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Saeculum Aureum Reviews
BBC Music Magazine--November 2007
Having adopted the pseudonym of Corno di
Bassetto for his music criticism, George Bernard Shaw was disappointed to
discover that the basset-horn was a ‘wretched instrument’ capable only of a
‘peculiarly watery melancholy’. In his notes for this disc, William McColl
of the Seattle-based Saeculum Aureum Players argues that the revived instrument
GBS knew, a smaller version of the bass clarinet, was nothing like the sharply
angled basset-horn of Mozart’s time, ‘a mellow-toned low clarinet’ with a
‘haunting, hollow voice’. He proves his point, too, playing his own copy of
an early 19th-century instrument and bringing out all its character and richness
– as well as matching perfectly Richard Spece’s original 1820s clarinet. The
pair duet to exhilarating effect in Mendelssohn’s two Concert Pieces, written
for the father and son clarinettists Heinrich and Carl Baermann in exchange for
some of Carl’s celebrated cooking; but Bonnie Garrett on a copy of a 1795
fortepiano sounds somewhat underpowered. The basset-horn also provides a firm
bass line for flute (
Anthony Burton
Fanfare Magazine--July/August 2001
An agreeable concoction of obscure
works for wind by Mendelssohn and Mayr in effective, stylish readings by the
members of the Saeculum Aureum Players. Their Crystal Records disc,
entitled Vintage Woodwinds, attracts a high level of commendation on the
basis of the performances and, indeed, for the high production values that this
label can always be relied upon to supply. The repertoire, however, does
indeed have its drawbacks, and the Mayr work in particular is a pretty routine
affair, with nothing very special to warrant it a regular place in your player's
disc drawer.
To begin with, the two Mendelssohn Konzertstücke,
ops. 113 and 114, in F Minor and D Minor respectively, scored for the
combination of clarinet, basset horn, and piano, are somewhat better known, and
these accounts may be very highly recommended. Both works comprise three
movements apiece, and the pointed contrapuntal exchanges between the two wind
instruments are a constant source of interest. On further investigation, I
found that both have already been surprisingly well documented on disc, and
around seven versions of each are currently available.
The only reference comparator I could locate (being neither a
wind-player nor indeed a specialist in wind repertoire) from a colleague was a
1992 Ondine recording by Kriikku, Linkola, and Satukangas. They make a
nicely balanced and technically able team, but present a somewhat drab, clinical
view of both scores. Although the playing is more than acceptable, and
Ondine's sound also is very good, their performances seem to miss the sparkle
and vitality that the Saeculum Aureum Players bring to this music as a matter of
routine. More importantly, Saeculum Aureum uses of instruments of the
period. The wind timbres are highly idiomatic, and the inclusion of a
fortepiano also lends additional historical credibility to these adroit and
disciplined recordings.
The final offering on this new Crystal Records release, the
Bagatelle a tre, for flute, clarinet, and basset horn by Giovanni Simone Mayr
(1763-1845), seems to be uncharted territory. I could track down no other
recording of the work, and yet, remarkably, there are around 10 or so operas by
this composer listed in the current catalogs. The performance by Saeculum
Aureum is again a pleasing and skilled affair. Throughout, the playing has
countless felicitous touches, and the overall impression left by this work is of
an easily ingratiating composition that more than deserves an occasional
hearing. So this is a welcome issue, well recorded, and with finely
calculated and historically apposite musicianship. though the quality of the
works surveyed doesn't always equal the distinction and vitality of these
performances.
Michael Jameson
American Record Guide--July/August 2001
The Unique abilities
of specific clarinetists have inspired composers to create works especially for
them. For Mozart, it was Anton Stadler; for Brahms, Richard Muhlfeld.
Mendelssohn was artistically wed to not one outstanding clarinet virtuoso, but
two: Heinrich Baermann and his son, Carl. Their friendship produced
no concertos, but it did give rise to two delightful chamber works called Konzertstücke
for clarinet, its lower-pitched and now almost extinct relative, the basset
horn, and piano.
Carl Baermann was an outstanding cook, and Mendelssohn agreed
to write the Konzertstücke if Carl would strap on the apron and prepare
two of his specialties, dampfnudel and rahmstrudel. Baermann
complied and so did Mendelssohn. While the Baermanns continued to perform
Mendelssohn's compositions until the father's death, their appearance on concert
programs thereafter was rare. The 1889 edition of Grove's Dictionary of
Music and Musicians notes the following: "Wind instruments are
now out of fashion for concert-playing, and one seldom hears anything on such
occasions but the piano or violin, instead of the pleasing variety which used to
prevail with so much advantage to art."
