The “Nordic rigour” can be sensed in Kempis’ complex polyphonic textures: even the so-called “violino solo” works contain an active melodic contribution from the continuo. The sense of rigour is further intensified by Kempis’ harmonic and melodic sophistication, his many subtle twists and nuances. The Italian influences can be sensed in the subtle word-paintings and in the many virtuosic passages, for instruments and voices alike. Yet these passages never seem out of place: even at its most impetuous, the music does not lose its poise.

These are works of compelling richness, of introverted yet often profound expressiveness. This description is less applicable to the last two pieces in the program. The motet Maria Mater Gratie has an unusually simple melodic charm. The Symphonia Septima supra Ciaccona includes unusual elements (guitar-like strumming, percussion parts) that might reflect Kempis’ image of Spanish music. Both pieces give the disc a light-hearted conclusion that relieves the more serious tenor of the preceding works.

Ensemble Clematis, led by violinist Stéphanie de Failly, is acutely responsive to the music’s myriad complexities, its sensuous and expressive richness. Their technical confidence and impetuous eagerness in the virtuosic passages is matched by their musical subtlety and refinement. A profoundly satisfying disc. URI GOLOMB

SYMPHONIAE
NICOLAUS À KEMPIS
Ensemble Clematis Céline Scheen, Stephan Van Dyck, Dirk Snellings
Musica Ficta MF8001
2007 - 66:22 min.