The heart of this program is Michael Praetorius’ Magnificat setting “Meine Seel erhebt den Herren”, and surrounding it are various other “insertions” of carols, hymns, and service music that, according to conductor David Fallis, represents a fair reconstruction of “a vespers service for Christmas as it might have sounded in a large north German church in the early 17th century.” The Toronto Consort is a world-class group that has been turning out excellent early music performances and recordings for decades, and this entire production measures up to the ensemble’s very high standards. From the opening hymn, one of Praetorius’ settings of the beloved “Geborn ist Gottes Söhnelein” (also known as “Veni, Redemptor gentium”, or “Come, thou Redeemer of the earth”), we’re drawn in by the grandeur and resoluteness of the melody, the richness of the harmony, and the full-bodied sound of choir, strings, and organ. Throughout, these fine musicians and the excellent musical selections compel our attention.
Praetorius was a master at transforming simple tunes and popular musical forms into immediately appealing works greater than their individual components. This Magnificat is one of the more texturally varied and colorfully illustrative, and the Toronto musicians make the most of its madrigal-like aspects. The sound is clear and vibrant, and only one of the solo voices–a soprano–registers as less than ideal. My only other complaint: while it may have been inserted for reasons of authenticity, the four-minute-long intonation of the Gospel Reading struck me as tedious in this context. Nevertheless, this is a really satisfying and thoughtfully organized program of music by a composer often overlooked, and thanks to the Toronto Consort and Marquis, Christmas music lovers have at least one new release to celebrate this season. [12/02/2004]
