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Susanne Heinrich - Mr Abel’s Fine Airs - Carl Friedrich Abel: Music for solo viola da gamba (2007)

Posted By: Designol

Date: 22 Feb 2024 17:15:47

Carl Friedrich Abel (1723–1787) was a contemporary of J C Bach, and a fashionable performer and promoter in London in the eighteenth century. By that time the viola da gamba was a rarity, but Abel’s performances sparked a revival of interest among performers and audiences. The works recorded on this disc (six of which have never been previously recorded) can be seen as musical expositions of sensibility, inhabiting the same tragic world as the gamba solos in J S Bach’s Passions. Abel’s contemporary Charles Burney commented on the musician’s ability to ‘breathe’ the notes as he played them, and this extraordinary sensitivity is present too in the beautiful playing of Susanne Heinrich.

Carl Friedrich Abel is usually thought of as a genial symphonist much in the mould of his London concert-promoting business partner JC Bach, but this delightful release shows that anyone considering on that basis not to delve further into Abel’s output is missing not only an important side of the man, but indeed his very core. Abel was one of the last masters of the viola da gamba, and in these unaccompanied pieces he reveals an intimate art which instantly makes sense of the affection and reverence in which he was held by his friends, they being the ones who got to hear him improvising at home in front of the fire and left touching accounts of his power to stir their emotions. “He was the Sterne of music” is how one described him, which is saying something.

Susanne Heinrich has chosen 24 solo gamba pieces from the 30 contained in a manuscript in the New York Public Library which surely represent the kind of music Abel played in those domestic musical occasions. Unencumbered by showy virtuosity, they are never less than supremely elegant, yet at their best exhibit profound sentiment in the word’s exquisite 18th-century sense. Four of the pieces are grouped together to make a sonata, but the others are free-standing and range from deeply felt adagios to lightly arpeggiated preludes, and from suave minuets to the occasional faintly rustic dance. Heinrich brings to them exactly the right blend of emotional involvement and earnest good taste, and finds pleasing resonance and smoothness in her instrument, such that even nearly 80 minutes of solo gamba never tires the ear. An unsuspected and atmospheric gem – I can almost hear the firewood crackling.

Review by Lindsay Kemp, Gramophone

Carl Friedrich Abel's most frequently recorded repertoire heretofore would include what remains of his symphonies, concerti – mostly those for the flute – and a smattering of chamber sonatas, many of them also for flute. While Abel did not compose operas apart from a few inserts, his surviving music is heavy with items originating from an expansionist and professional area of his talent; works written to fill the bill on concerts, for to accommodate published sets and the like. Abel's contemporaries, though, are in uniform accord in remembering him that his greatest achievements were not witnessed in the concert hall, but in the late evenings at private homes, performing on his main instrument – the viola da gamba – for a few friends. With Susanne Heinrich's Hyperion disc Mr. Abel's Fine Airs we are finally accorded a substantive glimpse of the private side of Abel, and it is telling.

Of Abel's output for solo gamba, nearly 80 pieces survive, though the majority of these are relatively simple works intended for teaching purposes; most don't even bear tempo indications. Heinrich, of the ex-Palladian Ensemble now Palladian Trio, has selected 24 movements from about 30 that are more ambitious and not obviously oriented to pedagogical purposes. The result is a rich and highly varied program that puts to the test Walter Knape's assertion that Abel's music was "a refined, urbane version of the Mannheim style with perhaps an Italian influence in the more vocal melodies." There are many instances among these solo pieces where Abel leaves the galant mannerisms of his era aside in music reminiscent of the late Baroque – the world of Johann Sebastian Bach, Sylvius Leopold Weiss, and Marin Marais. Although some of these mostly un-datable pieces may actually have originated from before 1755 when Abel is believed to have left Germany for London, others may be late reflections on the Baroque solo idiom, not unlike the solo cello pieces of Joseph-Marie-Clément Dall'Abaco lately recorded by Kirstin von der Goltz, which date from around 1760 or later. The Adagio WKO 209 puts Knape on the fence over his assertion that there "is little trace of deeper emotion or Sturm und Drang" in Abel – it is all that and more. This recital is jam-packed with compositional devices that conventional wisdom tells us Abel did not use and pieces that are but more reserved in style, Heinrich brings a remarkable flexibility and fluidity of expression, accentuating what Burney called "[Abel]'s discretion [and] taste [in]…breathing a few notes."

