Musical instruments from the Vleeshuis (Antwerp) and MIM (Brussels) come back to life. No fewer than five different Antwerp virginals and harpsichords based on models by Joannes Ruckers, Andreas Ruckers and Joannes Couchet can be heard on the new cd Ruckers Me Fecit Antverpiae by Mario Sarrechia. With these historical instruments, the harpsichordist sketches a musical landscape of 17th-century Antwerp.
Museum Vleeshuis and Snijders&Rockoxhuis joined forces for the project 'Antwerp Harpsichord City'. The cd Ruckers Me Fecit Antverpiae, recorded in the Antwerp Begijnhofkerk, is the kickoff of their new collaboration. For this cd, they dove into the archives together with Belgian harpsichordist Mario Sarrechia. Searching for music from the period 1560-1660, the golden age of Antwerp harpsichord building, they found the extensive correspondence of and about the Duarte family. It was an exceptionally musical family that moved to Antwerp shortly before 1575. They would have had at least five keyboard instruments in their home and were good friends with the famous Antwerp harpsichord builders Ruckers-Couchet.
The home concerts of the Duarte family formed the basis for the cd's programme. A remarkable European repertoire sounded at the homes of Antwerp music lovers. Besides compositions by the Duartes themselves (which unfortunately have not been preserved), works by John Bull (ca.1562-1628, England), Girolamo Frescobaldi (1583-1643, Italy), Johann Jakob Froberger (1616-1667, German-speaking territories) and Michel Lambert (1610-1696, France) were performed.
In addition to the repertoire that circulated among the Duarte family, the cd also features works by Jan Pieterszoon Sweelinck (1562-1621, Netherlands). Sweelinck traveled to Antwerp in 1604 to buy a Ruckers harpsichord. His music thus presumably also sounded in the city. The cd was further supplemented with anonymous compositions from the keyboard manuscript Susanne van Soldt (1599).
Based on the structure of the home concerts at the Duartes, Mario Sarrechia developed a programme. Keyboard works alternate with lute songs for the necessary variety. Soprano Lieselot De Wilde and lutenist Justin Glaie perform, alongside traditional lute songs, also arrangements together with Sarrechia for voice and virginal and lute and harpsichord.
The cd opens with a festive work, the Brande champanje [track 01] from the keyboard manuscript of Susanne van Soldt. Sarrechia performs this composition on two different instruments, a virginal and an ottavino (child virginal), which together can be used as a "mother and child" virginal. Their difference in tone color is a pleasantly playful interpretation by Sarrechia.
In contrast, after the cheerful, instrumental dance, a more contemplative composition for voice and lute follows. Dont vient cela [track 02] is a lute song by French composer Claudin De Sermisy (c.1495-1562). The text is by one of the most famous poets of his time, the prolific Clément Marot (1496-1544). Many of his poems were set to music, particularly by De Sermisy. The composer seemed to have a preference for Marot's poetry. Lieselot De Wilde sings the text with tasteful restraint and works in harmony with the acoustics of the church. With swelling notes, she lets her voice fill the space. Even in faster songs like Ung gay bergier [track 06], De Wilde manages to maintain this synergy.
A weaker interpretation is Sweelinck's Pavana Hispanica [track 13] by Glaie and Sarrechia. The arrangement for lute and harpsichord offers no added value over the original. The lute is so overpowered by the harpsichord. Glaie's plucking is completely lost. Although it is difficult to isolate the instruments, the lute does provide a warmer tone color at some moments. If the intention was to play with timbre and warm up the metallic sound of the harpsichord, this intention is unfortunately lost.
There is clearly a lot of attention given to research and the programme's setup. The story throughout the cd is clear to follow and at the end the circle is complete. The cd ends in the same atmosphere as it begins. Sarrechia ends on the combination of virginal and ottavino with the energetic, instrumental dance Pavane dan Vers [track 26]. The dance-like character of the pavane is clearly in the foreground. You can easily imagine the dance steps. A great interpretation to end with.
4.2/5
WHO: Mario Sarrechia [keyboard], Lieselot De Wilde [soprano], Justin Glaie [lute]
WHAT: Ruckers Me Fecit Antverpiae
LABEL: Etcetera (KTC1755)
ORDER: JPC