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 «Music
for the court, music for dancing, music for banquets, music for
festivals. At the service of the Viennese Habsburgs, Johann Heinrich
Schmelzer was a great purveyor of sonatas and balletti, adapting in situ
the Italian style initiated by the Venetian Dario Castello among others.
Modestly and patiently he pleased the public, so much so that he was
ennobled by the emperor, Leopold I, who was seduced by the wide palette
of colours and the sumptuous instrumentation of his music.
In
making their choice from among such abundant and consciously
wide-ranging works, the Baroque group Musica Fiata has stamped on these
pieces its own indelible stylistic mark. There is even a sense of noble
decorum when the occasion calls for it, a welcome touch of exoticism.
One can find here the entire gamut of versatile and provocative
approaches all of them harmoniously accomplished. Engaged in a
stimulating rhythmic and polychoral combat (Ballet of the Centaurs,
Ninfe e Salvatici a 3 Cori, Sonata Natalitia a 3 Cori, whilst not shying
away from the note of rustic vehemence apportioned by the Piffarri
Consort), this reading never stoops to rash acts of empty virtuosity, as
witnessed by the infallible cornetti of Roland Wilson. Within the rather
small discography of Schmelzer, this present release is a must.»
Roger
Tellart
Goldberg,
settembre 2003
«Nicht
nur als Geiger, sondern auch als Komponist von klein und groß besetzter
Ensemblemusik hat Johann Heinrich Schmelzer sich einen Namen gemacht.
Die vorliegende Aufnahme deckt das ganze Spektrum, beginnend bei einer
Sonate für Geige und Fagott bis hin zu dreichörigen Werken, ab. Grundsätzlich
ist die Darstellung sehr zu begrüßen, da außer solchen Stücken, die
gedruckten Zyklen entstammen (Sacro-profanus concentus musicus und
Duodena selectarum sonatarum), auch unveröffentlichte Werke
erklingen. Der Klang selbst ist aber zwiespältig, und zwar im wörtlichen
Sinne: Musica Fiata strebt keine Klangverschmelzung, sondern eine
Klangspaltung an, was bedeutet, daß vor allem die Geigen und Kornette
in der Höhe sehr scharf (und manchmal auch nicht ganz sauber) ertönen.
Ähnlich steht es mit der Expressivität, dem „Aus-Druck“, bei dem
allenthalben ein großer Druck zu spüren ist, während die
freischwingende Resonanz eher in den Hintergrund tritt; an manchen
Stellen wäre schlichtweg eine entspanntere Kantabilität zu wünschen.
Andererseits steht außer Frage, daß Roland Wilsons Musiker sehr gut
artikulieren und nicht nur den sprechenden, sondern auch den tänzerischen
Charakter von Schmelzers Musik angemessen zum Klingen bringen. Insgesamt
ist diese Aufnahme eher etwas für Spezialisten, die ein ausgeprägtes
Interesse an diesem Repertoire haben.»
Matthias
Hengelbrock
Klassik
Heute,
20.02.2003
«For
Baroque music lovers, Johann Heinrich Schmelzer's name is remembered for
his lavish music for solo violin. On this CPO release, however, we are
treated to a whole other facet of his output. As soon as we hear the
thunderous trumpets and percussion in the Sonata à 12 that opens the
disc, we know that we are far from Schmelzer's more sedate and
well-mannered violin sonatas. Even so, the violin figures prominently in
many of these works; it's a potent reminder of Schmelzer's own
virtuosity as a soloist.
This collection includes a couple of excellent examples of Schmelzer's
prolific output as a dance music composer. As its name suggests, the
Balletto di centauri, ninfe et salvatici is a spritely work, and the
Musica Fiata players perform it with a lovely lightheartedness. In the
Balletto di spiritelli, however, the horns are too timid in the opening
Sonatina. Even so, these players perform Schmelzer's difficult parts
with such nimbleness and agility (choosing clean articulation over
bravado) that their momentary lapse is easily overlooked. Indeed, this
collection shows off the brass players to brilliant effect: the lithe
Sonata à 4 "La Carolietta" (scored for violin, cornetto, trombone, and
horn) is beautifully balanced and light-textured. Similarly, there's a
breathtaking agility in the Sonata à 3 "La Pastorale", written for two
violins and trombone plus three small instrumental choruses.
There is immense appeal in this charming, unknown repertoire and in the
delightful performances; however, there is a problem with the sound in
one selection. The Sonata à 2 for violin and horn includes a continuo
part for organ, and the organ is quite a bit more prominent than the
other instruments--to the point that any chord sounded in the organ's
lower register is headache-inducing. The problem reappears in the Sonata
IV à 6 viols, though there it's less pronounced.
Anastasia Tsioulcas
ClassicsToday.com
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