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dCS Classical Choices December 2018 - Curated by Charlotte Gardner

Date: December 2018

Christmas has to be the most exciting time of the year for music, what with all the wonderful repertoire you’re technically only allowed to listen to during December. In fact don’t expect to hear very much music in the Gardner household that isn’t Christmassy once the first of the month has dropped, and for my older recording this month I’ve chosen the musical work most attached to my own family’s Advent traditions: Handel’s Messiah, which we listen to every year as we bring in and decorate the tree (whilst determinedly ignoring the fact that the Messiah is in fact only one-third Christmas, and two-thirds Easter!). As for what I’m personally looking for in a Messiah recording, the answer is something warm and nimble on period instruments, its orchestral textures zinging and lucid, with clean-toned vocalists who sound as though they truly mean what they’re singing. For me that means Rene Jacobs’ 2006 recording with Clare College Choir and Freiburg Baroque for Harmonia Mundi, from which I’ve given you the chorus, “And the glory of the Lord”. Then, because I can’t not give you some actual carols too, I’ve slipped in Voces8 singing “Once in Royal David’s City” and “In Dulci Jubilo” on their 2011 Christmas album, which equally gets a lot of December airtime in my house.

On to the new releases,  an album that actually hit the shelves a few months back, but is too good to not champion before the year draws to a close: the second installment of Lorenzo Gatto and Julien Libeer’s Beethoven Violin Sonatas cycle on alpha. Then finally some more Handel, in the form of Italian cantatas from the Concert d’Astr ee under Emanuelle Haim, with two of France’s most sought-after sopranos as Haim’s soloists: Sabine Devieilhe and Lea Desandre.

 

Beethoven’s violin sonatas 1, 10 and 5 “Spring” – Lorenzo Gatto and Julien Libeer

As previously mentioned, this one was released earlier in the year, but it’s been on my stereo so many times in the intervening months that it thoroughly deserves its place here. The second installment of this Belgian duo’s Beethoven cycle, this is one of those core repertoire recordings that leaps out of the stereo and makes you listen as if for the first time, and to make that point I’ve given you the most famous sonata here, i.e. “Spring”. So enjoy the energy, the brightness and sweetness, the air in their textures, the equal weighting of piano to violin, and an interestingly straighter reading than many of that jokey third movement race.

 

Handel Italian Cantatas – Haim, Desandre etc

It’s funny to think that only a few years ago I hadn’t even heard of soprano Sabine Devieilhe, and that it wasn’t until earlier this year that mezzo Lea Desandre entered my radar. Their respective career trajectories have been nothing sort of supersonic, and to understand why you need only listen to this new collaboration between them and the superlative Le Concert d’Astree under Emmanuelle Haim, which presents Handel’s recently-rediscovered, early-career cantatas (effectively mini-operas written for just one of two characters, which would have been performed in the homes of wealthy patrons). From Devieilhe and Desandre think purity of tone and crisply elegant virtuosity, with the texts themselves imbued with bucketloads of life and drama. Then from Haim and Le Concert d’Astree, an equal story of interpretational sparkle and high virtuosity. For you here we first have Desandre singing “Fiamma bella ch’al ciel s’invia” from Aminta e Fillide (a love story between a shepherd and a shepherdess), then Devieilhe singing “Ah crudele! E pur ten’ vai” from Armida abbandonata (about a sorceress who ends up falling in love with a Christian warrior).