musica Dei donum
CD reviews
Violin music from Vienna
[I] "Minoriten-Codex - Virtuose Violinsonaten aus Wien" (Virtuosic violin sonatas from Vienna)
Nina Pohn, violin;
Peter Trefflinger, violone 8';
Martin Riccabona, harpsichord, organ
rec: August 2020, Steinbruch, St Anna
Querstand - VKJK2010 (© 2021) (70'03")
Liner-notes: E/D
Cover & track-list
Spotify
anon:
Sonata in D [82];
Sonata in f minor [87];
Sonata in A [81];
Sonata in a minor [85];
Sonata in B flat [86];
Heinrich Ignaz Franz BIBER (1644-1704):
Sonata in E [84];
Johann Jacob WALTHER (c1650-1717):
Sonata in C 'Del Imitatione di Cuccu' [83]
[II] "Violino 2 - Catena Bohemica - Viennese Violin Music around 1680"
Veronika Skuplik, violin;
Jörg Jacobi, organ
rec: Oct 14 - 16, 2020, Langwarden, St. Laurentiuskirche
fra bernardo - fb 2104505 (© 2021) (66'37")
Liner-notes: E/D
Cover & track-list
anon:
Capriccio a 4 in a minor;
Sonata in d minor [2];
Sonata in d minor [11];
Sonata in g minor [13];
Sonata in A [20];
Sonata in a minor [15];
Sonata in a minor [21];
Giovanni Battista FERRINI (1601-1674):
Ballo di Mantova;
Alessandro POGLIETTI (?-1683):
Praeludium 2. toni;
Johann Heinrich SCHMELZER (c1620/23-1680):
Sonata in D [3];
Sonata in g minor [14]
Towards 1700, in very few parts of Europe violin technique was so much advanced as in Austria and its neighbouring regions, such as southern Germany and Bohemia. It reached its zenith in the works of the likes of Heinrich Ignaz Franz Biber and Johann Heinrich Schmelzer. The former worked for a substantial part of his life in Salzburg, whereas the latter was in the service of the court in Vienna. Their works are well represented on disc, and part of their output for violin has been published. However, some of their compositions have been preserved in manuscript. Sometimes they come without the name of the composer, and that goes in particular for pieces from Schmelzer's pen. In some cases the identity of the composer can be established, as they appear with their name in other sources. If that is not the case, their authorship can be assumed on the basis of stylistic features. The two discs under review here are both devoted to pieces for violin and basso continuo from Austria, and they show much stylistic similarity, which supports the existence of an Austrian/Bohemian violin school.
Nina Pohn has selected seven sonatas from a manuscript known as Kodex 726, preserved at the Minorite Convent in Vienna. It was once part of the estate of the Minorite Father Alexander Giessel (1694-1766) and was first mentioned in the 1960s. It comprises complete collections of sonatas by Ignatio Albertini, chamber musician to the dowager Empress Eleonora, Biber and Johann Jakob Walther. The latter never worked in Austria, but rather at the court in Dresden, and later in Mainz. However, his music shows strong similarity with what was written in Austria and Bohemia, and therefore its presence in this collection cannot surprise. The largest part of the manuscript consists of sonatas which omit the name of the composer. The numbers of the sonatas included here indicate the size of this important source.
Dagmar Glüxam, in her liner-notes, sums up the features of the sonatas in the manuscript: "breathtaking passagework, highly developed playing throughout the positions, challenging polyphony, and refined bowing technique". Another feature, which we meet especially in the oeuvre of Biber, is the use of scordatura, which refers to a deviation from the standard tuning of a string instrument, in the case of the violin g-d'-a'-e''. In two of the anonymous sonatas in the programme (Nos. 81 and 85) the tuning is a-e'-a'-e''. All the sonatas are rooted in the stylus phantasticus, which had come into existence in Italy in the early 17th century. In this repertoire this comes to the fore in the structure of the sonatas: each consists of a sequence of sections, which contrast in tempo, metre and affetti. The latter refers to a second characteristic of this repertoire: they express the ideal of depicting human emotions without words, but rather with the means of tempo, articulation, rhythm and dynamics, to mention only a few. The choice of key sets the tone, but does not prevent the inclusion of contrasting sections. There is a marked difference between Walther's Sonata in C and the anonymous Sonata in f minor, for instance.
