The same very competent and accomplished forces are back in Volume 2 of Analekta’s series devoted to the instrumental and vocal music of Bach/Handel contemporary Christoph Graupner (1683-1760). We’re treated to another complete solo vocal cantata, a rather slight but well-made sonata for violin and harpsichord (from a set of four), an exceptional seven-movement Overture (suite) for orchestra that features a solo viola d’amore, and a lovely extended soprano aria taken from a late cantata. Originality is not what you think of when you hear Graupner–but fine craftsmanship and an impressive ability to synthesize contemporary styles is very much in evidence in these vocal and instrumental pieces. The spirit if not the exact letter of Bach, Handel, and Telemann’s scores are never far from consciousness when listening to this very appealing array of arias, overtures, and dance movements, and along the way we encounter many pleasant surprises–as in the sensual viola-led Largo movement of the Overture, with its plaintive melody against pizzicato strings, and the simple but beautiful aria that concludes the program.
Soprano Ingrid Schmithüsen again dispatches her arias and recits with solid technique and, yes, an unmistakably young-Emma-Kirkby-like tone and delivery that wears a bit harshly on the ear before the opening cantata is finished. Her singing in the disc’s closing aria, Sprich, mein Herz, is much more agreeable, perhaps partly due to the fact that in the latter she has better music to sing! The instrumental playing is beyond reproach, highlighted by well-balanced ensemble interaction and by an underlying spirited rhythmic energy, enlivened by a natural, ideally resonant acoustic. Baroque music fans should be interested in this series, which not only features some very delightful music but also fills a long-neglected gap in the CD catalog.
