Isabelle Faust and Kristian Bezuidenhout at St Luke’s Old St review *****

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Isabelle Faust (violin), Kristian Bezuidenhout (harpsichord)

LSO St Luke’s Old St

JS Bach

  • Sonata no 3 for violin and harpsichord in E major BWV 1016
  • Partita no 2 for solo violin in D minor BWV 1004
  • Sonata no 1 for violin and harpsichord in B minor BWV 1014
  • Toccata for harpsichord in D minor BWV 913
  • Sonata no 6 for violin and harpsichord in G major BWV 1019

The second instalment in Isabelle Faust and Kristian Bezuidenhout’s rendition of the six JSB violin sonatas BMV 1014-1019 following on from the Wigmore Hall in April. (Isabelle Faust and Kristian Bezuidenhout at Wigmore Hall review ****). Once again they allowed themselves a solo each, but this time some more JSB, in keeping with the Bach Weekend theme, which also celebrated the 75th birthday of the venerable Sir John Eliot Gardiner.

This time I was joined by Bach groupie MSBD. Early start. 11am on a Saturday. I wish every day started this way though.

At times JSB is truly sublime. More so that any other composer. You might find it in the cantatas, others in the masses or passions, or maybe the keyboard, instrumental ensemble works or the cello suites. Not for one moment could I disagree with you but, for me, the apotheosis of JSB’s genius lies in the violin sonatas and partitas, solo and accompanied. Great art induces a state of rapture. Not the nonsense exclusive coach trip into the sky that some befuddled Christians cling on to, but the state of grace, individual or collective, that you can feel inside your whole being when dancing in a club, or breathless and motionless in the theatre, or when your ear sends pure sound to your brain at a concert or when you get lost in a painting. It doesn’t happen much, just as well as that might overwhelm, but it is part of what makes life worth living. I appreciate that this might be a terribly old-fashioned way to think about art but I dare you to tell me I am wrong.

Anyway it happened here. In the final movement of the Partita. The immense Ciaconna. Amongst Bach’s finest creations as the programme says. They’re not wrong. It gets me most times but here, OMG, Isabelle Faust, her violin, St Luke’s, my ears, my brain, the audience, and of course, old JSB all came together as one. This old buffer did his best to hold back a tear. It is so simple, just a basic four bar pattern, (apparently “the harmonisation of a descending tetrachord” – thanks again programme notes). But JSB is able to do so much with it including a huge mood shift about two thirds of the way in. This is when you might just believe that JSB reconciles himself to the early death of first wife Maria – he was to meet Anna just a year later.

The accompanied sonatas came close to their solo cousins. I have banged on before about just how expressive Isabelle Faust is when it comes Baroque violin. She’s pretty handy too when it comes to the rest of the canon. Listen to her recordings of the Beethoven, Bartok and Berg concertos if you don’t believe me. She can even persuade me with her historically-informed interpretations of that Mozart chap. But Bach is where she enters a different realm. She applies an astringent, almost abstract, rigour which just blows me away. And KB, who has a gentler conversation with his harpsichord, is the perfect accompanist. IF doesn’t muck it up with unnecessary and unwarranted vibrato, and both the left and right hand lines for KB are clear and not jangly. This leaves plenty of room for the sonatas to breathe and, in the superb space that is St Luke’s, with the sun streaming in from outside ….. well you can see where I’m coming from.

JSB continued to revisit and buff up the six sonatas throughout his life. Maybe that’s why the old boy perfected his art here. In the early decades of the C18 the trio texture was considered the compositional ideal for chamber music, creating a perfect synthesis of linear counterpoint, full-sounding harmony and cantabile melody, (thanks once more programme notes). Put this trio principle into the hands of the man who got closer to the ideal of perfect harmony than anyone else in the history of Western music, with the melodies driven by the finest of instruments the violin, then obvs it was going to work. JSB created trio works for flute, viola da gamba (which I like) and organ but they don’t come close.

Listen to No 1, BMW 1014. It kicks off with a 5 part texture with double stopping and a 3 part effect on the harpsichord. The two quick movements, (the first 5 sonatas stick to the old skool sonate di chiesa four movement set up with No 6 breaking free into 5 movements), have each of the three lines chipping in together, the perfect realisation of the trio principle with the third movement switching to violin and harpsichord right hand weaving around a left hand bass. No 3 BMW 1016 kicks off with a slow movement where both players can show off their skills, followed by a bouncy fugue, a powerful lament in C sharp minor before rounding off with an extraordinary gallop where the violinist can really show off. No 6 BMW 1019, is very different, with a central solo harpsichord movement flanked by two jolly giant Allegro opener/closers (real faves) and two slow, simple (-ish) shuffles in a kind of canonic form.

