Kapsberger: Arias, Motets, Works For Lute

Kapsberger: Arias, villanelle, motets and works for lute is an unusual choice for inclusion in Teldec's series Das Alte Werk 50 Years. This is a series of deluxe reissues from the Das Alte Werk back catalog in observance of the anniversary of the label's founding in 1958. This 1994 release, featuring mezzo-soprano Guillemette Laurens with lutenist Luca Pianca and violinist Enrico Onofri from Il Giardino Armonico, is not a star-studded spectacular, nor was the choice of literature particularly "commercial"; it is hard to say whether this title was even released in the United States at all when new. While Guillemette Laurens was something of a known quantity at the time, Il Giardino Armonico would finally break out in 1995 with an excellent Teldec recording of Vivaldi's The Four Seasons, whereas Rolf Lislevand would be the theorbist to make the case for Kapsberger on Astree at about the same time. Therefore, this entry is worthy of inclusion in Das Alte Werk's retrospective series as it shows the label a little ahead of developing trends that would make a big difference in a short time, not to mention that this release probably didn't get the attention it deserved the first time around. This selection of 18 pieces is taken from Kapsberger's earlier publications, his one surviving book of lute music (1611) and of songs and solo motets derived from prints dating from the 1610s and early 1620s. To characterize this recital as being exciting and energizing like Lislevand's would be incorrect; it is mostly low key, and in the solo pieces Pianca's lute is recorded rather distantly. An entirely different balance is utilized for the vocal selections and is more comfortable to listen to, though the change in perspective makes for an incongruous match with the solo pieces. Laurens, singing material probably intended for castrati, is generally in good voice, though occasionally a little rough at the edges and in the execution of ornaments; this is difficult music to sing. However, it is not as though Kapsberger's vocal music has been recorded in any great quantity, and the vocal pieces here demonstrate that as a composer of music for the voice, Kapsberger was clearly influenced by the example of Giulio Caccini. This begs the question of further qualifications needed to Athanasius Kircher's assertion that Kapsberger was "the successor to Monteverdi" and provides a clearer, more precise understanding of this intriguing and still mysterious Roman composer.