A Review of Emerald Baroque's debut CD "Ireland’s Enchantment"

Sunday, September 12, 2010

Do not be put off by the title of this debut album, or even by the name of this group, even if it does inspire some to imagine Celtic Woman in medieval dress.  Emerald Baroque is a serious outfit that aims to find the common ground between baroque music and Irish traditional music.  Where Dordán frequently play baroque music in the style of traditional music, Emerald Baroque play traditional music and some new compositions in a baroque style.  Their dedication to a baroque sound is illustrated by their musicianship and their use of period instruments, but, as their name hints, traditional music – including dance music, songs in English and in Irish and, in particular, the harping tradition – is their raison d’être.

Traditional music played on the harpsichord immediately calls to mind the innovative use of that instrument by Seán Ó Riada and there are moments when Bridget Cunningham’s playing recalls Ó Riada’s lively style, but the comparison stops there.  With the additions of viola da gamba, cello and psaltery (Jennifer Bullock), recorders and percussion (Laura Justice), baroque violin (Farran Scott) and soprano (Breda McKinney), the music of this London-based fivesome is clearly coming from a baroque perspective.  I imagine that the album title is supposed to reflect this perspective, just as it evokes the appeal of Irish traditional music to many baroque composers such as Handel; unfortunately, the sparse and ultimately unsatisfying album notes give no explanation.

Handel is, nonetheless, honoured by the inclusion of two versions – one instrumental and one vocal – of Eileen Aroon, a favourite tune of his.  Both renditions are well-conceived, with the first bringing to life how Handel himself might have played the air.  The Humours of Dublin is another good choice, the brightness of the tune being matched by the brio of Scott’s performance.  Of the three original compositions included – two by Bridget Cunningham and one by her sister Kathleen – Day of Deities is the most successful, its descending ostinato bass giving it the gravitas of its title; the thrown rhythm of Tide of Time, however, jars a little.

There is a good variety of music, even if there is, to my ears, a slight penchant for minor tunes.  The setting of Fairy Queen is very appealing, the unusually reflective mood of Sí Beag Sí Mór, so often paced like a waltz, is refreshing, and the rather quick setting of Carolan’s Draught is surprising but in keeping with their approach.  Overall, Emerald Baroque’s vision of traditional music in a baroque style works so well that it belies the Irish origin of the material.  This must surely mark their endeavour as a success.

She Moved Through The Fair is a stand-out track, weaving its spell with the help of well-judged instrumental accompaniment to Breda McKinney’s luminous soprano.  Being an equally fine traditional singer, who comes from a family that is steeped in traditional song, McKinney must be one of only a handful of Irish classical singers who can inform her interpretations of traditional songs with a genuine understanding of their place in the world and how best to present them in a classical context.  With pleasingly natural annunciation, her performances on this album are arresting, full of feeling, and technically superb.  The producer Malcolm Blackmoor is also to be congratulated for the technical quality of the recording.

I would have liked more information, not just on the individual tracks, but on the musicians too.  Nevertheless, the music and the musicianship speak for themselves.  Emerald Baroque deserve to be ranked alongside the likes of Dordán and the West Ocean String Quartet for cutting a new furrow in that fertile commonage between traditional and classical music.

Rose Street Records (RSR 001)
http://www.bridgetcunningham.org.uk/emerald.php
http://www.bredamckinney.co.uk/