Composer: Johann Sigismund Kusser
Works: Six Ouvertures de théâtre (1682)
Performers: Musica Aeterna Chamber Orchestra, Peter Zajicek, Les Menus Plaisirs ensemble
Recording: France, 1993
Label: Foundation Paribas Sur Mesure K.617 617032
The music of Johann Sigismund Kusser, a figure often eclipsed by the towering legacy of his contemporaries, emerges with a resplendent clarity in this recording of his Six Ouvertures de théâtre. Born in Bratislava and later influenced by the French style during his formative years in Paris, Kusser embodies a unique confluence of baroque aesthetics that straddles the evolving lines between French, German, and Italian styles. These ouvertures, composed in 1682, reflect the vibrant court culture of the time, where dance forms flourished and theatrical music served both to entertain and to elevate the artistic discourse. Kusser’s work warrants attention not merely for its historical significance but for the rich textures and stylistic interplay that resonate throughout.
The performances by Musica Aeterna and the Les Menus Plaisirs ensemble are executed with a commendable authenticity that befits the baroque idiom. Peter Zajicek’s direction brings forth a nuanced understanding of Kusser’s intentions, employing period instruments that evoke the timbral richness of the era. The ensemble’s playing reveals a careful balance between the buoyancy of dance rhythms and the more contemplative sections, particularly in the Ouverture 2 in B-flat major, where the interplay between the strings and the winds creates a buoyant dialogue that is both engaging and enlightening. However, while the playing is generally sensitive, there are moments where one yearns for more dynamic contrast; the subtlety in Kusser’s writing often calls for daring interpretive choices that could elevate the music beyond mere surface charm.
From a technical standpoint, the recording quality is commendable, affording a clarity that allows the listener to appreciate the intricate counterpoint and harmonic progressions characteristic of Kusser’s style. The acoustic environment, chosen for its suitability for court music, imbues the performances with an appropriate warmth. Yet, the balance of instruments could be improved; the harpsichord, a central figure in baroque orchestration, occasionally recedes into the background, diminishing its role as a vital harmonic and rhythmic anchor. A more pronounced presence of the harpsichord would have further highlighted the intricate interplay of voices, particularly in the lively dances that punctuate each overture.
The booklet notes, while informative, suffer from a convoluted layout that detracts from their accessibility. Clearer formatting could enhance the listener’s engagement with the historical context and stylistic nuances of the pieces. Additionally, the absence of detailed notes regarding individual ouvertures leaves a gap that could have illuminated the unique character of each work. Comparatively, recordings by other ensembles, such as those by the Akademie für Alte Musik Berlin, present this repertoire with more dynamic variation and clarity, offering performance models that capture the full spectrum of baroque expression.
Kusser’s Six Ouvertures de théâtre emerge as a significant contribution to the baroque canon, and this recording serves as an important historical document. While the performances are executed with skill and care, the interpretive choices could have benefitted from bolder dynamics and a clearer presentation of the harpsichord’s role. Though the recording captures the essence of Kusser’s style, it beckons for a deeper exploration of the contrasting textures and emotional depth that define the baroque period. This disc ultimately stands as a commendable effort, offering valuable insight into the lesser-known repertoire of a composer who deserves greater recognition within the pantheon of baroque music.
