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Abendmusik
CANTATAS FOR SOLO BASS ROSENMÜLLER · BRUHNS · TUNDER · WECKMANN · J.C. BACH
Mauro Borgioni ACCADEMIA HERMANS Fabio Ciofini
Abendmusik This recording focuses on the late-17th century musical scene in Germany prior to the works of J.S. Bach. Sandwiched between the Reformation and the beginning of the Thirty Years War, the period witnessed a burgeoning of sacred music that favoured the severe, evocative bass voice. The first track is the lament Wie bist Du den, O Gott im Zorn auf mich entbrannt by Johann Christoph Bach, the greatest of the older generation of one of the most prolific musical dynasties in history. Described by his second cousin, Johann Sebastian Bach, as “ein profounder Komponist”, Johann Christoph was the organist at the Arnstadt court in Thuringia, where he was born. In 1665 he took up the same appointment at the Georgenkirche in Eisenach, where he was also the Kammermusikus at court, maintaining this position through to his death in 1703. Though far from prolific, Johann Christoph was a composer whose oeuvre reveals remarkable formal mastery and expressive variety. Among the works recently attributed to him are the two laments: the Ach, daß ich Wassers gnug hätte for contralto; and the more expansive piece for bass voice recorded here. Originally thought to be the work of Johann Philipp Krieger, this lament consists of five sections that flow into each other, beginning with an austere instrumental introduction in E minor, which clearly heralds the atmosphere of the penitential psalm. The vocal incipits feature a basso continuo accompaniment, which then gives way to increasingly intense participation on the part of the other instruments, especially the first violin. Following the dramatic climax of the Du gibst mir manchen Stoß and the grieving Begehrst du Herzensangst sections, in the last page desperation seems to yield to hope. Nikolaus Bruhns and Franz Tunder were active in Lübeck, where they were part of the Marienkirche and Abendmusiken circles. Tunder was employed by the Cathedral from 1641 through to his death, and it was under his aegis that the “musical evenings” first got under way. They began as simple organ recitals for the citizens who used to meet up in the church while waiting for the stock exchange to open. Later, however, when Buxtehude took over the direction from Tunder, they became 2
sacred dramas on so grand a scale and of such widespread fame that Johann Sebastian Bach undertook the 400 km journey on foot in order to attend them. Bruhns, who had studied under Buxtehude, was organist at the Marienkirche, and then violinist and Kapellmeister at the court of Copenhagen. His output, which was also relatively small, included the De profundis (Psalm 130), structured in the style of the Italian cantata, with vocal lines of great expressive subtlety that accentuate the devotional atmosphere. Likewise somewhat Italianate is the motet Da mihi Domine composed by Franz Tunder, who Mattheson believes may have studied with Frescobaldi before moving back to Lübeck, where he spent most of his professional life. These two instrumental works bear witness to the cosmopolitan experience of both composers. Another composer to be influenced by Italian music was Johann Philipp Krieger, who was born in Nuremberg and held the post as Kapellmeister at Weissenfels, following a rich and varied period of study in Copenhagen, Bayreuth, Venice and Rome. Particularly important for his development as a composer were his studies with Antonio Maria Abbatini and Bernardo Pasquini in Rome, especially as regards vocal repertoire, and the Sonate a tre, which are clearly inspired by Corelli’s music. Johann Schop, who was