the course of an hour.
To choose between these two fine recordings is not easy without significant qualification, save to say that Romanesca is more consistently adventurous and theatrical. Holloway and his excellent keyboardists - as in the beguilingly tuneful final Sonata - are less extrovert, softer-grained and more inclined to hover with sweet and restrained decorum. Both recordings are exceptional in their way, revealing how much interpretative leeway Schmelzer gives his players.
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