Composer: Ostinato
Works: Antonio Valente, Gallarda Napolitana; Diego Ortiz, Zarabanda (Passamezzo antico V); Romanesca (VII); Passamezzo Moderno (II); Ruggiero (Quinta pars IX); Salomone Rossi, Sopra l’Aria di Ruggiero; Andrea Falconiero, Passacalle; Ciaccona; Tarquinio Merula, Ruggiero; Biagio Marini, Passacalio; Francisco Correa de Arauxo, 3 Glosas sobre Todo el mundo en general; Tarquinio Merula, Ciaccona; Henry Purcell, Sonata a 2; 3 parts upon a Ground; Johann Pachelbel, Kanon und Gigue; Anonymous, Greensleeves to a Ground; Canarios (improvisation)
Performers: Hespèrion XXI, Jordi Savall
Recording: December 2000, June 2001, Chiesa di San Giorgio, Morbio Inferiore, Switzerland
Label: ALIA VOX AV 9820
The album “Ostinato,” featuring the esteemed ensemble Hespèrion XXI under the direction of Jordi Savall, presents a fascinating exploration of variations from the Renaissance and early Baroque periods. This compilation features a diverse selection of pieces, ranging from the well-trodden pathways of Pachelbel’s “Kanon” to the improvisational flair evident in the “Canarios.” While Savall has long been celebrated for his ability to breathe new life into early music, this particular collection raises questions about the curatorial choices that underpin its structure.
Savall’s interpretation is marked by his characteristic sensitivity to historical context, yet here, the unifying theme of variation leads to an unexpected monotony. Each piece, while expertly executed, adheres to a similar formula of melodic development that ultimately dulls the cumulative impact. The “Gallarda Napolitana” by Valente opens with a lively vigor that captures the essence of courtly dance, yet as the listener transitions to Ortiz’s “Zarabanda,” a sense of sameness begins to creep in. The performances are technically flawless, with Savall’s viol and the ensemble’s collective musicianship shining through moments such as the intricate counterpoint in Purcell’s “Sonata a 2.”
The engineering quality of the recording deserves commendation; the acoustics of Chiesa di San Giorgio create a warm, resonant space that enhances the rich harmonic textures of the ensemble. Each instrument occupies its own sonic sphere while contributing to the collective sound, allowing the listener to appreciate the nuanced interplay between the voices. However, this clarity also highlights a limitation in the programming. The variations, while masterfully played, often feel like they exist within a singular emotional palette, lacking the dynamic contrasts that could invigorate the listening experience.
When juxtaposed with Savall’s previous recordings—such as his vibrant renditions of Marin Marais or the profound depth he brings to Bach’s works—the current offering feels somewhat insular. The improvisations, such as the “Canarios,” do provide a fleeting sense of spontaneity, yet they are surrounded by more measured compositions that, while delightful, do not offer the necessary variety to sustain interest throughout the full duration of the album.
The album is a testament to Savall’s enduring artistry, showcasing his ability to illuminate even lesser-known works. However, the thematic focus on variations, while intriguing, ultimately leads to a dilution of impact. Many individual pieces shine in isolation, but the program as a whole lacks the dynamism necessary to engage listeners for the entire 72 minutes. Savall’s “Ostinato” is an admirable collection, yet it falls short of the lofty standards set by his previous endeavors, rendering it a more suitable choice for selective listening rather than continuous enjoyment.