active in Copenhagen and Hamburg, is considered one of the fathers of the German violin school. The present recording ends with Matthias Weckmann’s cantata Kommet her, one of the few extant works by this composer. Born in Thuringia, he studied in Dresden with Schütz, and was then engaged at the courts of Copenhagen and Hamburg, where in 1660 he founded the Collegium Musicum. The cantata for bass “with five violas” on the Lutheran translation of the Gospel according to St. Matthew (11, 28-30) comprises five consecutive sections: an instrumental sonata in D major, followed by the double intonation of the incipit “Kommet her” with a central instrumental intermezzo; a second instrumental passage with a fragmentary three descending note subject followed by a pause and two vocal pages “Nehmet auf Euch mein Joch” and “Denn mein Joch is sanft”, in ternary rhythm, with a virtuoso conclusion. © Silvia Paparelli Translation by Kate Singleton 3
Mauro Borgioni
Baritone. He studied singing at the Perugia Conservatoire, later specializing in early and Baroque vocal music at the Scuola Civica in Milan and at the Cesena Conservatoire. His solo repertoire ranges from madrigals to cantatas, from oratorios to opera, involving him in a wide range of productions and performances, such as: Monteverdi’s Vespro della Beata Vergine, Bach’s Christmas Oratorio, St. Matthew and St. John Passions, the B minor Mass, and the Magnificat, Handel’s Messiah and La Resurrezione, Haydn’s Missa in tempore belli and the Nelson Mass, Mozart’s Vesperae and Missae, Listz’s Via Crucis, the Fauré Requiem. He works with a number of ensembles and orchestra, including La Venexiana, Concerto Italiano, the Swiss Radio Chorus, LaVerdi Barocca, Orchestra da Camera di Mantova, Orchestra Sinfonica della Rai, I Turchini, Orchestra “Lorenzo da Ponte”, Accademia Montis Regalis, Accademia Hermans, Cantar Lontano, Odecathon. The conductors and musicians with whom he has worked include Claudio Cavina, Rinaldo Alessandrini, Marco Mencoboni, Diego Fasolis, Leonardo G. Alarcon, Antonio Florio, Timothy Brock, Corrado Rovaris, Roberto Zarpellon, Johnathan Webb, Michele Campanella, Chiara Banchini, Lorenzo Ghielmi. His roles range from Orfeo in “L’Orfeo” (Teatro Comunale in Ferrara), Apollo in in “L’Orfeo” (Santander Festival, Klangrau Vokal Dortmund), Giove in “Il ritorno di Ulisse in patria” (Cité de la Musique in Paris; Tage Alte Musik Regensburg, Concertgebouw in Amsterdam, Musikfest Stuttgart); Testo in Monteverdi’s “Il Combattimento” (Cité de la Musique in Paris), both Pastore and Caronte in Giulio Caccini’s “L’Euridice” (Innsbruck Festwochen), Uberto in “La Serva Padrona”, Mondo and Consiglio in “Rappresentazione di Anima et Corpo” by E. de’ Cavalieri 4
(Copenhagen Renaissance Music Festival), Aeneas in Purcell’s “Dido & Aeneas” (Teatro Bonci in Cesena, Teatro Alighieri in Ravenna, Teatro Verdi in Gorizia), Don Roberto in “La Stanza Terrena” by A. Miari (Teatro Comunale in Belluno), The Traveller in Benjamin Britten’s “Curlew River” (Sagra Musicale Umbra). He has also taken part in other productions, such as the Festa Monteverdiana, a show based on music by Monteverdi, directed by Pierluigi Pizzi at the Sferisterio in Macerata; and, with the Micrologus ensemble, Myth, a work by the BelgianMaroccan choreographer Sidi Larbi Cherkaoui, coproduced by the Antwerp Toneelhuis, the Théâtre de la Ville in Paris, the Sadler’s Wells Theatre in London, the Art Foundation of Ottawa, the Foundazione Musica per Roma. He has recorded for the following labels: Zig-Zag Territoires, Alpha-Prod, Elucevanlestelle Records, Brilliant Classics, Stradivarius, K617, Glossa, ORF, Arcana, Ricercar, Classic Antiqua and for various radio and television broadcasting companies.