Other than the aforementioned divine Ciaconna the Partita No 2 consists of 4 dance movements, an Allemanda, a Corrente, a Sarabanda (which foreshadows the Ciaconna) and a Giga. We have Leopold, Prince of Anhalt-Kothen’s Calvinism to thank for JSB’s discovery of all things boogie as he wasn’t confined to elaborate Church music in the Prince’s employment. (We also have the genius Antonio Vivaldi to thank for the twin graces of rhythm and repetition that underpin JSB’s unique ear for inventive sonority).

Other than the Sarabanda thsee dance movements are all monophonic in structure so easy to understand and have a dominant rhythm from which the violin goes off on ever more exciting harmonic excursions. It was a massive hit when first published and performed and remains so to this day. It really is very easy to see (and hear) why. You do not need to have any interest or understanding of classical music to get this. You just need ears and a pulse. So whatever your musical bag, I implore you to listen to it. IT WILL MAKE YOUR LIFE BETTER. I promise.

KB had a little less time to shine though not by much as he picked the most extensive of the six toccatas, BMW 910-916. The D minor 913 was composed when JSB was just 20 as he went AWOL from his job and walked the 450kms to Lubeck to hear Dieterich Buxtehude play. So next time you complain about how tricky it is to get to the Barbican think on JSB’s devotion. It opens with a typical Baroque improvisation, (typical for others that is), followed by a couple of JSB trademark fugues linked by a bridge which shifts tempo and ending with a tierce de Picardie, a major chord at the end of a minor key piece, which JSB was partial too. After the Partita and the first two sonatas this harpsichord piece shifted the mood before the final, jolliest, No 6 sonata. Smart programming and smart playing, (I only know these toccatas from the never surpassed Glen Gould on piano).

So there you have it. This will definitely be a top 10 2018 concert for me and I am pretty sure for MSBD, though I have lined up a few more for his delectation. And I wonder if, by the end of my musical education, I end up realising that no-one topped Bach. It is beginning to feel that way.

 

Venetian Baroque: Academy of Ancient Music at St Luke’s Old St review ****

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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.

 

Nicola Benedetti and the Academy of Ancient Music at the Barbican review ****

Vivaldi (1)

Academy of Ancient Music, Nicola Benedetti (violin), Richard Egarr (director and harpsichord)

Barbican Hall, 31st May 2018

  • Antonio Vivaldi – Concerto for Violin in D major RV 208 “Il Grosso Mogul”
  • Antonio Vivaldi – Concerto for Harpsichord RV 780
  • Mystery Composer – Sinfonia in D first movement
  • Georg Philipp Telemann – Concerto for Violin in A major TWV 51:A4 “The Frogs”
  • Georg Philipp Telemann – Alster Overture-Suite TWV 55:F11
  • Georg Philipp Telemann – Concerto for Four Violins in C major TWV 40:203
  • Antonio Vivaldi – Concerto in F major RV 569

Time to take BUD to a purely orchestral evening, no voices, albeit in the ostensibly easy on the ear form of the two Baroque masters Vivaldi and Telemann. In the company of KCK who was, rightly, keen to hear the prodigious talent of Nicholas Benedetti. And all of us trusting to the capable hands of Richard Egarr and the Academy of Ancient Music.

Now to accommodate Ms Benedetti some virtuoso music was required. Even by the Red Priest’s breathless standards the D Major Concerto “Il Grosso Mogul” fits that particular bill with its two written out cadenzas in the outer fast movements. I think this showed NB off to best effect with a sharper delineation between soloist and ripieno than some of the subsequent pieces in this well programmed concert, especially in the stunning slow movement. No-one knows where the name grosso mogul comes from but JS Bach was sufficiently impressed to arrange it for organ, BWV 594.

RV 780 is Vivaldi’s only concerto for harpsichord, though only because he noted on the front page of the score that it could be, having originally specified violin and cello. This meant that there was a greater balance across the register than with the double violin peers which AV often wrote and this is what allows for the harpsichord arrangement. Richard Egarr has painstakingly recreated the solo passages, largely with arpeggios and broken chords, which made for fine decoration though I am not sure the Barbican Hall cavern showed this off as well as a smaller more sympathetic space might.

