Elbipolis

During the seventeenth and eighteenth centuries, the Bach family with its many branches occupied an exceptional position in Central German music life. Over several decades, its members were guarantors of high musical quality at numerous princely courts as well as at ecclesiastical and municipal institutions.

One of the most innovative young early music groups in Europe, the Elbipolis Baroque Orchestra, performs a series of rarely heard concertos by the early eighteenth century composer Johann Christian Schieferdecker. Schieferdecker was a pupil of Dieterich Buxtehude, and succeeded him as musical director at Lübeck Marien's church in 1707. The Elbipolis Baroque Orchestra Hamburg is formed from a nucleus of leading musicians from Bremen, Hamburg and Berlin and has performed at major festivals around Europe.

Musik der Hamburger Pfeffersäcke, The term "Pfeffersäcke" was a derogatory name for the spice merchants who provided the financial support for the arts in Hamburg. The compositions on this CD are all known to have been sponsored by the Hamburg merchants. Soprano Yeree Suh joins the Elbipolis Baroque Orchestra Hamburg in these lively and dedicated performances.

Imme-Jeanne Klett clearly demonstrates on this recording that one particular solo instrument had a very special place in the affections of the German baroque composer Johann Adolf Hasse (1699-1783): the flute. For no other instrument did he write as many concertos and chamber music works.

Nuria Rial and Lothar Odinius are the stars of the show. Rial has a fine voice, and excellent diction, and her text expression is mostly very good. The arias 'Pious orgies' and 'O liberty, thou choicest treasure' are two examples. She also performs the recitatives in a truly declamatory style. A particularly telling example of her treatment of the text is the delightful aria 'So shall the lute and harp awake' (act 3). Lothar Odinius shows the same qualities, and I was especially impressed with his differentiated performance of the coloratura passages in his arias. Like Nuria Rial he performs the recitatives very well. The aria 'Call forth thy pow'rs' (act 1) and the aria with chorus 'Sound an alarm' (act 2) are particularly well done.

For someone as obscure as Johann Christian Schieferdecker, a pupil of Buxtehude, he certainly has gotten his share of play recently. Not only has my Read more Fanfare 34:3) but another, Jerry Dubins, reviewed and recommended an entire disc of these instrumental works in a recent issue ( Fanfare 35:6) performed by the Elbipolis Hamburg period-instrument ensemble on Challenge. Both found them recommendable, though the latter seemed reticent on whether or not Schieferdecker represents a marvelous new rediscovery. This disc may not decide that issue, but I do find it curious that in the space of a very short time, a composer who was completely dissed by Johann Mattheson, the early chronicler of Hamburg music but who grew up practically as the blood brother of Reinhard Keiser, should suddenly emerge from shadows.

For the setting of the contemplative but highly emotional text of the medieval sequence Stabat mater Boccherini chose an intimate chamber music instrumentation of soprano and string quintet (in his preferred instrumentation with two violins, viola and two cellos). The five string instruments are not only accompaniment, but together with the singing voice they transform into one instrument section, so that one can speak of a sextet for singing voice and string quintet. With the angelic singing of Núria Rial, the work becomes a real treat for lovers of beautiful voices and chamber music lovers alike.