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[Antoine Marchand]

Hassler - Ich gieng einmal spatieren

Léon Berben, harpsichord

Léon Berben plays the Franciscus Patavinus harpsichord (1561) in the Deutsches Museum, Munich.

Sons of the organist Isaak Hassler, Hans Leo and Jacob Hassler were born in Nuremberg, where they received their initial musical training from their father. Both went to study in Italy, we know that Andrea Gabrieli would become Hans Leo's teacher. On returning, they entered the service of the Fugger family in Augsburg. Later on, Hans Leo became Kapellmeister to the Prince Elector of Saxony Christian II, and Jacob was appointed chamber organist at the Court chapel of Emperor Rudolph II in Prague.
This CD presents six of the extant keyboard compositions by Jacob Hassler as well as Hans Leo Hassler's Variations on Ich gieng einmal spatieren — a remarkable piece which comes close to Bach's Goldberg variations, regarding its extent and diversity.
The Fugger family owned several instruments by Franciscus Patavinus, superbly worked, decorated with gold and ivory ornamentation, and with a broad, full sound. It is more than probable that both Hans Leo and Jacob Hassler played these instruments while in the service of the Fuggers in Augsburg. For this reason the Patavinus harpsichord, part of the collection of the Deutsches Museum in Munich since 1910, was used for the present recording. It closely resembles an instrument listed in the Fuggers' inventory, and could actually be the one described. The original signature on the name board, according to the purchase documents, was »Francisci Patavini Dicti Ongaro, 1561«, making it one of the few surviving harpsichords from the 16th century. The magnificent instrument is largely in its original state.

A review:

Early Music (2007)

[...] I had the pleasure of reviewing Léon Berben's recording of Praetorius organ works in the August 2006 issue of EM, so I was prepared to expect something special on receiving his CD devoted to the works of the brothers Hassler, Hans Leo and Jacob-Hassler: Ich gieng einmal spatieren (Ramée RAM 0501, rec 2005, 79'). I was not disappointed. Berben plays on the superb Franciscus Patavinus harpsichord of 1561, now in the Deutsches Museum collection in Munich. Like many instruments of its age it has suffered alterations and loss over the years; the most significant musical difference is the keyboard range, which was originally C/E-f''', but is now G/B-c''', in all probability coupled with a change of string material from iron to brass. Many Italian harpsichords typically lost their 4' in favour of a second 8' register during a rebuild of this nature, but the Franciscus still has the octave register, and an exceptionally beautiful one it is, too. In a well-researched booklet text Berben suggests that this actual harpsichord could have been played by the Hassler brothers during their period of employment with the Fugger family in Augsburg. A family inventory of 1566 lists four instruments by Franciscus, and the description of one matches the recorded harpsichord closely. In addition to a toccata and contrapuntal pieces by Jacob Hassler, Berben has recorded Hans Leo's astonishing set of 31 variations on 'Ich gieng einmal spatieren', one of those evergreen tunes known variously as 'Von Gott will ich nicht lassen', 'Almande de la Nonette', 'Une vierge pucelle' and in England, 'The Queen's Alman', famously set by Byrd. This piece, lasting an astonishing 42 minutes, is an impressive display of contrapuntal artifice, and deserves to be much better known. Berben's playing is thoughtful and accomplished, with just the occasional hint of a heavier organist's touch. [...]

Paul Simmonds

[Coopmv]

Now playing CD3 - 13 Barcarolles from the following set for a first listen ...

[Mirror Image]

Scriabin: Prometheus, Le Poème du feu (Alexander Toradze, piano / Gergiev / Kirov) - I'd consider this one of Gergiev's best recordings. This "filler" may tend to get overlooked, standing next to his spectacular Firebird, but it's just as compelling.

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--Bruce

A great disc no doubt.

[Mirror Image]

A First Listen and my first real listen to Wagner ever!

Levine hmmm...how do you like it so far Corey?

