The Jerusalem Baroque Orchestra’s final concert for the 2007-2008 season was “Music from the Lively Court of Dresden”, a program of music by Antonio Lotti and Jan (or Johann) Dismas Zelenka. The concert was conducted by Andrew Parrott, the JBO’s honorary conductor. At the harpsichord was Dr. David Shemer, the orchestra’s musical director. For the last 18 years, the JBO has been performing Baroque music on period instruments according to historical performance practice, putting Israel on the map in Baroque orchestral playing of the highest standard.
In the 18th century, Dresden, the capital of the Saxon Electorate, also referred to as “Florence on the Elbe”, was one of the most vibrant cultural centers of Europe. Saxony enjoyed its “Augustan” Golden Age under the reign of Frederick Augustus I (Augustus the Strong) and his son, Frederick Augustus II. The Dresden royal orchestra, the “Hofkapelle”, was known far and wide, performing church music, opera and works written for events at court. Vivaldi and J.S.Bach, in particular, both had connections with the court and its orchestra.
Antonio Lotti (1776/7-1740) was born in Venice and made his name as a musician at St Mark’s Basilica as an alto singer and organist, and he was a renowned teacher; in 1736 he became maestro di cappella, a post he held till his death. In 1717, the Crown Prince of Saxony was in Venice with specific instructions from his father, the king, to secure the services of singers for the court opera and church in preparation for his wedding in 1719. Lotti was given leave to go to Dresden and he left Venice with his wife, a librettist and a number of singers. In Dresden, he composed three operas. In October 1719, Lotti and his wife– the singer Santa Stella- left Dresden to return to Venice. As a souvenir of his visit, he was able to keep the carriage and horses given him for his return trip to Venice.
Lotti composed 24 operas in all, but only eight have survived. “Alessandro Severo”, premiered in 1716, was one of Lotti’s final operas for the city of Venice before he left for Dresden. Apostolo Zeno, a member of the Arcadian Academy, wrote the libretto; he was one of the first to define the “opera seria” as a return to “classical” drama. The JBO’s concert opened with the Sinfonia to the opera. Scored for strings and harpsichord, in three sections, it was given a crisp rendition. Sandwiched between two lively movements, the slower middle section was furtive and singing, with dissonances producing harmonic tensions.
Lotti’s “Missa Sapientiae” is among his most important religious works. Around 1730, J.D. Zelenka, having given the mass its name, added to its instrumentation. Handel copied out sections, using them in some of his oratorios and Bach owned a copy of it. For this performance, the JBO was joined by the Collegium Singers, a first class ensemble of twenty-five young, professional singers, founded by Avner Itai, its conductor, in 1997. Most of the soloists of the evening are members of the choir. Scored for strings, organ, harpsichord, oboes and bassoon, the work is a remarkable collage of pieces, of solos, groups of soloists, choruses, and so on. Different textures contrasting one another make this work interesting. Soprano Efrat Carmoush was impressive and competent; I also enjoyed hearing baritone Assif Am-David. The “Qui tollis” was especially moving, with a small two-note motif dominating the first half, repeated and imitated by upper and lower strings. In the “suscipe deprecationem nostrum” (Receive our prayer) the words were not only distinct but shaped beautifully into the musical phrase. The final movement, “Cum sancto spirito”, was rich in color and contrapuntal strands, exuberant and convincing.
Born in Ludovice, Bohemia in 1679, Jan Dismas Zelenka moved to Dresden in 1710, playing violone (a very large viol) in the court orchestra and receiving the title of “Court composer of church music” due to the numerous sacred works he had composed for the Dresden Catholic church. He died there in 1745. In 1715, he left for Vienna to study counterpoint under Johann Joseph Fux (whose book “Gradus ad Parnassum”, whereby the rules of counterpoint are set down, is still read by students of counterpoint.) On traveling to Venice in 1716, he met Lotti and may have studied with him; this meeting laid the basis for their friendship that would continue into the period they would be together in Dresden. Zelenka returned to Dresden in 1719 and the sophisticated counterpoint of his works written thereafter show results of his time studying with Fux. Zelenka composed the “Ouverture Hipocondrie” in 1723 for the crowning ceremony of Charles VI of Bohemia. The name given to this work is somewhat of an enigma but people in Zelenka’s circle of the time have mentioned that he suffered from bouts of hypochondria. Scored for strings, oboes, bassoon, and harpsichord, the work opens with a movement in dotted rhythms, the oboes playing in parallel rhythms. The second movement gives opportunities for quite demanding instrumental solos, punctuated by short homophonic octave sections.