In the 20th Century, the rare performances of these
Mendelssohnian gems has generally replaced the basset horn with either a
bassoon, cello, or a second clarinet. All require major or minor
alteration of the part. The basset horn has been resurrected in recent
years, but while the modern instrument has the same range as its ancestor, it
lacks the original's unique timbre. It also poses significant intonation
problems and its own set of technical problems. For these reasons, the
Saeculum Aureum Players have chosen to press into service either instruments
contemporary with the music or reproductions. The clarinet dates from 1823, the
basset horn was meticulously copied from an 1815 original made by Greissling
& Schlott, Berlin, and the fortepiano is a copy of a 1795 instrument from
the workshop of the Viennese maker, Anton Walter.
When listening to these delightful gems and Mayr's
featherweight but appealing bagatelles performed in this manner, it is easier to
comprehend the balances sought by Mendelssohn. The fortepiano's sparkling
treble and light bass, the clarinet's unique vocal quality, and the
basset-horn's individual and pliable timbre make them decidedly preferable to
any of their modern counterparts, especially when they are performed with the
surety of execution and sensitivity found here. The textures are clearly
defined, nicely blended, and presented with enviable pellucidity. The
music dances and sings in an unsurpassed way, and the sound has the intimacy
required by the music. While there are also orchestral versions of the
Mendelssohn Konzertstücke available on CD, the arrangements are most
likely the handiwork of one of the Baermanns, and not Mendelssohn.
Finally, I cannot overlook clarinetist William McColl's
delightful notes, which add a healthy dose of wit to the usual musicological
proceedings. Peter Christ has yet another release that is top-notch from
beginning to end.
Michael Carter
The Seattle Times--May 24, 2001
William McColl and his basset horn,
that right-angled vintage clarinet that looks as if someone bent it over his
knee in a fit of pique, are the stars of this surprisingly jolly disc of
Mendelssohn and Mayr works played on early 19th-century instruments.
Despite some clanking of authentic-instrument keys, the
charms of the basset horn are very evident, especially in the two high-spirited
Mendelssohn Konzertstücke. The performances are virtuosic and full of life, and
McColl has some very adept partners in clarinetist Richard Spece, flutist
Jeffrey Cohan and Bonnie Garrett, fortepiano.
Melinda Bargreen
Classics Today--May 2001
This disc of little-known
Mendelssohn and Mayr from the Saeculum Aureum Players scores highly for
performance and engineering values, though the repertoire has its weaknesses.
Mendelssohn's two Konzertstücke Op. 113 and 114 are scored for the combination
of clarinet, basset horn, and piano. Both comprise three movements and feature
pleasing contrapuntal interplay between the two wind instruments. These
works have been surprisingly well served on CD, with some seven versions of each
already available. For comparison, I sought out a 1992 Ondine recording by
Kriikku, Linkola, and Satukangas that takes a rather bland and unimaginative
approach to these scores, and although it's well recorded, these readings lack
the sparkle and tastefulness that the Saeculum Aureum Players bring to this
music. The use of instruments of the period, and especially the inclusion
of a fortepiano, lends additional historical credibility here.
The remaining work on this new Crystal Records release,
Giovanni Mayr's Bagattèlle a tre for flute, clarinet, and basset horn, is
uncharted territory, but surprisingly, 10 or so operas by this composer figure
in the current catalogs. This account is a pleasing and ingratiating one,
and the work well deserves an occasional hearing. In sum, an admirable
disc, even though the quality of the music doesn't always match the distinction
and vitality of the performances.
Michael Jameson
The Instrumentalist--April 2001
The Saeculum Aureum Players give rousing performances of works by Felix Mendelssohn and Giovanni Simone Mayr for flute, clarinet, and basset horn on replicas of early 19th century instruments. Clarinetist Richard Spece, fortepianist Bonnie Garrett, and flutist Jeffrey Cohan all sound fantastic, but the virtuosity and the rustic sound of William McColl's basset horn is extraordinary.
