Are you HIP?

 

Not I...

The most compelling aspect of this program are the items from Cherubini's student years in Italy. I know nothing from the composer at this time of his life, where his output in Paris is much more famous.

Cum Invocarem is a multi-movement cantata, and aside from the much later Kyrie and Pater Noster, is the most substantial work here.

I will admit I didn't do any homework before listening to this recording. I thought it would be a collection of a cappella motets, but 'wonder of wonders, miracle of miracles', these are all choral/orchestral works, besides the O Salutaris for virtuosic solo contralto and orchestra.

I have two particular musical dislikes when it comes to the performing styles presented here. First, I have never cared for vibratoless choirs. The sopranos can sound pushy in their upper ranges, especially at louder volumes, and the style is akin to boy trebles, another type of a chaste choir sound I am not always enthusiastic for, authentic or no. Some music is well suited to the style, but if I have a preference, I will always take a light vibrato over none at all.

For vocal soloists, it depends. Here, it is obvious the solo tenor and baritone are regular period performers, they have a light tone, and the tenor sounds like he probably does some countertenor as well. They certainly have a Renaissance flavor, which to no one's surprise, is not what I prefer in Cherubini. The solo soprano and alto are heavier voices, however, and I sense some holding back in their singing to appease the style here. It might have been more intuitive to find a better matched solo quartet, although they don't really sing as a team.

The second are HIP strings. I don't like the steely, metallic zing that come from the orchestra's string section. This has become the norm for Baroque music, but I don't generally like it for the Classical Era and later. To my ears, it makes the music sound academic and cold, despite lovers of the trend liking the 'transparency' of orchestral sound. I am not as strong-willed regarding the winds, although the clotted horn sounds at the conclusion of Inclina, Domine are typical of the movement.

Can I enjoy Period performances? Yes. In the case of Cherubini, listen to Christoph Spering in the composer's In Paradisum. There is drama in the choral lines which aren't as characterful here, and so too with its orchestra and soloists.

But my preferences only get me so far, as this music is so rare and, in the end, the Dresden performers do sing and play beautifully. I also recognize, may listeners prefer the HIP style, so I will always mention if my personal tastes get in the way of a recording, which for others will be no problem at all. Such is the case here.

A review from 2024

A complete recording dedicated to the discovered choral/orchestral music of Luigi Cherubini is definitely something to celebrate.

 

This recording divides the program between his very early Italian student works and his much later efforts in Paris after Cherubini’s opera writing fell out of fashion. As expected, the earlier music is solidly Classical Era material, almost exhibiting an Italian Baroque tradition, but more on that later.

 

I can’t say Cherubini’s later music is more adventurous, but certainly his abilities with more complex textures and harmonic digressions are apparent. Of these, the O Salutaris for solo alto shows a daring in voice writing which would be most impressive in opera, nonetheless for church, and where the Kyrie and Inclina display a stronger variety of musical moods and emotions compared to the student works.

 

These performers of the Frauenkirche in Dresden are all extremely well prepared and Matthias Grünert elicits lovely, musical responses from both chorus and orchestra.

 

If I have a druther, it is a personal one - this is a period instrument ensemble, and in this style they make Cherubini sound like Baroque music, while the vibratoless choir makes searing dissonances sound of the Renaissance, and added to both ensemble’s crisp, active responses, makes this program sound cool and sterile instead of warm. Of the soloists, the women have larger voices, which sound slightly out of place amongst this team, whereas the baritone, and especially the tenor, sound like they are early music performers.

 

What it comes down to, is, this historical, period performance is not to my tastes, where I would prefer a light vibrato from the chorus so the sopranos don’t sound like cathedral boys, and a warmer tone from the orchestra.

 

That said, everyone performs excellently regardless of my personal take, and discovering this rare choral music from Cherubini is a delight.

 

 

Works
Exulta and Lauda (6.07)
Cum Invocarem (17.17)
Qui Habitat (7.34)
Kyrie and Pater Noster (15.25)
O Solutaris (6.17)
Inclina, Domine (10.27)

Soloists
Sibylla Rubens, soprano
Britta Schwarz, alto
Tobias Hunger, tenor
Tobias Berndt, baritone

Performers
Frauenkirche Chamber Choir
Frauenkirche Ensemble
Matthias Grünert, conductor

Label: Rondeau
Year: 2019
Total Timing: 68.21

 

 

No matter my preferences regarding the HIP style here, this is rare music from Cherubini worth exploring, performed beautifully.

 

 

 

 

 

 

 

 

Find more Cherubini recordings HERE!