Rare Fruits Council violinist/director Manfredo Kraemer explains in the liner notes that the point here is to offer a program of Baroque works rarely performed and recorded because they’re either anomalies within a given composer’s canon or they’re simply stylistically or instrumentally unique. And there’s certainly no shortage of instances where composers during this period experimented and took liberties for programmatic effect, occasionally resulting in a redefining of conventional concepts of beauty (another factor guiding Kraemer’s programming choices). The opening Sonata in D minor by Philipp Friedrich Böddecker is a perfect example. It’s a seven-and-a-half-minute, eight-movement study in shifting dynamics and temperamental contrast, powerfully summarized in the final two movements–a frenetic “Alla Francese” and a sinister-sounding, broadly paced Adagio. Böddecker’s Sonata sopra La Monica–a variation on La Folia that features an exquisite dulcian (an early bassoon) performance by Josep Borrás–also fascinates. Curiously, even though Böddecker was known to be an accomplished dulcian player, this is his sole composition for the instrument.
Though outstanding performances of Georg Muffat’s Sonata for solo violin and Antonio Bertali’s Chiacona are currently available elsewhere, Kraemer equally impresses with bold new interpretive takes. His rendering of the Muffat is livelier and more sharply defined than Reinhard Goebel’s otherwise fine-sounding Archiv account. More so, those familiar with John Holloway’s fluent, stately performance of Bertali’s Chiacona on ECM (type Q3254 in Search Reviews) may wonder whether they’re hearing the same piece when listening to Kraemer’s interpretation. Unlike Holloway, who seamlessly heightens the work’s dance element, Kraemer undermines it every chance he gets with widely contrasting tempo changes. Rarely do we hear interpretations in Baroque music so widely (and so marvelously!) varied.
Astrée’s sound is first rate, with excellent instrumental detail and realistic spatial orientation. Kraemer’s notes are a joy to read, with their numerous anecdotes and humorous asides. Every work offered here is a gem, and Kraemer and his Council are to be commended for rescuing these pieces from undeserved and certainly unwarranted obscurity. Highly recommended.