In his motet “In Exitu Israel de Aegypto” Zelenka takes his text from Psalms 113 and 114 but adds the doxology. In this rich and varied work, solos weave in and out of choral sections, with soloists also singing in ensembles; words and music are well wed. Moving through fugual movements, elaborate textures and dissonances, the motet ends with a joyful and richly exhilarating Amen.
British musicologist and conductor Andrew Parrott coordinated orchestra, choir and soloists in a performance that was, indeed, pleasing and interesting, inspiring the audience to listen to music of Baroque composers not familiar to everybody. Looking back on the Jerusalem Baroque Orchestra’s 2007-2008 season, I feel we are privileged to enjoy programs offering a rich variety of Baroque repertoire together with excellent performance. Shemer’s program notes (only in Hebrew) are always well worth reading. As of this season, Benny Hendel has been presenting a few words about works and composers in the concerts, adding interest, background information and humor.
“Music from the Lively Court of Dresden”
The Jerusalem Baroque Orchestra
David Shemer-musical director
Andrew Parrott-conductor
The Collegium Singers
Avner Itai-director
Benny Hendel-concert presentation
Efrat Carmoush-soprano
Orly Hoominer-soprano
Goni Bar-Sela-alto
Oded Amir-tenor
Assif Am-David-baritone
Peter Simpson-baritone
Saturday, July 12, 2008
Tuesday, July 8, 2008
Sounding Jerusalem
“Sounding Jerusalem” is a festival taking place for the third year. Under the artistic direction of Austrian ‘cellist, Erich Oskar Huetter, this unique festival constitutes a meeting of people of different cultures and religions and offers three weeks of high quality chamber concerts taking place in beautiful venues around Jerusalem as well as in Abu Gosh, Jericho, Ramallah and Palestinian villages. There is no charge for entrance. In addition to the concerts, Maria Tupay Duque, a freelance artist from Upper Austria, ran workshops for children and young people, whereby some of the musicians played for them, inspiring children and youth to express themselves in color. Some of the paintings were displayed at the various concerts. Huetter’s aim is to present concerts free of charge to all communities in the region. Most of the artists performing in this year’s festival are Europeans, some are Israeli, an orchestra of young Palestinians, a few Japanese players and one Australian.
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On a balmy, Jerusalem summer evening, the Artis String Quartet (Austria) was performing a concert titled “Sweet Viennese Dreams” in the historical courtyard of the 12th century cloisters of the Lutheran Church of the Redeemer in the Old City. With daylight fading, we took our seats in the serene courtyard, which boasts trees and greenery and timelessness. The Artis Quartet was founded in 1988 in Vienna, where all members nowadays reside. The quartet has a busy performance schedule; a highlight of their 2006-2007 concert season was their performance in Vienna of all the Mozart string quartets. Violinists and violist perform standing rather than sitting: standing, they explained, allows them to feel less restricted and more communicative.
The program opened with W.A.Mozart’s (1756-1791) Serenade no. 13 in G major, KV 525, “Eine kleine Nachtmusik”, composed in 1787 for chamber ensemble (with optional double bass.) A much loved and accessible work, the opening Allegro was forthright and clean, defined and melodic. The second movement – Romanze: Andante – was not taken too slowly, avoiding the pitfalls of over-sentimentality. With the fine acoustic of the courtyard projecting each note, the audience enjoyed the exuberance of the final movement – Rondo: Allegro.
The String Quartet in F major opus 50 “The Dream” is the fifth of Joseph Haydn’s (1732-1809) “Prussian” Quartets (1787) and was dedicated to his ‘cello-playing patron King Friedrich Wilhem II of Prussia. Written two years after Mozart’s “Haydn” Quartets, Haydn returns the homage by supplying a more Mozartian sound world than in former quartets. As of the initial sounds of the first movement – Allegro moderato- the players entertained the audience, bringing out Haydn’s humorous dissonances. The flowing second movement – Poco Adagio – is luminous and shifts mysteriously, hence its name “The Dream”. The Minuet and Trio were nuanced and shaped, with the intensity of the Finale: Vivace, exciting.
