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Cast:
The Purcell Quartet
Catherine Mackintosh, violin
Catherine Weiss, violin
Richard Boothby, violone
Robert Woolley, harpsichord
Jane Rogers, viola
Tracklisting:
01-07. Mensa sonora, seu Musica instrumentalis: Pars I
08-13. Pars II
14-18. Pars III
19-20. Sonata, Chafe 147
21-27. Mensa sonora, seu Musica instrumentalis: Pars IV
28-34. Pars V
35-41. Pars VI
https://mega.co.nz/#!K05kWahA!NApF-AVsXy_flyEvH1YhjjOqy-13–GUqBdzPX7hAKg
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The Purcell Quartet appears to be recording all of Heinrich Biber’s string chamber music and their flexible lineup — Jane Rogers joins on viola to fill out the fifth part here — certainly facilitates Biber’s rather unique requirements. The main concentration of Purcell Quartet’s attention to Biber was in the 1990s; between 1994 and 1997, it recorded, in quick succession, the Harmonia artificiosa ariosa, Sonatae tam aris quam Aulis servientes, and the Fidicunium Sacro-Profanum. With this recording of the Mensa sonora, the only string chamber works Biber left that the Purcell Quartet hasn’t gotten to are mostly solo sonatas — the Mystery Sonatas, the sonatas of 1681, and a number of miscellaneous sonatas and occasional pieces, not all of which are squarely landed in the camp of Biber and all of which are smaller than they are. One of these fugitive sonatas is nevertheless included here — the Sonata in A major, C. 147 — and interestingly it is used to divide the six partitas in the Mensa Sonora. This is an intelligent choice, as the Mensa Sonora is made up of very short dance movements, with intentions for use not in the court ballroom but rather at the dinner table. When Reinhard Goebel and Musica Antiqua K�ln recorded the same set in 1987 for Archiv, he used Biber’s Sonata Representatium Avium as a dividing point; one would hope neither pheasant nor other fowl was on the menu.
Considering the culinary thrust of the Mensa Sonora, they are not among Biber’s more captivating or challenging compositions, although certain individual pieces within these partitas can be affecting. Purcell Quartet’s interpretations are clean and respectful, as is their wont; however, the Lyrichord recording by La Follia Salzburg has a bit more sparkle to it. Goebel’s version is rather similar to this one apart from its choice of fare between courses. The Sonata in A major is realized beautifully, but as a whole the Mensa Sonora is more pleasant than exciting, which might be one reason why Purcell Quartet opted to record it so long after the rest were done. If you have the other three Biber discs by Purcell Quartet, then Chandos’ Heinrich Biber: Mensa Sonora, seu Musica instrumentalis will make for a nice companion. Otherwise, it is not an essential acquisition for those who love Biber, although for those looking for terrific, period-style dinner music, this will certainly suit such requirements.