In the 17th century improvisation was a highly revered skill, and it may be assumed that some sonatas have their origin in improvisations. One can find the traces in some of the sonatas. The Sonata in A, for instance, opens with a long episode (2'58") for violin without accompaniment, which very much sounds like a keyboard toccata. Biber's Sonata in E opens also in an improvisational manner, and includes passages with double stopping and over a basso ostinato.
In 2014 fra bernardo released a disc with this kind of repertoire, recorded by Veronika Skuplik, with Evangelina Mascardi on the lute ("Violino 1"). For that recording she selected eight pieces from the Klagenfurt Ms 73, preserved in the Kärntner Landesmuseum in that town. For her second disc devoted to violin music from Austria of the late 17th century she turned to a manuscript which is preserved at the British Library in London. It was once owned by the author and collector of music and art Julian Marshall. Some of the sonatas in the programme that come without the name of the composer, are in fact from the pen of Johann Heinrich Schmelzer, as they appear in a printed edition of his sonatas. Skuplik assumes that others are also written by him. We find here several features of the sonatas on the previous disc, such as ostinato passages, improvisational episodes over a sustained note, and variations. These sonatas are also specimens of the stylus phantasticus. The two keyboard pieces by Italian composers fit well into the programme, as they remind us of the Italian origin of this style.
There are two differences with the pieces on the first disc. First, double stopping is rather rare, and generally the sonatas on the first disc seem more technicallty demanding. Second, Skuplik does not mention the use of scordatura, and as this was indicated in her first disc, we may conclude that none of the pieces performed here make use of it.
There are strong similarities between these two discs as far as the repertoire is concerned, but also some differences, as indicated above. That also goes for the performance practice. What they have in common is that both recordings took place in a church, which allowed for the use of a larger organ in the basso continuo than the small instruments that are mostly used, especially in live concerts, where this is almost inevitable. This has a marked effect on the outcome, as the basso continuo has a much stronger presence. This seems to be a fairly recent development in performance practice, and something that has to be rated highly. However, it should not be used indiscriminately. It is quite possible that sonatas of this kind were used in the liturgy - the Catholic liturgy offers the possibility of including instrumental music - and in that case the use of a large organ seems entirely justified. On the other hand, sonatas as those performed here may often also have been played in more intimate surroundings, for instance in the homes of aristocrats or clergy. In that case the use of a smaller organ or a harpsichord seems more appropriate. In Nina Pohn's recording, Martin Riccabona also plays the harpsichord, whereas Jörg Jacobi only plays the organ. In both cases the organ is a historical instrument, appropriate for this repertoire.
In the case of Nina Pohn's recording, the use of a church organ is not the only interesting aspect of performance practice. She also paid attention to the position of the instrument. She has studied the early violin position, in which the instrument is placed on the left collarbone, and the early 'underhand' baroque bow grip, in which the thumb is placed on the hair. From about 1700 onwards, it became common to clamp the violin under the chin. Pohn believes that in the time the sonatas from the Minoriten Codex were written, both positions were practised. In her recording, four of the sonatas are played with the violin resting below the collarbone. The early baroque bow grip was used in all the pieces. Lastly, it should be added that the string bass here is a bass violin, also known as violone (but then in 8'). Veronika Skuplik does not mention any aspect of performance practice, and from that I conclude that she plays this repertoire more in the 'traditional' way.
That does not compromise my appreciation of her performances. She is an experienced performer who has taken part in many recordings of various ensembles, such as Weser-Renaissance Bremen. I sometimes find her performances a bit too restrained, and to a certain extent that also goes for this recording. The use of a large organ is praiseworthy, but the balance is sometimes a bit too much in favour of the organ. That is largely due to the fact that Skuplik does not prefer strong dynamic differences. That is different in Pohn's performance. This is her debut disc and it could not have been any better. It is the result of her winning the special prize at the H.I.F. Biber Competition in 2019. It cannot be appreciated enough that she decided to perform relatively little-known pieces of this style and calibre, which are all of supreme quality. It is also promising that she has taken so much care of some interesting and important aspects of performance practice. I am looking forward to upcoming projects.
These two discs are of great importance, and lovers of violin music of the baroque era should miss neither of them.
Johan van Veen (© 2021)
Relevant links:
Nina Pohn
Veronika Skuplik
Martin Riccabona