Lyrics & Music Caldara Antonio - Cantate, Sonate ed Arie (La Gioia Armonica) (B000BND4OK)

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One of the fascinating aspects of the development of the orchestra before it was finally established as a more or less stable body in the second half of the 18th century is the number of instruments that made a brief appearance in its ranks. One thinks of the oboe da caccia, the chalumeau, and perhaps the mysterious tromba marina, among a number of others. Rather less familiar is the pantaleon, a large dulcimer invented by a man who rejoiced in the name Pantaleon Hebenstreit (1667–1750). Hebenstreit was a member of the famous Dresden court orchestra, who became a virtuoso on the instrument, for which he and some of the composers associated with Dresden wrote obbligato parts.

That introductory paragraph is necessary because Ramée has rather misleadingly sub-titled this fine disc “Music for the Pantaleon.” Insofar as I can ascertain, the music here has no specific connection with the pantaleon, which, although known in France and England, seems to have had only a brief and not very widespread existence. Neither did Antonio Caldara, who spent most of his working life at the Imperial court in Vienna make specific mention in his scores to the pantaleon, referring to obbligato parts in his scores as being for the salterio, another name for the dulcimer. These include alto arias from the oratorios Sedecia (Vienna, 1732) and Gioseffo che interpreta I sogni (Vienna, 1726), for which the salterio parts were composed for the Viennese virtuoso Maximilian Hellmann, a pupil of Hebenstreit. Of the three chamber cantatas, only the most extended of those included, the very fine Vicino a un rivoletto, has an obbligato part for salterio, though given that it has been recorded by Gerard Lesne without the part, I’m not entirely convinced of its authenticity. Nevertheless, with its evocation of “the white wave rippled by the breeze” and the “Little zephyr playing charmingly,” the silvery concatenations of the instrument, at times reminiscent of disciplined Tibetan bells, add a highly appropriate ambiance to the pastoral nature of the cantata. Otherwise, it makes only a brief, rather gratuitous appearance as a continuo instrument in Soffri mio caro, the great strength of the dulcimer being as a melodic instrument with a rich array of color and subtle dynamics. These assets are particularly evident in the two oratorio arias, where Margit Übellacker emerges as a true virtuoso of the instrument.

Aside from the interest of an exotic instrument, the main focus of attention is alto Jürgen Banholzer, a young singer of rare musical intelligence and a truly sensitive approach to what he is singing. The voice itself is intrinsically appealing and fluently produced without straining after effect, making him an ideal interpreter of a composer whose great gift was an ability to write melodic lines of distinction that fall graciously for the singer. Like Hasse, Caldara was a true singer’s composer, a lyricist of the highest order, as is evident from all the music on this disc. If Banholzer’s lower register needs further strengthening, and his ability to turn ornaments is as yet not totally fluent, he is undoubtedly a splendid singer whose future progress will be closely watched. He is given discreet support by the continuo players of La Gioia Armonica, among whom cellist Emilia Gliozzi contributes a yearning obbligato in the final aria of Vicino, and, on her own, fine performances of the brief instrumental works for cello and continuo, the Sinfonia in fact being a four-movement sonata da chiesa, and the Sonata unusual in consisting of three successive allegros featuring busy passage work. In sum, then, this is a highly enjoyable recording, offering as it does excellent performances of rare and thoroughly rewarding repertoire.

FANFARE: Brian Robins

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Performer:

La Gioia Armonica:

Jürgen Banholzer – alto, direction

Margit Übellacker – dulcimer

Emilia Gliozzi – violoncello

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