Johann Schenck - Scherzi Musicali op. VI [3 Suites] - Bettina Hoffmann

I've always associated the term "stylus fantasticus" with some of Buxtehude's works, but now I see that these "fantastic and bizarre caprices with sudden and contrasting changes of tempo and character, often rhythmically free and never constrained by the instrument's technical limits" (from Bettina Hoffmann's introductory notes) apply to Schenck too. This first recording of part of Schenck's opus 6 (14 suites in total) is welcome, as most viol players usually discover only the Echo of the Danube and the Nymphs of the Rhine. The three suites on this recording (in d minor, G major and a minor) are performed by Bettina Hoffmann and her ensemble Modo Antiquo (four Italian gentlemen) provide the continuo.

None of Schenck's music is for the faint-hearted. The Amsterdam-born composer (1660 - 17??) was a true original, and he obviously had a formidable command of the bass viol if the technical demands of his music are anything to go by. Fugues, finger-crunching chords and an exploitation of the full register of the instrument are some of his compositional footprints and Ms Hoffmann is certainly equal to the challenge. In reviewing this CD, I feel a little at a disadvantage without the music being available, as it would be useful to at least read Schenck's tempo and performance directions and comment accordingly.

The Ouverture which begins the CD is impressive and dramatic to say the least, with large chords and double-dotted rhythms, and the ensemble of five (soloist plus keyboard, bass viol, violone and theorbo) sounds more like a small orchestra. In contrast, the Tempo di Sarabande (track 3) is played unaccompanied, a trifle slowly for my taste, but the adagio marking for this track in the booklet may explain that. The Gigue which follows is short and lively, and sounds a little Spanish with the use of baroque guitar among the continuo group. This suite ends with a Fuga (Prestissimo) and its fierce chords reminded me of Forqueray.

The Suite in G major is a welcome change in tonality, and Ms Hoffmann begins with a Capriccio, followed by a Preludium, an Allemande, Courant and quite a long Chaconne. The Suite in a minor has nine movements, mostly short dances, ending with a passacaglia which has an impressive wall of viol chords near the end. One of the things I like about this recording and another of Ms Hoffmann's which will be reviewed later (Ortiz and Ganassi) is that she constantly changes her continuo for each movement to suit the emotional character and texture of the piece. Some pieces are full on, while others may be with one or more instruments. She uses both harpsichord and organ, theorbo and baroque guitar, bass viol and violone in different combinations, and I notice some small percussive effects in track 18 which I presume is one of the player hitting an instrument. However it was made, it did suit the mood of the Bourée.

This is an impressive CD. At 63 minutes, 34 seconds, it is a little below what can be fitted onto this format, but it represents value nonetheless. … The booklet cover features a portrait of Schenck, painted from an engraving, with the composer wearing a most enigmatic expression, and his viol showing a very odd pegbox. At times I feel Ms Hoffmann's viol tone is a little more harsh than I'd like, but this is merely a personal preference and others may find it entirely suitable. The fact that the CD introduces us to relatively unfamiliar repertoire by a major composer for viol is laudable, and makes it worth buying for that fact alone. (Patrice Connelly, 2001, avdgs.org.au)