Accentus Austria - Commedia dell'Austria (2016)

This is an original and very enjoyable selection of music by composers of the baroque century working in Vienna. The pieces are associated with the traditional February Carnival time and are mostly in dance formats. They are played by the period instrument ensemble Accentus Musicus, an extremely able and stylish band with a colourful variety of instruments which here include Jew's harp, bagpipes and percussion as well as all the usual baroque equipment. The musicians perform with terrific verve and energy under the excellent direction of gambist Thomas Wimmer.

The music is organised into four sections: aristocratic scene, entry of the harlequin, peasant wedding and close of the evening. These divisions are perhaps useful in shaping the programme, but need not be taken too seriously for listening purposes. Among the works are a number of enterprising rarities from composers I hadn't previously encountered – and their music turns out to be excellent, by no means inferior to the more well-known pieces offered here. Francesco Conti (1681-1732) is the latest of the composers represented, contributing three Sinfonie for stage works of which the second, 'Don Chisciotte in Sierra Morena' (track 3), is an especially fine French overture-style piece. Nicola Matteis contributes two Balli; the first is a lively, melodically brilliant work further enhanced by lovely decorations from Michael Posch's superb recorder playing (2), while Matteis' second Ballo brings some riotous fun ending in an extremely graceful Chaconne (4).

Another rarity comes from Andreas Anton Schmelzer, one of three sons of the better-known Johann Heinrich Schmelzer, contributing a very attractive series of dances in his Balletto dell Furie (6). A group of pieces from the Linzer Orgeltabulatur (c. 1610) seems an odd choice in the context but these too, transcribed for the ensemble, turn out to be brilliant fun, again enlivened by Posch's fabulous recorder acrobatics (9-11). Biber and Schmelzer Senior dominate the latter part of the programme, including Biber's Sonata à 6 (Peasants' procession to church) and a colourfully scored Balletto from Schmelzer. The programme ends with the Ciacona movement from Biber's oft-recorded Serenada à 5, the Nightwatchman's part nicely sung by Wilfried Zelinka. It's a pity that Accentus Austria didn't just give us the whole Serenada – there would have been plenty of space for it since the CD is 59 minutes long.

Thomas Wimmer's own booklet notes are excellent and very detailed on background, composers and works chosen. The short nightwatchman text is included, and the English translation given. The booklet is also enhanced by attractive illustrations of dancing and playing commedia dell'arte figures. The closing Biber Serenada movement is misattributed to Schmelzer in the track listing, but correctly cited in the notes; both notes and track list indicate that the Ciacona is preceded by the introductory Serenada from the same work, but in fact we only get the Ciacona on the CD. However, these are minor complaints. Altogether this programme is a great success, bringing us some lovely music and enterprising choices, all beautifully performed and extremely enjoyable. By Stephen Midgley

TRACKLIST
01. Alba Cornelia: Sinfonia (Entrée)
02. Ballo: March-Giga-Piva-Aria-Gavotte
03. Don Chisciotte in Sierra Morena: Sinfonia-Minuett
04. Ballo: Bouree-Marche-Guique-La folia spaniola-Guique-Chaconne
05. Creso: Sinfonia
06. Balletto delle furie: Aria-Intrada-Minuett-Saltarella
07. L'albero del Ramo d'oro: Sinfonia come di strepito di vento in un bosco
08. Erlicino: Adagio-Allegro
09. Es flog ein kleines Waldvögelein
10. Mein Traurn ach Gott ist ohn Endt
11. Pückelhäring
12. Sonata à 6, "Die Pauern Kirchfartt genannt"
13. Balletto: Pastorella-Gavotta anglika
14. Langaus
15. Serenada à 5: Serenada-Ciacona, "Lost ihr Herrn und last euch sagen"