Wu Wei Sheng
Holland Baroque
Judith Steenbrink Violin/Director
Tineke Steenbrink Harpsichord/Director
Pentatone PTC 5186 800
Full price
The Review
Perhaps the last thing one expects from this extraordinary disc is to find that it starts with the chimes of Big Ben played on the sheng, in a piece derived from one of Telemann’s a century before that bell tolled.
It is then elaborated by Judith Steenbink, the composer-violinist who leads Holland Baroque, to the extent that it finishes with a hoe-down. This is not crossover music, or a series of arrangements. It is much more clever than that – a reimagining of western European and traditional Chinese pieces: along with improvisation, two new compositions by Steenbrink and some good and reasonably unaltered baroque works.
The sheng, with a tone that can sometimes be like a marriage between the oboe d’amore and the harmonica, has a history millennia longer than any European instrument but sounds perfectly at home in today’s eclectic musical environment. Equally, our baroque music is flexible enough that it fits happily with anything Steenbrink and Wu choose. The pairing here with lute, wordless voice and continuo in a little piece by Rameau (Tristes Appréts from Castor et Pollux) feels completely natural.
Some tracks are more succesful than others. I was not quite convinced by the arrangement of Vivaldi’s setting of La Follia – somehow it brought out the acidity in violins and sheng. Steenbrink’s Silk Rondeau is a delight, however, sandwiched between pieces by Telemann and Leclair – almost bound to end up as the theme music for something! The longest track is a ten minute traditional dancing song for the whole ensemble. It does allow the listener to become more immersed in the music and it wets the appetite for more substantial works – perhaps a full concerto or two next time, with the confidence to play the baroque compositions without augmenting them too much. Alternatively, let Judith Steenbrink off the leash and compose one from scratch.
Normally I shy away from concept albums but this one is such fun, and the level of invention so impressive, that I have become converted, for once. It is a resounding cheer for the idea that music and old instruments are never out of date, they can be part of our very contemporary sound world and huge fun.
SM