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.
This spring has been teeming with a dizzying profusion of riches for the lover of early music in the Northeast. In April Carnegie Hall launched “Before Bach,” a month-long festival of Renaissance and Baroque music performed by the the most admired international groups and soloists in the field. Since this was an “on” year for The Boston Early Music Festival, an equally distinguished group of regulars and visitors just now packed about the same amount of musical activity into a week, supplemented by hosts of mostly outstanding comprimarii in its Fringe. This coming weekend BEMF’s western coda, consisting of Monteverdi’s Vespers of 1610 and his Orfeo, both performed in the Mahaiwe Performing Arts Center in Great Barrington, will overlap with the first weekend of one of the oldest festivals of early music, Aston Magna.
Reluctant to miss an opportunity to hear the great clarinettist Eric Hoeprich, especially after his sensitively nuanced performance of Mozart’s Kegelstatt Trio for the Boston Early Music Festival, I found it necessary, unfortunately, to miss an important BEMF evening in order to make the trek out to Brandeis. Daniel Stepner in fact apologized for the conflict, promising to avoid them in the future. Indeed, it would be to the advantage of Boston audiences if the two festivals could pool their resources to make it possible for BEMF audiences to hear the Aston Magna musicians, especially this one, devoted to a rarely heard, obsolete elder sibling of the clarinet, the chalumeau.
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.
The primary occasion for this writing was Emmanuel Music’s fine performance of Mozart’s last opera, La Clemenza di Tito, under Music Director Ryan Turner. However, two extraordinary recordings of works Mozart composed during those busy final months of his life have appeared, as downloads from Pristine Classics, and they are not only magnificent in themselves, but they provide an enlightening context for this somewhat elusive opera seria. These recordings are of the legendary 1951 Salzburg performance of Die Zauberflöte under Wilhelm Furtwängler in the spectacularly improved sound we have come to expect from Andrew Rose, and a magnificent studio recording of the Requiem under Sir Thomas Beecham from 1954-56.