All of these pieces are intensely personal and played with discipline, respect, and yet a sense of freedom by Heinrich – exactly the traits Abel's friends so admired in his own playing. There is no doubt that Abel was the last of the great viola da gamba players before the instrument went into a period of a century and a half of dust and silence; but until Mr. Abel's Fine Airs we have experienced little first-hand evidence of what his artistry might have been like. Mr. Abel's Fine Airs is an urgently important release in a historical sense and a very satisfying one for general listening purposes; while gamba fanciers and enthusiasts of eighteenth century music will love it the most, it's hard to imagine any lover of great music not wanting to experience it; Hyperion's Mr. Abel's Fine Airs is very "fine" indeed.

Review by Uncle Dave Lewis, Allmusic.com

Carl Friedrich Abel at Allmusic
Carl Friedrich Abel at Wiki

Susanne Heinrich at Allmusic
Susanne Heinrich at Hyperion

Susanne Heinrich (viola da gamba)
Recording details: October 2006
St Andrew's Church, Toddington, Gloucestershire, United Kingdom

Tracklist:

Carl Friedrich Abel (1723–1787)

01. Adagio WKO189 (1:57)
02. Vivace WKO190 (4:47)
03. [Allegro] WKO192 (4:28)
04. Tempo minuetto WKO154 (3:00)
05. Adagio WKO209 (3:36)
06. [Arpeggio] WKO205 (2:49)
07. [Tempo di menuet con variazioni] WKO203 & WKO204 (3:40)
08. [Moderato] WKO208 (5:48)
09. [Adagio] WKO187 (4:19)
10. Fuga WKO196 (2:29)
11. Sonata in G major - Adagio WKO155 No 1 (2:04)
12. Sonata in G major - Allegro WKO155 No 2 (2:49)
13. Sonata in G major - Tempo di menuet WKO153 (1:30)
14. Sonata in G major - Adagio [not in WKO] (1:26)
15. Allegro WKO198 (3:59)
16. Tempo di menuet WKO202 (3:29)
17. Andante WKO191 (4:21)
18. [Arpeggio] WKO194 (2:32)
19. Allegro WKO207 (3:53)
20. Tempo di menuet WKO188 (1:31)
21. [Andante] WKO199 (2:27)
22. [Allegro] WKO195 (3:01)
23. Allegretto WKO211 (6:21)
24. Allegro WKO212 (1:32)

EAC log

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 24. October 2011, 20:32

Susanne Heinrich / Mr Abel’s Fine Airs

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DR log

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-07-25 03:03:12

––––––––––––––––––––––––––––––––––––––––
Analyzed: Susanne Heinrich / Mr Abel’s Fine Airs
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -4.85 dB -22.07 dB 1:57 01-Adagio WKO189
DR12 -3.40 dB -19.59 dB 4:47 02-Vivace WKO190
DR11 -2.10 dB -18.48 dB 4:28 03-[Allegro] WKO192
DR11 -3.55 dB -20.34 dB 3:00 04-Tempo minuetto WKO154
DR12 -1.54 dB -20.18 dB 3:36 05-Adagio WKO209
DR10 -8.83 dB -23.92 dB 2:49 06-[Arpeggio] WKO205
DR11 -6.60 dB -22.13 dB 3:40 07-[Tempo di menuet con variazioni] WKO203 & WKO204
DR13 -1.57 dB -19.42 dB 5:48 08-[Moderato] WKO208
DR12 -3.04 dB -20.94 dB 4:19 09-[Adagio] WKO187
DR12 -3.32 dB -19.81 dB 2:29 10-Fuga WKO196
DR12 -4.45 dB -20.97 dB 2:04 11-Sonata in G major - Adagio WKO155 No 1
DR12 -4.28 dB -19.14 dB 2:49 12-Sonata in G major - Allegro WKO155 No 2
DR10 -4.94 dB -20.01 dB 1:30 13-Sonata in G major - Tempo di menuet WKO153
DR11 -6.57 dB -22.14 dB 1:26 14-Sonata in G major - Adagio [not in WKO]
DR11 -5.75 dB -20.95 dB 3:59 15-Allegro WKO198
DR12 -2.92 dB -19.76 dB 3:29 16-Tempo di menuet WKO202
DR12 -5.22 dB -21.28 dB 4:21 17-Andante WKO191
DR11 -8.17 dB -24.77 dB 2:32 18-[Arpeggio] WKO194
DR13 -2.57 dB -19.83 dB 3:53 19-Allegro WKO207
DR11 -5.57 dB -19.76 dB 1:31 20-Tempo di menuet WKO188
DR12 -4.56 dB -23.00 dB 2:27 21-[Andante] WKO199
DR12 -3.71 dB -20.13 dB 3:01 22-[Allegro] WKO195
DR12 -3.41 dB -20.95 dB 6:21 23-Allegretto WKO211
DR11 -4.63 dB -20.49 dB 1:32 24-Allegro WKO212
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 24
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 611 kbps
Codec: FLAC
================================================================================

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