Before the first Telemann piece, the Frogs, Mr Egarr and the AAM had a bit of fun by playing the first movement of a Sinfonia in D by an unnamed composer who we were invited to identify. No answer given but it was plainly Italian so maybe Sammartini (GB) for the simple reason that he churned out a ton of them.

The Frogs is structured in the Italianate three movement fashion, not the Germanic four, and does everything you expect Telemann to do. It is laced with humour, is effortlessly easy on the ears and doesn’t let the soloist hog too much of the limelight. With plenty of riternello and suspension, it made a fine partner to the opening Vivaldi. Not bad for someone, GPT, who never set foot in Italy. The eponymous frog sound on the NB’s first entry is apparently created trough the use of bariolage, the rapid alternation of the same note between fingered and open strings (which Vivaldi was also partial to). There you go. NB was grace personified here, as she was throughout, stepping back into the band when required.

GPT churned out a fair few of his programmatic overture-suites, 600 to be exact, and it is pretty easy to see why the toffs he wrote them for lapped them up. This particular one takes as its inspiration the River Alster which joins the Elbe in Hamburg where GPT was director of its five main churches from 1721 until his death in 1767. (GPT stayed in Paris for a few months during this tenure where he was exposed to the French operatic style – with its dances –  which he incorporated into these suites). In this particular example he serves up an intro followed by eight subsequent movements each of which does exactly what it says on the tin. The “echo” of the third movement, oboes serenely imitating swans in the fifth, the chromatic crows and frogs of the seventh, the lyricism of the strings in the eighth, “Pan at rest” and the joyous winds and horns in the finale as the nymphs and shepherds leave the party. It is “lightweight” I suppose but when it is this much fun who cares.

GPT’s next contribution was one of a set of four concertos each for four violins. And nothing else. No continuo. No other instrumentation. Moreover it is in four movements – slow/fast/slow/fast – like the sonata di chiesa of old. There is plenty going on through its total ten minutes or so and all four violinists get time to shine, Ms Benedetti being joined by three excellent AAM regulars, I wish I could tell you who. Sorry.

The final piece was Vivaldi’s F major RV 569 which has pairs of horns and oboes, and a bassoon, added to the continuo and violins. Here NB took the lead in the outer two fast movements though the horns and wind also have a lot to say. The middle slow movement is the very model of brevity, even by Vivaldi’s economical standards, lasting just 20 bars. I loved it. Mind you I love every note of every concerto that AV ever wrote for violin (and most other instruments). I would it suspect take a lifetime of devotion and an acute and scholarly ear to “know” every one of AV’s five hundred-odd concertos. No matter. With music this immediate it doesn’t matter. Indeed Ms Benedetti encored with a chaconne-like slow movement from a Vivaldi concerto I think but no idea which.

Overworked in his lifetime I reckon, despite his devotion to the education of the orphans in the Ospedale in Venice, underpaid, never given a proper contract, and buried as a pauper in Vienna where he went to get a job when he fell out of fashion. Then ignored for one hundred and fifty years. Always a bit poorly as well. And a ginger, though you wouldn’t know from the stinky wig he is wearing above.

Still no Vivaldi, no Bach. And imagine how much poorer Western art music would have been without Johann Sebastian. GP Telemann, for me, is now quite as satisfying, though BUD and KCK probably disagreed on the night, but he is musical elegance, flair and invention personified. And his music, like Haydn’s later on, will make you happy. As, on every outing, do the AAM. The venue may not be ideal for the intimacy of Baroque even at this scale, but I hope the AAM were able to turn a few quid here because of that. Well deserved.

 

 

 

 

Bach: The Late Concertos from the Feinstein Ensemble at Kings Place review ****

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The Feinstein Ensemble, Catherine Mason, Miki Takahashi, Sarah Moffatt (violins), Robin Bigwood (harpsichord), Martin Feinstein (flute, director)

Kings Place, 13th April 2018

JS Bach

  • Triple Concerto in A minor for flute, violin & harpsichord BWV 1044
  • Concerto in D minor for violin (reconstructed from BWV 1052)
  • Concerto in F for harpsichord & two recorders BWV 1057
  • Concerto in D for three violins (reconstructed from BWV 1064)

More Bach. Once again in the company of MSBD. Can you listen to too much JSB. Of course not. Mind you, you would have to if you ever wanted to get through all that he composed. Good luck with all those cantatas, chorales, songs, preludes, fugues, suites and toccatas. I will keep chipping away at the works for keyboards but, if I am honest, I think the solo string works and the concertos are enough to keep me satisfied.

