Tag Archive for ‘Bach’
Like all the great institutions which are celebrating anniversaries this year, Aston Magna’s 40th anniversary season is much like any other. What better way to celebrate an important anniversary than to maintain the quality one has been known for and to reaffirm the founding principles? This year’s season, launched by gala events at Brandeis and at Seiji Ozawa Hall at Tanglewood, will be rich in familiar repertory — Monteverdi, Purcell, Vivaldi, Telemann, the Bach family, and Mozart — and familiar faces: the violinist Daniel Stepner, the gambist Laura Jeppesen, harpsichordist John Gibbons, singers Dominique Labelle, Deborah Rentz-Moore, and William Hite. Of course Stanley Ritchie will be on hand. Some very distinguished artists will be joining them: keyboard players Peter Sykes and Malcom Bilson, and Eric Hoeprich, whose Glossa recording of Mozart’s Clarinet Concerto I just now warmly praised in a review article—and this is only a few.
Osmo Vänskä and Alisa Weilerstein Collaborate with the Sydney Symphony — Tchaikovsky, Prokofiev and Beethoven
Inviting guest musicians Osmo Vänskä and Alisa Weilerstein to the Sydney Symphony makes an artistic match the muses approved of, not to mention the heavens. They only came for three performances in Sydney, and how they found time to rehearse this dense program thoroughly is a mystery to me, though a shared musical spirit and understanding seemed to be on their side in this performance. It was a rare conjunction of various uncontrollable elements. The program too is very interesting. The Sydney Symphony has found a ‘new’ Tchaikovsky piece, apparently never having played Voyevoda before, and has not played the Prokofiev sinfonia concertante for 40 years. Beethoven is always interesting (at the very least), but here we have a unique interpreter of his symphonies in Vänskä, who seemed even to find in Beethoven hitherto unheard connections to Prokofiev.
The Australian Brandenburg Orchestra Led by Riccardo Minasi Plays Vivaldi, Zelenka, Sardelli, Fasch on Period Instruments
The Australian Brandenburg Orchestra specializes in playing Baroque music on period instruments, though they often include earlier 16th and later 18th century music too, but for this program they have taken a cross section of late Baroque Italy and Germany selecting pieces all from the 1720′s and 1730′s (or in a similar style). They have also invited Roman violinist Riccardo Minasi to direct and conduct the orchestra with a program of interesting Vivaldi concerti as well as the much more obscure Jan Dismas Zelenka, who was only rediscovered around the middle of the last century, though his 300th birthday in 1979 passed without any celebration from the recording industry (according to Early Music). A Bohemian originally, Zelenka played double bass for the Dresden court orchestra, later composing for the royal chapel, then for a short while acting as Kapellmeister. The ABO plans to play a bit more of his music next year, a sample of his church music. They have also announced for their 2012 season Monteverdi’s L’Orfeo in concert, which is wonderful news for Sydney operaphiles who now at least have three operas to look forward to next year — L’Orfeo, Tchaikovsky’s Queen of Spades with Ashkenazy and the Sydney Symphony and the Pinchgut company’s production in December. Baroque music, especially in the serious and exuberant way the ABO plays it, is lively, vigorous and sanguine but without violence or forcefulness. In this way Baroque music has much to teach humanity of the 21st Century.
A Joyful and Humane B Minor Mass at Emmanuel Music: Ryan Turner begins his second season as Music Director, followed by a 2011-12 season schedule
As Ryan Turner began his second season as Music Director of Emmanuel Music so ambitiously with Bach’s B Minor Mass, it seems a good time to reflect on this small, but extremely productive organization and its place in the Boston musical world. One of the most characteristic—and felicitous—aspects of classical music in Boston is the proliferation of these groups, often founded around a chorus, but featuring non-choral music as well, often cultivating a speciality in Baroque music, and often combining this with the music of Classical, Romantic, and contemporary composers. Boston is home to other groups that play Baroque music on period instruments, and some of these have achieved international reputations. At Emmanuel music of the eighteenth century and earlier is played on modern instruments in a style which conforms more or less with the performance practices developed in the postwar years by Günther Ramin and Kurt Thomas with the Thomanerchor at Leipzig, and extending to Fritz Lehmann and Karl Richter in Berlin and Munich—with roots in the reformed performances of the 1920s. This doesn’t mean that these musicians don’t listen to their historically informed colleagues. In Boston, it is pretty well impossible for them not to exchange ideas and to learn from one another. As compelling as period performances of Baroque masters are, there is one great virtue to modern instruments: the music can be performed as part of a tradition extending up to the present day. The musicians can perform Bach seamlessly amidst Brahms, Bruckner, Stravinsky, Schoenberg, Vaughn Williams, or, say, John Harbison, Principal Guest Conductor at Emmanuel Music, who wrote an enlightening personal note on the B Minor Mass for this performance.
A contemporary art dealer I know once exclaimed, as I was taking him around and old master drawings show I had organized, “this stuff has a lot of history. There’s a lot of history here…” as if history were a tangible quality that was somehow imparted to an object, whether by the artist, or by the physical touch of time, or by the many people who had successively owned it, or perhaps by something else…history! Every two years in June, history pours into the already deeply historical city of Boston in the form of historically-informed instrumentalists and singers, musicologists, historical instruments, historical instrument builders, historical editions, and manuscripts. Only a few of the historical folk—locals, most likely—knew that history was being made all around them, while some were immersed in the Roman de Fauvel and others were enraptured by Steffani’s Niobe, Regina di Tebe, as I was. As I sat down for the performance, I noticed a few more empty seat than I might have expected, and during the first intermission, I ventured out on Tremont Street for a few minutes.
Elephants Begone! – Bach’s Cello Suites Deconstructed and Reconstructed – Pieter Wispelwey at Tanglewood
I was of divided mind. Cellist, Pieter Wispelwey From the familiar opening measures of Bach’s great set of cello suites, any resemblance to performances I had previously heard (or could imagine from the score), any accordance with Baroque performance practice I had studied, and any sense of veneration to “The Bach Suite As Such” had been thoroughly dashed. I listened with jaw-dropping surprise at Wispelwey’s granular, hyper-rhetorical phrasing – now playful, now expressionistic, now rapturous, now diffident, always light-on-the-bow – and felt completely alienated by a radical departure from a performance tradition I had loved. Where were Janos Starker’s muscles? Where was the grunting and spiritually ennobling midwifery of Pablo Casals whose hulking, devotional approach attested to the phenomenon, as G. M. Hopkins said, “sheer plod makes plough down sillion shine”?
I yearn for the day when a thoroughly sympathetic view of Schumann emerges, one supplanting the lingering idea, passed on from biographer to musician to music-lover and back, insinuating that his music, while selectively inspired, was hampered by enough contrapuntal inexperience, unevenness in motivic invention, formal insecurity, and outright incompetence in orchestration that it should not be considered in the same sphere with Chopin’s, Liszt’s, or even Brahms’s.
David Hoose, Music Director of The Cantata Singers, Boston, talks to Michael Miller, with a Season Preview
This thoughtful and lively program of Baroque and modern music is typical of the Cantata Singers, who in recent years have been building their season programs around a single composer, this year Heinrich Schütz, the greatest predecessor of the central figure in the group’s mission, Johann Sebastian Bach. This gave me an opportunity to continue our podcast series in conversation with David Hoose, the Cantata Singers’ Music Director for the past 26 years. Since then Mr. Hoose has been one of the central figures in the Boston music scene.