Accademia Hermans
The Accademia Hermans was founded in 2000 by Fabio Ciofini, who has communicated his passion for early music to a great many young instrumentals and singers interested in understanding the repertoire and learning the appropriate performance techniques. Academy members have studied in Europe’s foremost music schools, and over the years the ensemble has taken part in festivals and events throughout Italy and Europe, to great critical acclaim. The renowned soloists and singers who work with the Accademia include Enrico Gatti, Marcello Gatti, Gloria Banditelli, Sergio Foresti, Mario Cecchietti, Mirko Guadagnini, Roberta Invernizzi, Bart Van Oort and Roberta Mameli. 5
The Accademia Hernans has recorded for the Bongiovanni label the “Sei Concerti Armonici” by Unico Willem Van Wassenaer in collaboration with the Orfeo Ensemble of Spoleto, using Albert Dunning’s critical edition of the works. Moreover, for Tactus it has recorded Gaetano Valeri’s Symphonies and Organ Concertos in collaboration with the organist Luca Scandali. In 2006 Bottega Discantica released the Accademia Hernans’s CD of “Il più misero amante”, recorded in the frescoed hall of Palazzo Castelli at Polino (TR); and in 2008 a CD devoted to Vivaldi (Gloria, Stabat Mater and Dixit Dominus). In June 2009 the same label released a CD of concertos for various instruments by Telemann, recorded as part of the “Parco in…Musica 2007” Festival at the Abbazia di San Pietro in Valle at Ferentillo (TR). 2011 saw the release of recordings of the Mozart “Requiem” made at the church of Solomeo (PG), and of “Mozart – Concerti K. 466 and K. 467” with Bart Van Oort, produced by the Fondazione Cucinelli, which won an “outstanding” 5-star rating from the magazine Musica. The group’s recording of Haydn’s “Stabat Mater” came out in 2014. In July 2012 the Accademia recorded for Brilliant Classics the “Scherzi Musicali”, or Musical Jokes, written in the 17th century by Abbot Agostino Steffani and performed in a concert at the Bolzano Festival. For several years the group has also been intensely involved in promoting early music in Umbria, organizing courses and making recordings in historic palaces and churches. This activity has also given rise to two Festivals directed by the ensemble: “Parco in… Musica” in historic venues in the Valnerina, and “Musica e Musei” in the principle museums of the Province. The Accademia Hernans takes part in important early music festivals and organizations in Italy and abroad, including Holland, Spain, Portugal, Finland, the USA and Canada. It also works closely with the Festival Villa Solomei and is the resident orchestra at the Teatro Cucinelli at Solomeo di Corciano, near Perugia.
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ORGAN SPECIFICATION Restoration of the W. Hermans Organ (1678) in the Collegiate Church of St. Maria Maggiore in Collescipoli (TR) The restoration of the historical organ built by the Fleming Willelm Hermans in 1678 for the Church “S. Maria Maggiore” in Collescipoli was an extremely important event, part of a far-reaching plan devoted to the protection, preservation and recovery of works of art in Umbria. The instrument can undoubtedly be counted among the most important early organs in Italy. Born in Thorn (which is now a border town between Holland and Belgium) on March 6th 1601, Hermans entered the Company of Jesus as a lay-brother, professing his vows in 1641. Around 1648 he moved to Italy, having already built instruments in Jesuit Churches in Holland, Belgium, Germany and France. In the wake of the acclaim that met the construction of his first instrument in Italy, the organ built between 1649 and 1650 for Como Cathedral, he found himself engaged in churches and Jesuit Colleges throughout the country. The Collescipoli organ is one of his last works; in fact Hermans died in Rome on February 14th 1683. It is reasonable to calculate that during his lifetime he built around 90 organs, since the one constructed for the Jesuit headquarters in 1672 was his Opera No.73. Only two of the organs built by Hermans in Italy have survived intact: one in the Church of the Holy Spirit and the other in the above-mentioned church of S. Maria in Collescipoli. All that remains of the other instruments are the odd case register and some pipes. Until a few years ago, another of Hermans’s instruments could be found in the Church of the XII Apostles, once a Seminary, in Orvieto. It was my job to dismantle it, in order to protect it from rain, and when work began on restoring the Church, alas the remains of the organ had disappeared. Records kept at the Collegiate Church of Collescipoli bear witness to an amusing snippet of news pertaining to the circumstances surrounding the building of the organ: summoned to 7
