This exciting programme is presented by Emma Kirkby and London Baroque, household names in the sphere of 'early music', and certainly no new-comers to th works of Handel. Indeed, when they last joined forces in a Handel programme the website MusicWeb International called the performances ones that 'make one wish that all Handel music making could be of this order', while the reviewer in BBC Music Magazine wrote 'Ive seldom been as moved by a recording, both music and performance'.
A native of San Francisco, American conductor and harpsichordist Jeannette Sorrell began studying piano at age nine, and she also took up the violin. By 16, she had formed her own ensemble, and began studying composition and conducting. She attended Oberlin Conservatory on a scholarship, and studied harpsichord with Lisa Crawford and conducting with Robert Spano.
Great energy derived from crisp articulation…Tafelmusik’s 13 strings, impeccably in tune, create a taut ensemble while slow movements are treated to beautifully expressive playing…an irresistible buy.– BBC Music Magazine
"…[The] 'Serenata a tre'…is brimming with energy and melodic invention, every aria a delight. The three singers give sparkling performances and London Baroque dispatches the brightly variegated score with much aplomb…"–BBC Music
Of all the Italian composers born toward the end of the 19th century, Alfredo Casella (1883–1947) was the most cosmopolitan in his dogged efforts to drag his country’s music into the 20th century. But before this could start happening sometime around the First World War, he first had to drag himself out of the 19th century, as these two early symphonies (and, to a lesser extent, the much more consistently magisterial Third Symphony, available now on a cpo CD) vividly illustrate.
The Sixteen, bright stars of the Baroque, have plenty to say on 20th-century repertoire (witness their excellent Britten series on Collins). Underpin them with the BBC Philharmonic and it might seem a magic formula. Ives’s unearthly The Unanswered Question holds few problems for instrumental players weaned on Maxwell Davies – no more than do the brilliant wind roulades of Stravinsky’s Symphony of Psalms. Deft BBC teamwork and a chamber articulation to woodwind and brass helps this Koussevitzky-commissioned masterpiece to shed its often hammy ‘big band’ sound, creeping closer to the subtle, leaner sonorities of his later choral works. It gains. The singing varies. Too many dynamic shifts sound prosaic or under-prepared; fortes are forced, with muddy results. The vocal blend (happier in lower voices) can seem haphazard and colours the Tippett, where the men’s roars – contrast the lovely, sensual soprano solo – seem crude. Get this disc, instead, for the rare, late Poulenc – his New York-commissioned Sept répons. It is a curiously under-recorded devotional work, bleeding with pathos yet pumping energy, its exoticism enhanced by slightly breathy, tender solos, and scintillatingly sung with just those crucial missing qualities of awe and freshness. A million times more refined than what goes before.