Here we get a quartet of slightly less often performed concertos, composed in his maturity, when JSB was directing performances at the Collegium Musicum. That’s when he wasn’t occupied with composing music for his day jobs at four Leipzig churches. Three of the works are triple concertos, one reconfigured for 3 violins as opposed to 3 harpsichords and one single concerto for violin which was superseded by the harpsichord.

The first piece the Concerto in A minor for flute, violin and harpsichord in fact started life as two separate organ works, and is configured for the same orchestra as the Fifth Brandenburg even down to just having the three soloists play in the middle, slow movement (based on the organ sonata BWV 527). Moreover the harpsichord gets its own cadenza. the outer movement material is drawn from the Prelude and Fugue for A minor for harpsichord BWV 894 from 1717, and it is a lot less bright in mood that the Fifth Brandenburg. The outer two movements, marked allegro and presto, are complex even by JSB standards and. together, turn this into his longest concerto work. This was a big noise for just nine period instruments.

The harpsichord concerto in D minor BWV 1052 probably started out as a violin concerto, as we hear it here, witness the string-crossing formations in the first movement. This is unusual for having all three movements in minor keys. JSB’s use of riternello is most marked here.

The Concerto in F for harpsichord and two recorders is a subtle reworking of the Fourth Brandenburg in G major, with the solo violin part cleverly rewritten for the harpsichord and with the two recorders really coming to the fore.

As with the solo violin concerto the triple violin concerto in D was lost and only survived in the later harpsichord form. This has been reconstructed for the violins based on alterations made to the surviving score and it is a spectacular tour de force. Some of JSB’s stuff for multiple harpsichords can induce ear confusion I admit but not this work.  Hearing the melody lines played on shared violins, (above an often shared bass line), makes the work so much clearer.

Martin Feinstein, and his squad of crack Baroque musicians, are regulars at this venue, and he assembled a series of programmes here, alongside this, to celebrate the regular “Bach Weekend”. I am no flute expert but I would say Mr Feinstein knows where he is at on the pipes and his performance, alongside I think Catherine Manson on violin and Robin Bigwood on harpsichord, was thrilling, after a couple of minutes to get in the zone. Ms Manson took the lead for the solo violin concerto, with Emily Bloom joining Mr Feinstein for the recorder concerto. Ms Manson was joined by Miki Takahashi and Sarah Moffatt for the triple violin which was probably the highlight for me, although the two recorders ran it close, largely because I know the tunes.

The thing with JSB, as with Beethoven, is that the perfect logic and structure of the music makes you feel like you have heard it before and you know what is coming next. As it happens,, with JSB plundering his own back catalogue in this concertos, it is quite possible you have heard it before, but that is not what I mean. The instantaneous emotional joy is interlinked to the sustained intellectual pleasure. I still don’t really know what I am listening to in purely musical terms, all that counterpoint, harmonic and motivic organisation. I am though extremely grateful to all those Bach scholars, starting off with that nice Mr Felix Mendelssohn, who have got us to where we are now.

And to JSB himself for knowing that all those notes could, together, make these sounds. No Bach, no tonal system. No Bach, no modern instruments. No Bach, no instrumental solos.  Well maybe not entirely true, but his was the great leap forward in Western music. So kids, when you are listening to whatever Spotify chucks at you, and moving to the beat, you have JSB to thank.

 

 

 

 

 

Isabelle Faust and Kristian Bezuidenhout at Wigmore Hall review ****

H.I.F.Biber

Isabelle Faust (violin), Kristian Bezuidenhout (harpsichord)

Wigmore Hall, 9th April 2018

  • JS Bach – Violin Sonatas 4, 5 and 2, BWV 1017, 1018 and 1015,
  • Johan Jacob Froberger Suite No 12 in C minor for harpsichord,
  • Biber – Violin Sonata No 5 in E minor, Mystery Sonatas Passacaglia in G minor “Guardian Angel”

JS Bach tick. Heinrich Ignaz Franz von Biber tick. Not just the Passacaglia from the Mystery Sonatas, which seems to appear on every Baroque violinists concert programmes right now, but one from the “other” 1681 set of sonatas. And then this chap Froberger which also turned into a qualified tick. All from the violin of Isabelle Faust, always a resounding tick, and harpsichord of Kristian Bezuidenhout, likewise.

