Academy of Ancient Music, Bojan Cicic (violin), Persephone Gibbs (violin), Sarah McMahon (cello), Alistair Ross (harpsichord), William Cater (theorbo)
LSO St Luke’s Old St, 15th June 2018
- Dario Castello – Sonatas No 10 a 3 Book Two, No 1 a 2 Book One, Sonata No 1 for violin (Book Two), Sonata No 2 for violin (Book Two), Sonata No 12 a 3 (Book Two)
- Tarquinio Merula – Ciaconna
- Michelangelo Rossi – Toccata No 7 for harpsichord
- Giovanni Girolamo Kapsberger – Toccata and Ballo for theorbo
- Francesco Tunrini – Sonata a 3 “il Corisino”
Venice in the early C17 was the hot place for music in the West. The Republic might have begun its long slow decline, having picked fights with the Ottoman Empire and the Vatican, amongst others, but there were plenty of punters who had made big bucks and were looking to spend it. It was certainly a big-time, sexy, funky, party town. Carnival was big business. Public opera, with that genius Claudio Monteverdi in the vanguard, was taking hold. New instrumental ensembles were being tried out. Exquisite brass was set alongside double and triple, or more, choirs in churches, following on from Gabrieli’s innovations in the previous century. (Even the guards telling the snaking hordes of tourists in St Mark’s Basilica to shut up sound musical thanks to the stunning acoustic). The best performers, composers and instrument makers gathered there.
This was the music members of the AAM sought to highlight in this BBC lunchtime concert, built around the sonatas of Dario Castello, which, to an extent, defined the form. He was born around 1590 and died around 1658, though his best known work comes from the 1620s. He was the leader of a wind ensemble, cornetts, sackbutts, shawns, bagpipes and so on, and might have had a job in St Mark’s. His two books of sonate concertate comprise 29 pieces, (five were played here), that alternate retro polyphonic sections with cutting edge, (by 1620s standards), expressive recitative, the stile concitato, a la Monteverdi. Instruments are specified, including continuo, musicians are expected to be on their game. This simultaneous looking backwards and forwards is what makes this music fascinating if not entirely satisfying.
In addition to the Castello we had a chaconne, a simple bass riff with increasingly inventive variations, dead easy for the Baroque initiate to grasp, from one Tarquinio Merula, a harpsichord Toccata from Michelangelo Rossi, an unusual Toccata and Ballo for theorbo from Giovanni Girolamo Kapsberger and a concluding trio sonata from Francesco Turini.
Merula never worked in Venice, (he had positions in Cremona and Bergamo) but he knew the drill. He was an argumentative chap by reputation but he helped set the tone for the dance vibes of the later Baroque. Rossi came from Genoa, worked in Rome, wrote madrigals and operas, and, despite being a violinist, a book of 20 toccatas, which embrace some dramatic chromaticism and choppy tonality as here. Now you don’t often see a theorbo solo even if you are a paid up member of the Baroque club. The theorbo is that giant-sized lute that the player rests, like a loving parent, on his/her knee. GG Kasperger came to Rome by way of Vienna and was, in terms of theorbo virtuosity, the Charlie Mingus of his day. Turini was also born outside of Italy and published madrigals including some early instrumental sonatas.
I probably don’t need to tell you how very fine the members of the AAM were in this very rarely performed repertoire. Their excitement in exploring the, shall we say, backwaters, of the Venetian School was palpable. Bojan Cicic, as leader of the AAM, has appeared a few times before on this blog, as has Alistair Ross on the harpsichord. William Cater was as eloquent in his explanation of the theorbo piece as he was in its playing, but I was particularly taken by Persephone Gibbs’s playing in the second solo violin sonata of Castello. Great first name. Even better surname. And she leads a Baroque orchestra based in Devon. No relation though. She has talent after all.