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CD reviews
James OSWALD (1710 - 1769): Airs for the Seasons
Rezonance Baroque Ensemble
rec: Oct 3 - 6, 2022, Toronto, Ont., Humbercrest United Church
Leaf Music - LM266 (© 2023) (56'30")
Liner-notes: E/F
Cover, track-list & booklet
Spotify
[in order of appearance]
[Spring] Ranunculus;
Cowslip;
Crocus;
Narcissus;
[Summer]
Lilly;
Myrtle;
Pink;
Veronica;
[Autumn]
Daisy;
Belvedere;
Starwort;
Ambrosia;
[Winter]
Stock Gilli Flower;
Heart's Ease;
Persian Iris;
Snowdrop
Joanna Marsden, transverse flute;
Rezan Onen-Lapointe, Kailey Richards, violin;
Erika Nielsen, cello;
Benjamin Stein, lute, theorbo;
David Podgorski, harpsichord
The 18th century saw the emergence of a lively interest in music that was characteristic of a particular country or region. It was the time of the Enlightenment, and part of its philosophy embraced a wish to increase knowledge and an emphasis on the importance of learning. This resulted in an investigation of unknown cultures, such as those of people from outside Europe. This explains the references to Turks, 'Indians' or Incas in French music of the 18th century. This went hand in hand with an increasing awareness of the cultural differences between the various peoples within Europe. Composers started to write music, in which they attempted to depict their character.
Some of them are well-known; their music is part of the standard repertoire. In the case of the British Isles, several Italian immigrants are among them, such as Francesco Geminiani and Francesco Barsanti. Both made arrangements of traditional Scottish songs. However, there were also composers from Scotland itself. The best-known is James Oswald, who was born in Crail, and educated at the cello. His first job was that of dancing teacher. In 1735 he settled in Edinburgh, where he was active as a cellist and teacher, but also as a composer and publisher. His first great success was A Collection of Curious Scots Tunes of 1742, witness the large number of subscriptions.
In 1741 he moved to London; the next year saw the publication of a set of songs under the title Colin's Kisses. Around 1745 he again earned great success with a collection of music: the first two volumes of The Caledonian Pocket Companion, including simple monophonic tunes for every kind of instrument. They were later followed by ten further volumes; they were often reprinted and circulated long after his death. The recognition of his place in music life was crowned when he was appointed Chamber Composer to George III. In the 1750s Oswald composed a substantial amount of chamber music, which shows that he was fluent in the Italian and the French style. Some of his music was published under pseudonym, such as his Divertimenti op. 2 and sonatas for two flutes or violins and basso continuo op. 3.
In Oswald's music, traditional Scotch tunes play a major role. The titles speak for themselves. Apart from A Collection of Curious Scots Tunes mentioned above: A Curious Collection of Scots Tunes, (1740), 12 Songs Compos'd in the Scotch Taste (1743), A Choice Collection of Scotch Tunes with Variations (c1760), A Collection of the Best Old Scotch and English Songs (1761), A Collection of Scot's Tunes with Variations (c1765). Oswald enjoyed the admiration of Geminiani, who wrote that until Oswald's time "melody was entirely rude and barbarous, and that he found means at once to civilize and inspire it with all the native gallantry of the Scotish nation".
However, in other works the influence of traditional music also manifests itself, such as in the collection which is the subject of the present disc. In 1755 Oswald published Airs for the Spring/Summer/Autumn/Winter, which the next year were reprinted under the title Airs for the 4 Seasons. Originally scored for transverse flute or violin with basso continuo, the reprint included an optional second part for a treble instrument. A second set of Airs was published in 1761, and reprinted around 1765, but that seems to be lost.
Both collections include(d) 48 pieces. The Rezonance Baroque Ensemble selected from the first set four pieces from each season; sixteen in total. As far as I know they have never been recorded complete. However, pieces from this collection are pretty popular among baroque ensembles, which is easy to understand. They are entertaining, and they include quite some variety in material and idiom. They are written in the galant style, but - as mentioned - there are influences of traditional music, and of the Italian style. An example of the latter is Lilly from Summer, which follows the Corellian sonata model: in is in four movements, in the order slow-fast-slow-fast. The titles of the individual movements are either tempo indications in Italian, such as vivace, allegro and moderato, or refer to dances: siciliana, minuetto, giga and gavotta. The sonata with the title Persian Iris closes with a march.
Each sonata bears a title: the name of a flower connected to one of the seasons, such as Hyacinth, Narcissus and Tulip. Whether these are character pieces is hard to say. They may refer to flowers, but it seems quite possible that there is a meaning behind those titles, for instance connected to antique mythology, such as Narcissus. It is not necessary to understand their possible meaning in order to enjoy these pieces, which are very well-written, especially if they are played as well as here by the Rezonance Baroque Ensemble. This ensemble from Canada was founded in 2012, but I can't remember having heard it before. I don't know whether they have made any recordings before. I hope it is not the last time I encounter them. This disc is a most pleasant acquaintance.
Johan van Veen (© 2024)
Relevant links:
Rezonance Baroque Ensemble