The Clarinet--September 2001
Peter Christ of Crystal Records has furnished a disc entitled Vintage Woodwinds which features the Saeculum Aureum Players, including on this program clarinetist Richard Spece, basset hornist William McColl, flutist Jeffrey Cohan, and fortepianist Bonnie Garrett. The disc includes both Concert Pieces, Op. 113 and 114 of Mendelssohn, and the 12 Bagattelle a tre for flute, clarinet and basset horn of Giovanni Simone Mayr. The tone qualities of these period clarinets is rich and resonant and is well served by the recording process. Richard Spece is a very experienced player of modern and period clarinets who is completing a doctorate degree at Indiana University. William McColl is a well-known artist who has long been professor of clarinet at the University of Washington and is a founding member of the highly regarded Soni Ventorum Wind Quintet. Among his many accomplishments is his mastery of the Classical/early-Romantic basset horn. If one wishes to hear these popular Mendelssohn pieces played on authentic instruments, including a lovely sounding fortepiano, this CD is for you. The blend, balance and intonation is remarkable. Although little of Giovanni Mayr's music is known today, he was a significant opera composer in his adopted Italy. A stylistic kinship can be attached to Rossini, although Mayr was the predecessor. The 12 Bagatelles are delightful pieces with range in timing from under two minutes to six-and-a-half minutes. There are several recordings of these pieces available on modern instruments, one of which I am familiar with. While the flute line balances more effectively in the modern instrument version, the clarinet and basset horn don't possess the blend and beautiful intonation found in this current recording. Flutist Jeffrey Cohan plays beautifully, however the small-holed pre-Boehm instrument is no match in volume for these (also small-holed_ clarinets. While this recording may indeed capture a natural dynamic relationship among these instruments, some judicious engineering regarding instrumental balance would have been appreciated. Crystal's disc is attractively produced, with informative and very colorful notes (English only) by Prof. McColl, who also provides the listener with some tasty ornamentation in the Mendelssohn pieces. This 61-minute recording is CRYSTAL RECORDS CD738, and is available at better retail outlets and from the manufacturer: 28818 NE Hancock Road, Camas, WA 98607 / e-mail: <info@crystalrecords.com> / Web site: <www.crystalrecords.com>.
William Nichols
L'OVABESE (Italy)--September 2001
From the
past centuries they come lost flavors of exotic woods, evocative reflections of
burnished metals, outlines of wise turnings.
They are vintage instruments, copies patiently reconstructed
by artists' hands according to ancient originals, instruments at the base of all
an interpretative vein particularly diffused during the last years, making
philology the main measure.
From America the SAECULUM AUREUM PLAYERS trio proposes
to us the recovery of a chamber tradition that through the first half of XIX
century left unique musical repertories.
Finding again the lost sounds obtained mixing wood transverse
flute, clarinet and basset horn (obtained copying ancient models; but there's
also a rare original), through the repertory of MENDELSSOHN and MAYR,
we're ready for a passionate journey (contact the label CRYSTAL RECORDS,
specialized in wind music: <www.crystalrecords.com>).
De Klarinet (Netherlands)--September 2001
The playing is lively and courts risk. Clarinetist
Richard Spece has a pleasantly light bouquet of vibrato and basset horn
specialist William McColl draws a solid tone from his bent basset horn, a
replica of an instrument from 1815.
The pieces by Mendelssohn belong naturally to the standard
repertoire. That is not true of the Bagatelle a tre by Giovanni Mayr, and
Italian composer who lived from 1763 to 1845-in the program notes he is
described as a forerunner and possibly a model for Rossini. It is amusing
music but the twelve Bagatelles last almost three quarters of an hour, the
length of a full-grown symphony! Perhaps there would be patience for it
used as Tafelmusik for a long and copious banquet in the Tuscan sun! For
genuine "diehards" in the realm of authentic music this CD is a
must. The Saeculum Aureum Players have a definite vision of the pieces
that they play and because of the direct recording technique you can hear what
is going on.
Maarten Mestrom
All Music Guide-- 2004
These nifty performances on
Performances of the pieces are rare
because the basset horn went out of use for well over a century. The late 20th
Century’s interest in period instruments has revived it. This performance is
by the Saeculum Aureum Players, three musicians with connections to the original
instruments movement in the
The two wind instruments have
delightful woody tones, and the fortepiano a charming harp-like quality that
blends with the clarinet and basset much more readily than a modern piano would.
The instruments are notoriously difficult to play in tune (which is why they
were replaced by more modern designs by most musicians), but problems along
those lines are kept to a remarkable minimum by the players.
Joseph Stevenson