This partnership has recently recorded the Bach Violin sonatas using some top draw instruments and the reviews are very positive. On the strength of this performance I have bought the CD. I am also signed up, in tandem with MSBD, for the second instalment of the other sonatas at St Luke’s on 16th June. I see there are a few tickets left. Snap ’em up I say.

The first couple of minutes of the opening Sonata No 4 weren’t perfect, harpsichord right hand just a bit forceful compared to left and the violin, but balance was quickly achieved and from there on we, and they, never looked back. These works are not right at the top of the Bach instrumental pile, crowded out by the solo works and the concertos and suites, but, IMHO, there is no reason why they shouldn’t be. And this sublime partnership is making that case convincingly. Son CPE certainly thought they were amongst Dad’s best works, They are not revolutionary in structure adhering to the familiar baroque sonata di chiesa pattern of four slow-fast-slow-fast movements, but they are some of the first to have a fully written out keyboard part rather than a bassline with some indications of harmonies to be filled in above it. This means the right hand can match the melodies of the violin whilst the left hand trots out the bassline. This gives the texture of a trio sonata which is most clearly heard in No 4.

No 4 kicks off with a lilting siciliano, follows with a three line fugue, then an adagio with triplets in the keyboard right hand alongside a dotted violin rhythm, then another fugue with some syncopation and cross-rhythms. No 5 starts with a largo where the violin gradually adds melody to the three part invention of the keyboard, unrelated at first and then conjoined, like a cantata aria apparently. The fast movements are fugues again, the second slow movement, arpeggios from keyboard with double stopping accompaniment from violin. No 2 is strictly 3 part, beginning with another gentle dance imitating the contemporary ‘galant” manner, followed by another fugue which sandwiches some flashy violin, then a canon, then another fugue. Now I confess I am not entirely sure what all this means but once I have recording in hand, or ear, I will try to work it out. That is the fun of art music; you know you like it, you can then spend years working out why you do and what it is.

Now apparently our man Froberger was the leading keyboard composer of the mid C17, born in Stuttgart, and working for 20 years as an organists for the Hapsburg emperors in gilded Vienna, though like all these chaps he got about a bit. Free movement across Europe you see. His compositions unite the Italian, German and French traditions, the French broken style still be based on lute technique (and a bit dull to my ears). This is one of his suites based on dances grouped by key, here C. It begins with an allemande in the form of a lament, then cheers up a bit with gigue, courante and sarabande. Still can’t quite remember the differences but this passed the time pleasantly enough. Seems JJ Froberger was a bit of a noodle forbidding publication of his compositions in his lifetime. The right to be forgotten, though now he must be a wet dream for Baroque keyboard scholars.

In contrast the Biber sonata was, yet again, a revelation. This is part of a set of 8, published in 1681, and is a barnstormer with extreme upper register shrills, very fast runs and bonkers double stopping. The work is continuous starting with a fantasia-like intro, then into an exquisite set of variations over a ground bass, then a show off presto and ending with another beautiful set of variations. Maybe this fellow isn’t quite up there with JSB and Vivaldi but he is in the vicinity and it’s a mystery to me why he isn’t more popular. A CD of this set of sonatas has literally just dropped through the letter box. I’m on it.

Biber didn’t tour much, despite his astounding technique, preferring to publish his ground breaking works for violinists and let the punters work it out for themselves. I like the sound of that. He spent most of his working life in Salzburg, after doing a runner from an employer in Bohemia. I suspect you would be hard pressed to find a bar of chocolate with his mug on it in Salzburg though unlike you know who. He married well and his surviving kids were musically gifted. In addition to the violin pieces apparently he also wrote plenty of large scale sacred music, though I haven’t seen any being performed, maybe they are a bit too labour intensive. I will find out and let you know.

Needless to say Ms Faust’s rendition of this sonata was electric, in atmosphere not technology of course. Biber may have been ahead of his time, until the Italians overtook him, but he wasn’t that advanced. I really hope she programmes more of these solo violin pieces in future and that some promoters will be brave enough to let one of the sublime baroque violinists performing today to have a crack at the Mystery Sonatas in full.