[listener]

RACHMANINOFF  Symphonic Dances   TCHAIKOWSKY  Nutcracker Suite
arranged for two pianos
Martha Argerich, Nicolas Economou,  pianists
HANDEL  arr .MOZART  Alexander's Feast    Ode for St. Cecilia's Day
sung in German      both have K. numbers, I can't get to them at the moment
GURNEY   9 Preludes, 4 other piano pieces
ELGAR Concert Allegro,  3 short pieces
Alan Gravill, piano

[Coco]

Levine hmmm...how do you like it so far Corey?

I listened along with the libretto and found it surprisingly easy to follow with little barrier to enjoyment, as I was afraid the story would be. The drama is seamless and there weren't any longeurs — simply entertaining!

[Mirror Image]

I listened along with the libretto and found it surprisingly easy to follow with little barrier to enjoyment, as I was afraid the story would be. The drama is seamless and there weren't any longeurs — simply entertaining!

This is good to hear, Corey. Das Rheingold was my introduction to a Wagner opera as well. What amazes me about Wagner's operas are how cohesive and seamless they are. I've always had respect for his music, but listening to the operas in their entirety, my appreciation has turned into admiration. Absolutely incredible music.

[Mirror Image]

Now:

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A new acquisition. Listening to Symphony No. 4 from this 2-CD set. Absolutely gorgeous performance. I can find no fault with this performance. Karajan understands this music quite well.

[TheGSMoeller]

Now:

A new acquisition. Listening to Symphony No. 4 from this 2-CD set. Absolutely gorgeous performance. I can find no fault with this performance. Karajan understands this music quite well.

I have a Karajan/Sibelius DG disc of only no.4 & 6, maybe the same recording, but they are both great performances.

Listening now to...

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What a gorgeous Adagio.

[Mirror Image]

I have a Karajan/Sibelius DG disc of only no.4 & 6, maybe the same recording, but they are both great performances.

Yes, I agree. Actually these are the same performances. The only difference in the recordings is the set I own has been remastered.

[Mirror Image]

Now:

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Taking a break from the Ring at the moment. Listening to Act I right now. The opening prelude alone is 21 minutes. That's Mahlerian!

[Dancing Divertimentian]

A First Listen and my first real listen to Wagner ever!

Great recording! Levine's Ring is among the front runners in my book.

[Mirror Image]

Great recording! Levine's Ring is among the front runners in my book.

I was afraid of this. Looks like it's time for a fourth Ring cycle.

[Dancing Divertimentian]

I was afraid of this. Looks like it's time for a fourth Ring cycle.

And to add fuel to the fire, Levine's Ring (as might be expected, I suppose) has its own unique sound, quite distinct from Solti, Böhm, etc... Darker, more orchestra-heavy, and recorded so cleanly every musical layer is easily discernible.

[Dancing Divertimentian]

As for why I came to this thread in the first place:

Debussy's preludes, book 1, Kocsis.

[Mirror Image]

And to add fuel to the fire, Levine's Ring (as might be expected, I suppose) has its own unique sound, quite distinct from Solti, Böhm, etc... Darker, more orchestra-heavy, and recorded so cleanly every musical layer is easily discernible.

Now, you've got my interest peaked because I'm really into orchestra heavy performances of Wagner like Solti, Karajan, and Barenboim. This will be one of my next purchases. How is the singing overall? I don't like vocals that are too distracting, but, at the same time, I expect them to be beautiful. I know every Ring has it's flaws, what are the flaws of this set in your opinion? By the way, how many Ring cycles do you own just out of curiosity? Which one would you recommend to a newcomer? I have a friend at work who wants to get into Wagner and I told her about the Ring cycle, but I was hesitant to recommend one since I already have three and don't know which one I like the best.

[Dancing Divertimentian]

Now, you've got my interest peaked because I'm really into orchestra heavy performances of Wagner like Solti, Karajan, and Barenboim. This will be one of my next purchases. How is the singing overall? I don't like vocals that are too distracting, but, at the same time, I expect them to be beautiful. I know every Ring has it's flaws, what are the flaws of this set in your opinion? By the way, how many Ring cycles do you own just out of curiosity? Which one would you recommend to a newcomer? I have a friend at work who wants to get into Wagner and I told her about the Ring cycle, but I was hesitant to recommend one since I already have three and don't know which one I like the best.

