Search - Joseph-Hector Fiocco, Patrick Peire, Collegium Instrumentale Brugense :: Fiocco: Missa Solemnis: Ave Maria; Homo Quidam

If You Like Vivaldi and Handel....

01/07/2004

(5 out of 5 stars)

"As Patrick Peire's rather brief notes to this CD indicate, Fiocco's work shows the influence of many masters of his day. But if this composer, who died relatively young, failed to cultivate a unique voice, his music is nonetheless enticing. Fiocco was a true eclectic: he synthesizes the best choral-music influences of his day, with the exception of Bach, who few outside of Germany would have known anyway when Fiocco was writing.Fiocco was the son of a Venetian who settled in Brussels. Joseph-Hector served at the court chapel in Brussels and at Antwerp Cathedral as choral director, and these opportunities obviously gave him the opportunity to write for a fine chorus, capable of coloratura singing, and an orchestra with first-rate trumpeters, as shown by the virtuoso writing for the trumpets in Fiocco's Mass.While I can't speak to Peire's assertion that Fiocco incorporates Flemish musical strains in this work, the Italian influences are immediately recognizable, and if you enjoy, say, Vivaldi's celebrated Gloria, you will almost certainly admire Fiocco's works. But whereas Vivaldi can be somewhat foursquare, Fiocco's music dances. Peire credits the influence of Couperin and Lully for this dance-like quality. However, I think more along Italian lines again--that eminent "Italian" master George Frideric Handel, whose choral music so often dances as well. Handel apprenticed in Italy and never abandoned his Italian musical roots but instead filtered Italianate style through the native English strains of Purcell (or vice versa). Maybe that's what's happening in the case of Fiocco, who gives the Italianate a possibly Flemish spin. Whatever the case, you will hear music in Fiocco that reminds you of Handel, such as the lovely Qui tollis, an excellent piece of contrapuntal writing that is very reminiscent of "Lift Up, Ye Gates" from the Messiah, just as Fiocco's Cujus regni recalls "Arise, Shine; for Thy Light Is Come." These should probably be called pre-echoes, since the Messiah was composed around the time of Fiocco's death. But it is clear that both masters are going to the same well for their inspiration.If Fiocco's music finally lacks the majesty and melodic memorability of Handel, certainly the Mass is more accomplished than much of Vivaldi, whose choral-vocal music, as critics point out, often sounds like transcribed instrumental music. In fact, Fiocco's Mass is clearly the work of a thoroughgoing church-music master. So thanks to Patrick Peire and Naxos for the opportunity to hear this interesting and attractive work. All of Peire's forces are as committed to the project as he. His soloists and chorus sing with suavity and grace, and the orchestra is equally fine, especially those all-important trumpeters. The choice of recording this work in a studio rather than a church results in an intimate, well-balanced recording so important to reproducing the clarity of Fiocco's contrapuntal lines. Warmly recommended."