Mattheson: Suites

Approfondimenti

The discovery of music manuscripts from the estate of composer and music journalist Johann Mattheson in Armenia has been the cause of great excitement for fanciers of the German Baroque -- here, finally, is the opportunity to get to know this friend of Handel and Bach whose written words are so eloquent and informative, yet whose music has proven so elusive. Nevertheless, first things first -- Brazilian-born harpsichordist Cristano Holtz makes the first comprehensive recording of a Mattheson set that has been available all along in Ramée's Johann Mattheson: Suites, namely the set of 12 harpsichord suites Mattheson published in England in 1714 and in Germany a little later. "Comprehensive" should not be taken to mean "complete"; this 75-minute disc contains a little less than half the set, with four suites presented in excerpted form. Purists may cry foul, but the full set of 12 suites would probably last about three hours in performance, and one is thankful to Ramée for restricting the release to a single disc and highlighting the good parts. After all, we have never heard this music, and three hours is a long time to listen to the harpsichord.
It is not entirely true that "we have never heard this music" -- the Air from the Suite No. 5 in C minor has been around a long time in a violin and piano version designed for use in the salon and recorded by violinists in the 78 era; one of Leopold Stokowski's patented orchestral transcriptions is based on it. Outside of that, there is a greater familiarity to the sound of Mattheson's suites in a general sense in that they relate very strongly to the French Suites of Johann Sebastian Bach, composed nearly a decade later. Holtz's interpretations are splendid and well suit Mattheson's intentions through a sparing and tasteful use of ornaments and a steady yet flexible approach to tempi. The instrument employed is in fabulous condition; it is clear, full-throated, and well intoned. Holtz acknowledges "Menno van Delft for lending his instrument," but we are not told what the instrument is; from the sound of it, it seems likely a harpsichord of modern make. Ramée's recording is close, transparent, and up front without being unrealistically loud.
Another aspect of this recording that will mortify the purists is that these Mattheson suites possess such excellent musical qualities this recording makes one want to hear them played on the piano as well. This should be taken as a compliment; with the obvious exceptions of Bach and Handel, not too much harpsichord music of the early eighteenth century transfers well to the piano, and Mattheson's music seems as though it might. Friends of Baroque keyboard music should definitely keep an eye out for Ramée's Johann Mattheson: Suites.

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