Rachel Podger and VOCES8 at Kings Place review ****

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Rachel Podger, VOCES8 – A Guardian Angel

Kings Place, 28th March 2018

  • Orlando Gibbons – Drop, drop slow tears
  • Plainchant – Pater Noster
  • Heinrich Ignaz Franz Biber – Rosary Sonata No 16 Passacaglia “A Guardian Angel”
  • Jonathan Dove – into thy hands
  • Nicola Matteis – Passaggio rotto, Fantasia, Movimento incognito (from Other Ayrs, Preludes, Allemandes, Sarabandes
  • Mendelssohn – Denn er hat seinen engeln befohlen uber dir
  • Rachmaninov – Bogoroditse Dyevo
  • Tallis – O nata lux
  • James Macmillan – Domine non secundum peccata nostra
  • Thomas Tomkins – When David heard
  • Bach – Partita for flute in A minor BWV 1013
  • Monteverdi – Adoramus te. Christe
  • Orlando Gibbons – Hosanna to the Son of David
  • Giovanni Gabrielli – Angelus Domini descendit
  • Owain Park – Antiphon for the Angels

Blimey. It took almost as long to write out the programme as to listen to some of these pieces.

What do we have here then? Well the undisputed queen of the Baroque violin, (OK maybe not given Isabelle Faust, Monica Huggett, Elizabeth Wallfisch and no doubt a few more I don’t know), has teamed up with the English vocal group VOCES8 to create a programme of violin and vocal works from across the ages all themed around “A Guardian Angel”. Some of these pieces appear on Ms Podger’s 2013 CD of the same name. Rachel Podger creates a big, clear sound with vigorous rhythm which makes it a joy to follow the line of the music. Yet when virtuosity is required, (not so much on this evening), she doesn’t hold back.

Angels being angels in Christian religion they turn up a fair bit in music notably Renaissance, Baroque and the modern composers who seek inspiration from their forbears. Here we have pieces for solo violin, (or flute transposed for violin in the case of the Bach sonata which formed the backbone to the second half), for choir alone and for a combination of the two. Angels watching over you is obviously anathema to my carefully constructed rationalist self-image though maybe all this music and my penchant for early Renaissance art and architecture might cumulatively start to rub off. I was reminded of the world (other-world?) that Annie Baker explored in her latest play John (John at the National Theatre review *****).

The plainchant with the choir perched in the balcony was as meditative as you like and was followed by the Baroque violinists party piece de jour from Biber which seems to be following me around everywhere. It’s title provided the stepping off point for Ms Podger. If you don’t know it, and the genuinely ground-breaking Sonatas that precede it you should. It still sounds cutting edge today. It doesn’t skimp on the bass notes which is probably when it floats my boat. Ms Podger’s recording is the best place to start.

I can take or leave the Mendelssohn, Rachmaninov and Dove pieces though VOCES8 were more convincing than I expected, the Matteis violin extracts were immediately invigorating in that typical Italian baroque way and the MacMillan piece was as spare (echoes of Part) as you might expect from this committed composer. The Tallis was my favourite with Ms Podger’s violin taking the highest line as the Jesus to the choir’s Elijah and Moses and alongside Andrea Halsey’s spellbinding soprano. Her voice is about as good as you will ever hear (says some-one who knows absolutely nothing about singing!!).

The biggest surprise of all was the Thomas Tomkins. New to me, I will need to seek this out. The Bach was obviously wonderful, Ms Podger has made this her own and proved that it could as easily been scored for violin as flute. The Monteverdi, Gibbons and Gabrielli pieces were relatively short but very welcome. Owain Park’s new work was commissioned especially for this collaboration and amalgamates texts by St Ambrose and Hildegard von Bingen sticking to the angel theme. Like so many commissions for choirs it is immediately attractive, it is a real thrill hearing accessible music for the fisr time.

Throughout the concert we had well constructed antiphonal exchanges between violinist and pure toned choir which brought out the best of the exceptional acoustic at Hall One of Kings Place. No clapping between the pieces, a rapt audience, (no phone glows as far as I could see), and discreet but appropriate lighting all combined to maintain the magic.

I can’t pretend I understand the music that was put in front of me. I can’t read music and I am steadfastly failing to learn its language. If you are like me, and I reckon there are a lot of you who are, (obviously I say this in full knowledge of the fact that no-one reads this), then I cannot recommend the combination of Early and/or Baroque music and voices highly enough. Food for brain, heart and soul (not that there is one, but like I say earlier, faith may yet surprise me).