Listening to Mozart’s String Quartet in A major, KV 464, one is unable to imagine the troubles, changes and struggles Mozart encountered in its composition. In fact, it became Beethoven’s favorite of the “Haydn” set, published 1785. An anonymous reviewer, writing in Cramer’s Magazin der Muzik in 1789, wrote ‘Mozart’s six quartets for violins, viola and bass dedicated to Haydn confirm…that he has a decided leaning towards the difficult and the unusual. But then, what great and elevated ideas he has too, testifying to a bold spirit’. The Artis Quartet presented and contrasted both the grace and power of the opening Allegro movement. Their performance of the variations in the third movement – Andante- was delightful in its color and variety. The final Allegro non troppo was rich in counterpoint and textures, ending poignantly.
“Sweet Viennese Dreams”
The Artis Quartet (Austria)
Peter Schumayer-1st violin
Johannes Meissl-2nd violin
Herbert Kefer-viola
Othmar Mueller-cello
The Lutheran Church of the Redeemer, Old City of Jerusalem
June 28, 2008
………………………..
The Artis Quartet’s second concert in Sounding Jerusalem was “Vienna Calling” and took place at the Jerusalem Music Centre. W.A. Mozart’s String Quartet in E flat major, KV 428 (1783) is the third of the “Haydn” Quartets, all composed in Vienna between1782 and 1785. These quartets set new standards for this medium – in richness of invention, density of thought, length and melodic appeal, making more demands on player and listener. They are structured in the fashion Haydn had introduced in his quartets – mainly, that each instrument has its own voice and none are subservient to the first violin. The E flat Major quartet begins boldly with a highly chromatic Allegro non troppo. The artists gave much attention to fullness of sound, tensions and mood changes. The second movement, Andante con moto, is a rich, flowing tapestry of swelling sonorities, dissonances and accents. The third movement – Allegretto (not referred to as a “Minuet”) is characterized by heavy accents and a pedal in the bass, giving it a rustic effect. The fourth movement is virtuosic and varied, with underlying humor.
Alban Berg (1885-1935) was born in Vienna and was a member of the Second Viennese School together with Schoenberg and Webern. Berg’s String Quartet opus 3 was the first of two string quartets and was composed in 1910, though not published until 1920. Berg dedicated it to his wife, Helene, whom he married in 1911.This was the work to establish Berg’s individual style. It is contrapuntal, motivic rather than melodic and wholly atonal. Written in sonata-form, the first movement – Langsam (slowly) – is dark in its statement and highly layered in textures, contrapuntal sections contrasting with a more orchestral approach. It ends contemplatively. The second movement, no more joyful than the first, is outspoken as well as expressive and intimate. Berg uses effects such as flagolettes. With rich sonorities called for, the Artis Quartet gave the audience an intense and moving reading of the piece, taking themselves and their audience to a different region of the soul.
Johannes Brahms (1833-1897) was born in Hamburg but settled in Vienna in 1863. His String Quartet in a minor opus 51 no.2 was composed in 1873. Melancholy and lyric, this quartet was dedicated to his friend, the Viennese surgeon and amateur violinist, Theodor Billroth. The intense opening motif of the first movement – A, F,A, E – was expressive and contrasted effectively with the more relaxed, graceful major second theme. The three-part Andante Moderato movement was given a delicate reading. The open fifth drone in the more homophonic Minuet, a strange element, gave the performance the atmosphere of an ancient tale. The graceful Finale is energetic, and with its hemiolas, produces a dancelike, perhaps gypsy effect, together with fluid melodic lines. The Artis Quartet presented us with a richly varied and profound Brahms canvas.
All hints of Brahmsian tension and brooding were instantly whisked away with a typically whimsical, off-center Shostakovich polka performed playfully as an encore.
The Artis Quartet’s concerts were well programmed and inspiring: chamber music and string playing at its best. The JMC is indeed a superb venue for chamber music.
“Vienna Calling”
The Artis Quartet (Austria)
The Jerusalem Music Center, Yemin Moshe
June 30, 2008
………………………………
“Spirit of Europe” took place at the Jerusalem YMCA and, as well as being one of the “Sounding Jerusalem” events, was a benefit concert for Physicians for Human Rights –Israel. Here in Israel for the second time, the Spirit of Europe Orchestra, under the baton of Israeli-born Ronen Nissan, was established in 2004, with the expansion of the EU, and is based in the city of Melk, on the Danube. The players, most of whom are young, come from Hungary, the Slovak- and Czech Republics and from Austria. Their concert schedule takes them to EU countries as well as out of Europe as part of the “Dialogue of Cultures” program organized by the Provincial Capital of Lower Austria.