Terni to build an instrument for the church of “S. Lucia”, the Flemish master proved to be humble and generous, waiving the last part of his fee “per dispetto delli ternani che l’ havevano burlato, facendolo venire per far organo e poi bisognò lavorare un organo vecchio in S. Lucia” (to snub the people of Terni, who had tricked him, calling him to build an organ and then making him reconstruct an old organ). True to the agreement stipulated the previous year, in 1678 Hermans built the instrument with the scheduled seven registers. He was initially supported by the workshop of the roman organ-builder, Giuseppe Testa. But when the latter died on 28th September 1677, having made only some parts of the instrument, Hermans continued the task alone, although he appears to have had some help from young Nicolò Perfetti of Orvieto. Particularly beautiful are the chancel, the case and front of the instrument inlayed by local carpenters (Lulli, Ricci and Giuseppe from Terni): on the baluster of the chancel are four panels with scenes in oils bought for eight scudi in a Roman shop; other ornaments were made by the engraver Zuccarini from Terni (1682 and ‘87) and by the gilder Lelio (1686-87). The decoration of the front features floral motifs, crowned with draperies supported by curtain-holding angels. Following Riccardo Lorenzini’s meticulous, extensive restoration, the instrument has recovered its original splendour, to the complete gratification of all those who understood the importance of handing down such an important heirloom to future generations. On-going cultural events will ensure that the organ continues to live within the community. A work of art in its own right, it will also invest the liturgical service with depth and sonority, just as it did when it was first built, over 300 years ago.
Specification of the W. Hermans Organ (1678) following restoration - Collegiate Church of St. Maria Maggiore Location: in the tribune, in cornu Epistolæ, contained in the organ-builder cell. Case and front: The case is made of wood, with painted imitation marble. The tribune, supported by engraved wooden beams, has a parapet featuring four panels with scenes painted in oil, separated by gilded engravings. The railings concealing the organist from view are also all gilded and carved. The front, made of tin, is divided into three spans (9/7/9) with a flat profile, the mouths of the pipes aligned and the upper lip “a mitria”. Window Keyboard: 47 keys (C1-C5), with the first octave shortened and two accessory keys at the ends; boxwood chromatic diatonic keys, and accessory keys in ebony. Basso/Soprano Division: E3/F3. Music-stand pedal keyboard: 9 keys (C1-C2), joined to the keyboard. Main walnut draught organ case: with 47 channels divided into two sections. Two other organ cases, placed at the sides of the main one, feed contra-bass 16, Drum and Nightingales. Mechanics: of the suspended type. Stops: driven by hand levers with horizontal slides, placed in a single column on the right of the keyboard. The names of the stops are hand-written on new labels.
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Flautino Bassi (1’) Flauto XII Cornetto (Soprani, with 3 lines) Tromba Soprani Tromba Bassi XXVI-XXIX-XXXIII (The XXXIII is only in the sopranos) Vigesima II Decima IX Decima V Ottava Principale (8’) Accessories: Drum, Tremolo, Nightingales
We would like to thank the pastor of Collescipoli, Don Mario Gabriel Caranta, for his wonderful hospitality.
Bellows: the original bellows, which disappeared some time ago, were situated in the room behind the organ; three book-shaped bellows, in conformity with the sizes of those in Pistoia and Orvieto, have been rebuilt and placed in a space above the organ, where the electric fan is also situated. Wind Pressure, Pitch, Arrangement: the wind pressure has been determined by analyzing the various elements which form the pitch, in a 60 mm water column. The pitch is of 440 Hz at 28°C. Unequal temperament.
Recording: 6-8 April 2014, at the Collegiata di S. Maria Maggiore, Collescipoli, Italy Sound engineer & editing: Luca Ricci, StudioMobile Front cover image: Jakub Schikaneder, All Souls’ Day, 1888 National Gallery, Prague - & © 2015 Brilliant Classics 10
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