 

 

Mortal Voices: Academy of Ancient Music at Milton Court review ****

Pergolesi_Stabat_Mater_Autograph

Academy of Ancient Music, Christian Curnyn (director and harpsichord), Keri Fuge (soprano), Tim Mead (counter-tenor)

Milton Court Concert Hall, 15th February 2018

  • Corelli – Concerto grosso Op 6 No 1 in D major
  • Handel – Cantata HWV 230 “Ah! Che troppo inequali”
  • Handel – Cantata HWV 82 “Il Duello Amoroso”
  • Pergolesi Stabat Mater

As usual after BUD and I had chewed over the big economic, social, philosophical and political questions of the day, and reminded each other just how clever we are, as well as scoffed on some tasty, if evil, fare at the redoubtable Bad Egg in Moorgate, there was minimal time for a preview of the evening’s entertainment. Which meant that BUD got the shock of his life when Tim Mead opened his mouth in the second of the Handel cantatas in the programme. He wasn’t expecting a counter-tenor. Especially from a man who could easily pass as the next James Bond given his rugged good looks and sartorial elegance.

My what a voice though. Now if you are a fully paid up, Baroque, (especially Baroque opera), and, increasingly, Contemporary classical, music enthusiast, you are going to come across a fair few counter-tenors. I think I have heard voices with more power and range than Mr Mead’s but not as much clarity and brilliance. This was apparent in the “Il Duello Amoroso”, a decidedly dodgy tale of unrequited love between a shepherd and a goddess, where the counter-tenor and soprano voices sparred elegantly. It really came to the fore however in Pergolesi’s wham-bam, smash hit Stabat Mater.

Pergolesi didn’t get up to much musically. Dying at 26 from TB didn’t help, and, if I am honest, the bits of his output I’ve heard, (or have recordings of), beyond the Stabat Mater aren’t that memorable. Churning out lightweight, comic operas, for your ADHD aristocratic patrons is not, unsurprisingly, a recipe for a lasting musical legacy. When he hit upon this medieval Latin setting of the Christian staple of Mary lamenting her son’s suffering on the cross, he struck gold though. Just a shame it was only completed a few days before he popped his clogs. Still thanks to Bach, and others, the score was widely disseminated in the C18 and has never gone out of fashion.

That’s because, musically and lyrically, he doesn’t hang around. The 12 verses make a virtue of brevity. None is more than 5 minutes long and the whole comes in at 40 minutes. There is loads of contrast, audible human touches and plainly programmatic twists where text and music are perfectly matched, and the fusion, for that is what it is, of Baroque and early Classical, means it is easy, and very affecting, on the ear. Others have had a stab at setting the Stabat Mater, Vivald and Haydn, come to mind, but this tops the lot.

Obviously the AAM, especially the strings, nailed the score, and gave plenty of space for the two excellent soloists to capture the drama and pathos of the setting. Whether individual aria or in duet both singers seemed to really care about the music and text. Forget the religious mumbo-jumbo, this is the moving story of a Mum’s grief. Best bit. The Fac ut portem Christi mortem from Tim Mead alone. Very moving.

I was less convinced by the Handel. That’s just me and Handel though. It is always a pleasant experience listening to GFH but it never really involves me.  Even 4 hours of his operas. I hope to get lifted up and swept along but always end up earthbound. Even, whisper it, in a Messiah. He’s a flash Harry make no mistake, and all those voices, here, there and everywhere, is proper WOW, but it all feels a bit devoid of emotion. A man can only have so much bouncing bass and celebratory trumpet action. Anyway I was happy enough to go with the pleasant enough flow in these two cantatas.

The programme kicked off with Corelli’s Op 6 No 1 Concerto Grosso. You cannot go wrong with that. The 12 Concerto Grossi are like a Corelli greatest hits collection. There will always be some stunning concertante work, the two violins and the darker cello, beefed up by the ripieno players, the rest of the band. This concerto has some brutally fast semiquavers stuff for the solo cello and his violin mates and some lovely lyrical, slower dances to kick off the first couple of movements. There is plenty of room to blag which Bojan Cicic, (he really is a top violinist), Rebecca Livermore and Joseph Crouch took full advantage of. The whole band though seems to delight in playing together. That is why, even if I am not absolutely sure of all the musical ingredients, I will try to see all their London concerts.

I recommend you try to do the same, especially if you are new to the Baroque. And I also heartily recommend you dip into recordings of Pergolesi’s Stabat Mater and Corelli’s Concertos if you haven’t already. You won’t regret it.