Aston Magna Music Festival 2017 – A Preview(Comments Off on Aston Magna Music Festival 2017 – A Preview)
The Aston Magna season, the 45th(!), is almost upon us. We can look forward to an extended schedule, adding fifth and sixth weekends at the Brandeis and Great Barrington venues, which is no longer on the Simon’s Rock campus, but at the recently renovated Saint James Place.
Scholars, musicians, and audiences, as they explore the music of the first half of the seventeenth century, keep coming back to the giant figure of Claudio Monteverdi (1567-1643), just as in later periods they tend to orbit J. S. Bach, Haydn, Beethoven, Wagner, and Stravinsky. In one respect this is justified by the quality and originality of Monteverdi’s music. In others we must acknowledge our fragmentary and disproportionate understanding of the music of all times and places, realizing that we should really know more of the music of Matthiesen, Graupner, and Hasse, C. P. E. Bach, Cherubini, and Scriabin, to name only a few. In the present case, Erin Headley justifiably points out that much of the work of two of the other important composers in this program, Luigi Rossi and Marco Marazzoli, has been hidden away in the Vatican Library—in manuscript, not in printed editions, the form in which Monteverdi purposely circulated and preserved his work.
When I try to imagine how Lee Elman and Albert Fuller felt when they founded the Aston Magna Music Festival in 1972, I find myself somewhat awestruck. That was less than twenty years away from the very beginnings of the Early Music movement in the mid-1950s. When the invaluable Pristine Classical download site form historical recordings recently released Jascha Horenstein’s 1954 recording of Bach’s Brandenburg Concertos, a noted by Mischa Horenstein observed that the orchestra, assembled ad hoc in Vienna by Horenstein himself, included two great lights of historical performance, Nicolaus Harnoncourt, playing the viola da gamba, and Paul Angerer, playing viola solo, violino piccolo, harpsichord, and second recorder, in true Early Music style.
Jeannette Sorrell, Music Director of Apollo’s Fire: The Cleveland Baroque Orchestra, talks to Michael Miller
Just yesterday I had the pleasure of talking with Jeannette Sorrell, Music Director of Apollo’s Fire, the highly acclaimed period orchestra based in Cleveland, where she founded it twenty-three years ago. Today, rather like the venerable Cleveland Orchestra, Apollo’s Fire tours extensively in North America and Europe, bringing Ms. Sorrell’s warm, expressive vision of Baroque playing to both seasoned and neophyte audiences. Tomorrow, July 2, she will lead them at Tanglewood in a program called “Bach’s Coffee House,” referring to the Café Zimmermann in Leipzig, where first Georg Phillipp Telemann and later Johann Sebastian Bach organised free public concerts. The program will include excerpts from Telemann’s incidental music to Don Quixote, Bach’s Fourth and Fifth Brandenburgs, and short pieces by Handel and Vivaldi.