Johann Adolf HASSE: Complete Solo Cantatas, Volume One
In his own day Johann Adolf Hasse (1699–1783) was enormously popular as a writer of operas – Burney described him as ‘superior to all other lyric composers’. His chamber cantatas were written for private performance in the palaces of the powerful, where Hasse enjoyed the patronage of the very highest ranks of society: some of his cantatas may even have been sung by the empress Maria Theresa herself. But with the eclipse of his fame after his death, these works were scattered across Europe, and this first complete recording was made possible only by many years of detective work. They reveal, even on this smaller scale, the keen sense of drama that animated his operas.
Featuring:
Hof-Musici
Jana Dvořáková, soprano
Veronika Mráčková Fučíková, mezzo-soprano
Rozálie Kousalíková, Baroque cello
Ondřej Macek, harpsichord
Listen To This Recording:
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Credi, o caro, alla speranza
- I. Aria: ‘Credi, o caro, alla speranza’ (Largo)
- II. Recitativo: ‘Nella tua fedeltà, caro mio Tirsi’
- III. Aria: ‘Un altra pastorella’
- I. Recitativo: ‘Parto, mia Filli, è vero’
- II. Aria: ‘Se vola al labbro il cor’
- III. Recitativo: ‘Non così nel periglio’
- IV. Aria: ‘Partirò fedele amante’
- I. Aria: ‘Ah, per pietade almeno’
- II. Recitativo: ‘Fuggirò poi da te per piano, e monte’
- III. Aria: ‘Cervetta piagata’ (Allegro)
- I. Recitativo: ‘Oh Dio! partir conviene’
- II. Aria: ‘Oh Dio! dirti vorrei’ (Andante)
- III. Recitativo: ‘In compagnia della mia pura fede’
- IV. Aria: ‘Ah, se potessi almeno’ (Allegretto)
- I. Aria: ‘Lascia i or, l’erbette, e’l rio’ (Affettuoso)
- II. Recitativo: ‘Più volte l’infedel giurar solea’
- III. Aria: ‘Mà le giuste mie vendette’ (Allegro)
- I. Recitativo: ‘Tanto dunque è si reo, o Amor crudele’
- II. Aria: ‘Puoi dir, ch’io son quel ero’
- III. Recitativo: ‘Non è amore il tuo amor, mà un rio piacere’
- IV. Aria: ‘Tu impiaghi, e poi’
Parto, mia Filli, è vero
Ah, per pietade almeno
Oh Dio! partir conviene
Lascia i fior, l’erbette, e’l rio
Tanto dunque è si reo
MusicWeb International :
‘The cantatas are split equally between the singers with each having three to perform, and they are all performed well. […] he musical accompaniment by Rozálie Kousalíková and Ondřej Macek is also excellent; so much so, that you do not miss the other instruments that are employed by Musica Alta Ripa.
The accompanying booklet essay and notes on each of the cantatas by the disc’s harpsichordist, Ondřej Macek, are excellent. They not only give the background to the composer and his music, but also discuss the context in which the cantatas were composed. Full texts and English translations are also included. The recorded sound is good with the villa in Prague, which is associated with Mozart, having a pleasing acoustic. I look forward to further instalments of this series.’
—Stuart Sillitoe, MusicWeb International
MusicWeb International :
‘Without any doubt this is a highly interesting and important project, especially as not that many of Hasse’s cantatas are available on disc. […]
All in all I have really enjoyed this disc, because it sheds light on a lesser-known part of Hasse’s oeuvre, which deserves our attention. These cantatas are fine works and are certainly not inferior to the better-known cantatas by the likes of Handel and Vivaldi. There is every reason to look forward to the next volumes in this project.’
—Johan van Veen, MusicWeb Interational
musica Dei donum :
‘All in all I have really enjoyed this disc, because it sheds light on a lesser-known part of Hasse’s oeuvre, which deserves our attention. These cantatas are fine works and are certainly not inferior to the better-known cantatas by the likes of Handel and Vivaldi. There is every reason to look forward to the next volumes in this project.’
—Johan van Veen, musica Dei donum
MusicWeb International :
‘ll are very attractive and all are beautifully performed: both soloists have fine voices, well matched in style to the point that it’s not always easy to determine who sings what.’
—Brian Wilson, MusicWeb International
BaroquiadeS :
‘Tout ce travail révèle entre autre la virtuosité des chanteurs à exécuter les vocalises d’un répertoire richement orné. Les trilles, les arpèges, les notes piquées s’enchaînent à vitesse folle nous emportant dans un véloce tourbillon nourri par la colorature.
Cependant, toute cette ivresse de notes n’altère ni la douceur, ni la délicatesse qui se dégagent du propos amoureux. L’expression des sentiments ne connaît aucune limite même lorsque l’amour se montre cruel ! […]
Un des plus beaux exemples est l’amour porté par une bergère au pâtre Tirsi dans la cantate Credi, o caro, alla speranza. L’aria patetica d’ouverture signe la maîtrise mélodique du maestro renforcée par la fraîcheur vocale de la soprane. Le violoncelle de Rozálie Kousalíková insuffle la cadence. L’ostinato est fondé sur le jeu du violoncelle, qui répète obstinément une formule rythmique et harmonique soutenant le chant. Les ornements vocaux de la soprane épousent parfaitement la ligne du continuo. L’émission du souffle est retenue apportant un changement d’affect, effet bien séduisant. Jana Dvořáková émeut par sa lente plainte face à l’inconstance de son amant, le berger.
Dans le plus pur style baroque italien, la seconde cantate Ah, per pietade almeno se montre tout aussi exquise. La soprane se lance à corps perdu dans les effets coloratures avec virtuosité. Le timbre est léger. Les sauts sont aussi aériens, gracieux que la biche galopante. Même blessée par une cruelle flèche, elle demeure resplendissante.
La dernière cantate Lascia i fior, l’erbette, e’l rio, interprétée par la soprane, a été composée dans la première période napolitaine du Cher Saxon. Les pleurs prennent une consistance expressive. Malgré la tristesse, l’image colorée des fleurs et des prairies rehaussent d’une certaine joie le chant.
Jana Dvořáková sert le texte avec une diction irréprochable grâce à sa respiration souple, ce qui favorise la perception du geste à accomplir. […]
Ondřej Macek, au clavecin, s’est montré constant dans son accompagnement. Il a su tirer partie de son instrument sans dominer le violoncelle, les voix. Le discours se montre discret, il imite même parfois celui des solistes. Son jeu au clavier est délicieux. Il réalise un continuo soigné. Les harmonies indiquées ou sous-entendues sont fines grâce à son délicat « toucher ». […]
Cet enregistrement, révélateur de l’autre facette de Johann Adolf Hasse, mérite de loin une attention toute particulière. Il apporte une nouvelle vision à l’œuvre monumentale du Cher Saxon. Ce premier volume prometteur ouvre la voie à d’autres, qui seront attendus avec hâte…’
—Jean-Stéphane Sourd-Durand, BaroquiadeS