Love and Loss:
The Glorious Sound of Kathryn Mueller

By Daniel Steven Crafts
(2020)

It's a voice to make one almost believe in a heavenly choir. For a decade I've been documenting the celestial voice of soprano Kathryn Mueller in concert. Now, after more than a year in preparation, the public at large will be able to hear for itself this remarkable talent as it is recorded for all posterity on her first CD, Love and Loss.

The choice of repertoire is both ambitious and generally unusual. There are countless gems contained in the late Baroque period, such that it seems indulgent to program the same pieces, over and over again, remarkable though they are, to the neglect of so many others worthy of the light of day. Other than perhaps the Purcell, nothing in Ms. Mueller's choice of repertoire could be called a household melody, yet every piece stands as among the highest of the High Baroque. And all most importantly succeed brilliantly in providing vehicles that allow a great range of vocal technique and dexterity. The pin-point intonation which so impressed me when I first heard her sing years ago, is everywhere on display in this challenging recording.

She begins with the collection with some of Henry Purcell's most elegant melodies, beginning with a gracious and most appropriate "If music be the food of love..." from Twelfth Night. The aria "Fairest Isle" from King Arthur, something like an alternate national anthem in Britain, is here given a lovely lilting treatment conveying both the dignity and sweetness of the text.

From J. S. Bach and Handel she has chosen arias from various cantatas both sacred and secular. Bach's "Komm in mein Herzenshaus", with its oboe-like vocal line, comes from A Mighty Fortress is Our God. Perhaps the most well-known of the group, "Phoebus eilt mit schnellen Pferden" ("Phoebus hurries with swift horses") from Bach's Wedding Cantata, and a frequent piece of repertoire at such an event, is a particular treat with its joyous celebration of the day.

Ms. Mueller has the advantage of excellent accompaniment on period instruments provided by Jennifer Streeter (keyboards), Brent Wissick and Stephanie Vial (cello), and Nicholas DiEugenio (violin).

While Handel's The Messiah is playing to death during the Christmas season particularly, the composer's work in general represents the Italian Baroque at its highest level. These selections from the almost unknown cantatas go a significant way towards demonstrating that point.

"Susse Stille, sanfte Quelle" from the Nine German Arias is a work Ms. Mueller has frequently sung in concert, and now we have it in the permanence of a recording. "Quel fior che all'alba ride" ("the flower that laughs at dawn"), tells a touching story about the short life of a beautiful flower. The palpable sadness of "Per te lasciai la luca" ("For you I left the light") makes up one of three arias from Il delirio amoroso--Da quel giorno fatale ("The loving delirium - From that fatal day"). "Voglio darti a mille dolci baci" ("I want to give you a thousand sweet kisses") joyfully exhibits the love theme of the collection. The final show piece on the disc, "il suol che preme" from O Eternal Gods, demonstrates Ms. Mueller's declamatory style above a vigorous bass line.

Here is a new disc any Baroque music collector will be proud to have in their collection.