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This talented young group is launching its recording career with a wide mix of 17th century music whose common ground is the use of this line-up and subsets of it. Finding a new angle on a popular repertoire presents a challenge, but the Caecilia-Concert has found this by the inclusion of lesser known pieces (including one of the their own transcriptions) and a flexible approach to musical line. The players use dynamic and tonal range matched with rhythmic flex, such that even in the solos the illusion is created of different voices in juxtaposition. Rather magically, all three wind players share this approach which makes the ensemble work in a way which brings a new perspective to the repertoire. All three have a soft-edged tone which also serves to ring the changes. A small obstacle to the ensemble effect is put in place by the microphone approach, which brings the dulcian and harpsichord to the fore and pushes the cornett and trombone back. This may be intended to compensate for perceived volume differences, but is not needed and only serves to exaggerate the inherent differences of tone and attack between those two pairs of instruments. Listening past this, the ability of the players to find such a degree of subtle musical common ground with instruments of disparate characteristics, is remarkable. Look out for pieces by Nicolai, Padbrue and Hollanders. A recording, of Buxtehude's contemporaries, is in preparation - so another to look forward to. Stephen Cassidy - Early Music Review July 2006 ****************************************************************************************** | ||
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