The dialogue between antique and modern

Alessandro Scarlatti, Magnificat; Herbert Howells: Requiem

The Requiem of Herbert Howells, written in 1936, has complex musical textures, shifting between simple psalm settings and much more musically adventurous sections that combine chromaticism, ambiguous harmonies and tone clusters. It is reminiscent of another English a cappella choral work, Vaughan Williams's G Minor Mass of 1923. Both works explicitly look back to 16th century polyphonic music, but they add a brightly coloured modern surface sheen that reminds me of the paintings of the Pre-Raphaelite Brotherhood. Mirko Guadagnini put together this programme to highlight the "dialogue between the antique and the modern", and the Howells work certainly fills that bill.

As does Alessandro Scarlatti's Magnificat a 5, written in the early 18th century but also looking back to the music of the 16th, specifically to Palestrina. Alessandro is of the generation before Bach and Handel - his son Domenico was born in the same year as both - so he's working within a tradition that's closer to the masters of Renaissance polyphony. Since he was as at home in the opera pit as a cathedral choir, his sacred music is more organically dramatic and theatrical, so even if he's taking Palestrina as his model here, this music sounds as much like Monteverdi and Giovanni Gabrieli as the older Roman master.

The Intende Voci Ensemble comprises 14 voices, with a theorbo and organ for the basso continuo. This is magnificent singing, recorded directly and simply in the wonderful acoustic of the Canonica Lateranense di S. Giorgio M., Bernate Ticino, in Milan. With shorter works by Scarlatti father and son, this is a completely satisfying disc, with gorgeous singing and many, many felicities to appreciate.

I have a special interest in album cover photography, so I perked up when I saw this disc. The wonderful photo here is "La Corallina’s Sunrise" by Gianmario Masala. Here's the full picture, from his website:

This album will be released on June 4, 2021. 

Neapolitan music of light and shade

Neapolitan Concertos by Fiorenza, Pergolesi, A. Scarlatti, Porpora & Mancini

The composers represented on this disc are roughly Bach and Handel's contemporaries (Nicola Porpora and Francesco Mancini), or come from the generation before (Alessandro Scarlatti) or after (Giovanni Battista Pergolesi and Nicola Fiorenza). They all share a common heritage and a peculiarly brilliant and lyrical style intensified by a sophisticated system of conservatories with high musical standards for both vocal and instrumental music. Josetxu Obregon has created a varied and at times inspired program for the fine players of La Ritirata. The featured soloists are all excellent: Tamar Lalo (recorder), Hiro Kurosaki (violin), Ignacio Prego and Daniel Oyarzabal (harpischords), with his own cello solo rounding up this distinguished group of musicians. The standout works are, unsurprisingly, by Pergolesi (a spritely work featuring two harpsichords), and Alessandro Scarlatti (a recorder concerto on the Telemann level if not quite in the Bach/Handel range). Naples is a city of light and shade; melancholy is never far away, even in the midst of its gaiety. Thanks to Glossa for such a compelling album.

Spring glory

Two years ago we made the move from cold and snowy Alberta to the Garden City of Victoria, BC, and are now surrounded by the lovely sights, sounds and smells of a spring that seems to last from early February to May. It makes me appreciate Alessandro Scarlatti's ode to spring, La Gloria di Primavera, even more when I can open my windows wide to hear the birds and smell the flowering currant blossoms.

Red Flowering Currant, Ribes sanguineum, is a native of the Pacific North West.
This was taken in early March (!) just outside our place in Victoria.

Scarlatti wrote this serenata in 1716, and it was presented to great acclaim in Matese in Piedmont, during the celebrations surrounding the birth of the Archduke Leopold. The music is as bright and sweet and hopeful as the season; it brims with vocal athletics, sparkling accompaniments by the orchestra, and the most soulful and enticing melodies. This recording, which seems to be a premiere, is expertly performed by the Philharmonia Baroque Orchestra and the Philharmonia Choir, under Nicholas McGegan, along with an impressive array of soloists. This is engaged, even passionate music-making. The two-CD set will be released on April 8, 2016, and can be pre-ordered at Amazon.

This music is really quite special, and it makes me think that Alessandro Scarlatti might be the next 18th century composer to break out into a wider audience. For now, it may be only the sophisticated few who will appreciate this serenata and the broad range of other dramatic, sacred, orchestral and instrumental music by the great Neapolitan composer, but surely music of this quality cannot remain a secret too much longer.

One of the keys for the dissemination of Scarlatti will be the Creative Commons-licensed scores edited by Thomas Griffin. Check out his amazing Alessandro Scarlatti website, created in 2010 for the composer's 350th birthday.

One of my favourite pieces is the aria Fuor dell'urna le bell'onde, sung by Autunno. It has a lovely Mozartian accompaniment in the strings. Here it is, thanks to Spotify. This is gorgeous music!