I have complete Rings from Levine and Sawallisch (EMI). Sawallisch's is an unheralded - yet superlative - live Ring from Bavaria that won a Gramophone Video Award sometime in the '80s.

Incomplete Rings include Rheingold's from Barenboim, Dohnanyi, and Solti, Walküre's from Dohnanyi and Böhm, and a Twilight from Böhm (and until recently Knappertsbusch '51 on Testament).

I used to have complete Rings from Furtwängler (EMI) and Krauss but discarded them as over time I came to dislike Wagner without an orchestra that could really sound out.

There have been numerous other recordings over the years, mainly historical, but the current lineup satisfies.

As far as the singing for Levine, it's dedicated and well done to my ears, but admittedly I'm not as enamored with some of the "golden-oldies" voices of the past like Varnay and Nilsson (although Flagstad is divine!). So I can live with a lineup of just "work-a-day" singers if their singing contributes to the overall musical vision, as I feel Levine's cast does.

The central weak spot in Levine's Ring centers on the Siegfried of Reiner Goldberg. To me he's okay but many find him a bit weak, not "manly" enough. But as always YMMV.

As far as a set for a newcomer, well, everybody seems to point to Solti but I've never gotten along all that well with the Rheingold of his I have. I'd probably opt for the Sawallisch set but it's now OOP.


   

[Mirror Image]

I have complete Rings from Levine and Sawallisch (EMI). Sawallisch's is an unheralded - yet superlative - live Ring from Bavaria that won a Gramophone Video Award sometime in the '80s.

Incomplete Rings include Rheingold's from Barenboim, Dohnanyi, and Solti, Walküre's from Dohnanyi and Böhm, and a Twilight from Böhm (and until recently Knappertsbusch '51 on Testament).

I used to have complete Rings from Furtwängler (EMI) and Krauss but discarded them as over time I came to dislike Wagner without an orchestra that could really sound out.

There have been numerous other recordings over the years, mainly historical, but the current lineup satisfies.

As far as the singing for Levine, it's dedicated and well done to my ears, but admittedly I'm not as enamored with some of the "golden-oldies" voices of the past like Varnay and Nilsson (although Flagstad is divine!). So I can live with a lineup of just "work-a-day" singers if their singing contributes to the overall musical vision, as I feel Levine's cast does.

The central weak spot in Levine's Ring centers on the Siegfried of Reiner Goldberg. To me he's okay but many find him a bit weak, not "manly" enough. But as always YMMV.

As far as a set for a newcomer, well, everybody seems to point to Solti but I've never gotten along all that well with the Rheingold of his I have. I'd probably opt for the Sawallisch set but it's now OOP.

Thanks for taking the time to answer my questions. The Levine set sounds like a good one. I've always liked Levine's conducting anyway, so, naturally, I was leaning in his direction. The Solti set is much acclaimed, but I have honestly been leaning towards Karajan's for the past week or so because I like the way Karajan uses the orchestra in these performances. He gives the orchestra power when it needs to be given power to but he's not afraid to find the inner beauty of the music which some conductors seem to gloss over. Karajan's interpretations seem to be coming from a deeper place than Solti's, but that's just my personal opinion. Solti's "full steam ahead" approach works well in many instances, but I find Karajan is more of my taste. That's the thing I love about owning multiple cycles: no approach is the "correct" one, but what one lacks, the other makes up for, and vice versa.

[Que]

Hassler - Ich gieng einmal spatieren

Léon Berben, harpsichord

I want it!! Badly so... 

Quite on the Berben track, I see! 

Q

[Que]

Premier cycle de Fugues et Fantaisies from this 3-CD set with the complete organ music of Louis Couperin (1626-1661). Davitt Moroney plays the organ of the Abbaye de Saint-Michel-en-Thiérache, built by Jean Boizard in 1714.

Q