Camerata Bern

This recording gathers together the five concertos listed by Ryom as being for the recorder: the three for 'flautino' (generally accepted to be the sopranino) RV443-5, RV441 and the one (RV442) which Vivaldi reworked for the traverse flute (RV434 = Op. 10 No. 5), then displacing the recorder in popular favour. Michala Petri turned the tables by recording all six flute concertos of Op. 10 on the recorder (also Philips—LP only). Collectively these works plumb no great depths, either emotionally or intellectually, but, given the character of the solo instrument, one would not expect them to. The slow movements depend on simple charm, the outer ones on lightness and cheerful sparkle.

Soprano Anna Prohaska and violinist Patricia Kopatchinskaja are both well known for their taste for eclecticism, experimentation and adventure. As they are also are friends, it was only to be expected that one day they would devise and record a programme together, and here it is: Maria Mater Meretrix… What is the relationship between Hildegard von Bingen and Gustav Holst, Antonio Caldara and Lili Boulanger? The two musicians and their partners in Camerata Bern explore the image of woman through ten centuries of music: the figure of the Virgin Mary – among other works, the triptych Magnificat - Ave Maria - Stabat Mater (1967/68) by Frank Martin, an unclassifiable composer whom both artists venerate – but also Mary Magdalene, in pieces by Caldara and Kurtág. The Saint, the Mother, the Whore… The expression of two women musicians of today, a journey full of meaning and a sensory exploration featuring solos, duets, quartets and works for large orchestra.

With a title like Time & Eternity and graphics featuring the disembodied head of violinist Patricia Kopatchinskaja, you know you're in for an ambitious program. Kopatchinskaja's albums have been getting increasingly experimental as her career has developed, and this one is at no time boring, whatever you may think of the overall concept. Sample Crux, by Lubos Fiser, for violin, timpani, and bells, with the timpani pounding away as a kind of avatar of dread. This said the structure of the program is not quite as unconventional as it may at first appear to be.

Thomas Zehetmair & Camerata Bern - Verklarte Nacht - Schönberg, Veress, Bartok (2001) {ECM New Series}
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© 2001 ECM Records | ECM 1714
Classical / Orchestral / Chamber Music

Three important pieces of music, loosely linked by the programmatic theme of "exile" are addressed by Camerata Bern under the direction of Thomas Zehetmair. "Verklärte Nacht" is the second ECM New Series appearance for the distinguished ensemble, who previously recorded music of Sándor Veress for the label. Here, too, Veress's attractive "Transylvanian Dances bridge compositions by two of the great architects of modern music, Arnold Schönberg and Béla Bartók.

This programme brings together composers who, for the most part, were compelled to flee their homeland. In 1920, Ivan Wyschnegradsky took refuge in Paris, where he wrote for a quarter-tone piano at a time when, in Russia, the slightest dissonance was considered a political provocation. Andrzej Panufnik left his native Poland in 1954. Alfred Schnittke settled in Hamburg in 1990, eight years before his death, having spent most of his life in the Soviet Union. Although Schubert never moved away from Vienna, the pain and solitude of his inner exile are palpable in his music. Finally, the Belgian violin virtuoso Eugène Ysaÿe emigrated on account of the First World War and it was in the United States, in 1917, that he wrote the melancholy musical poem recorded here, which he called Exil! Is exile nothing but pain and isolation, or also a source of inspiration which, with music, expresses what words cannot say, acting as the ultimate refuge?

What we have here is a selection of Vivaldi's works for mandolin (the Double Concerto, RV532) and lute (Concerto, RV93 and Trios, RV82 and 85), all played on the guitar; sandwiched among them are the Concerto for two violins, RV524 and the solitary one for two cellos, RV531, the former with no other current recording. The best LP version of the lute works played on the designated instrument remains that of Lindberg on BIS (LP290, 9/85) but if the guitar is accepted as a substitute (which it commonly is) then Sollscher takes a clear lead. As he is no biological 'sport' he has resorted to double-tracking in RV532 (and he couldn't find a better partner). Not only does he play with refinement and sensitivity, he also embellishes the repeats very elegantly—and not just by throwing in a few ornaments. Of Berne Camerata one can write only appreciatively: they play with the utmost clarity, precision and life, and the recorded balance with the soloists is all one might ask. Tempos are well chosen, with the exception of RV93, the first movement of which is taken very briskly indeed. The recording, aided by a good acoustic, is crisply clear.