The evening opened with Joseph Haydn’s (1732-1809) Symphony no.44 in e minor “Trauer” (Mourning), composed in 1772. Haydn’s wish was that the Adagio movement be played at his own funeral, hence the title. At the time, Haydn was in the service of the Esterhazy family and it was during those years that he wrote most of his symphonies; there he presided over an orchestra of some twenty players, an ensemble that became one of the best in Europe. The symphony is homotonal, all movements having the same tonic. It begins with an Allegro con brio in sonata form. The orchestra gave it a fresh, crisp and dimensional reading, with plenty of contrast and shape. The oboist added color and lyricism. The Minuetto is in canon form. It was performed with feeling and charm. The third movement, Adagio, was expressive and luxuriant, with delicate piani in muted strings and well-crafted phrase endings. The contrapuntal Finale, opening with a decisive unison statement, is again in sonata form. Nissan gave it exhilarating energy and its excitement was infectious.
We then had the privilege of being present at the Israeli premiere of Benjamin Yusupov’s (b.1962) Con Moto for Marimba and String Orchestra. Pianist, conductor and composer, Yusupov was born in Tajikistan and emigrated to Israel in 1990. His musical language draws from many sources, including the ethnic music of his native Tajikistan. Soloist in this work was the virtuosic Israeli percussionist Chen Zimbalista. The scene was set with a drone and a Slavonic-type melody sounding in the lower strings. Yusupov always creates a landscape. Both modal and tonal, there is mellow tension throughout the movement, which is dramatic and melancholy in character. Zimbalista’s solo had the audience spellbound. The second movement started with Zimbalista on drums and cymbals. The piece developed into a frenzied dance of assymetrical shapes and jagged accents, an unapologetic expression of colors, shapes and timbres and brilliance, all held together by fine ensemble playing. Zimbalista takes your breath away, but at the same time he is blending, watching the conductor and listening to his fellow players.
Born in the Austro-Hungarian Empire in 1898, Viktor Ullmann was educated in Vienna where studied form, counterpoint and orchestration under Arnold Schoenberg. He was a journalist and also a fine pianist. In September 1942 he was deported to the Theresienstadt concentration camp, where he remained active musically. In October 1944, however, he was taken to Auschwitz-Birkenau, where he was killed. His Piano Sonata no. 7, one of his last works, written on scraps of lined paper and dedicated to his children, was composed in Theresienstadt in August 1944. Guided by the composer’s own suggestions on the score, Nissan has orchestrated three of the five movements of the piece, choosing the medium of string orchestra in order to preserve the intimate character of the piano. The opening Allegro, surprisingly under the circumstances, has a feel of well-being, is very European, using bitter-sweet harmonies, jazzy motifs and gentle dissonances. Beginning with a violin solo, the second movement (the third movement of the complete sonata), Adagio ma con moto, is more dissonant and less tonal than the first. The last movement, titled “Variations and Fugue on a Hebrew Folksong”, opens with the folksong played on the violin, this followed by a set of variations - each a different mood but, in their Yiddishkeit, evoking Jewish life in Eastern Europe.
W.A.Mozart (1756-1791) composed his Symphony no. 29 in A Major KV 201 in 1774. Scored like many previous symphonies for strings, oboes and horns, this symphony is, however, less Italian in style, but with a broader variety of moods, pointing towards the diversity that would characterize his later works. Unusual for Mozart symphonies, the first movement – Allegro moderato- begins with a quiet introduction. The movement was performed in true Mozartian singing manner, with lightness of texture. The Andante, using dotted rhythms and played on muted strings, was elegant and touching in its directness of expression. The Minuet was conversational, nervous and energetic, with the trio being more graceful. The Allegro, con spirito complete with hunting horn calls, was a spirited finale to the performance. Nissan’s attention to fine details and contrasts combines well with the scope of expression and nuances in the orchestra’s palette.
The Spirit of Europe Orchestra is a small, select group of players. Conductor Ronen Nissan is articulate and his players’ performance is lively and dynamic. For their encore, we heard a bold, attractive and gregarious orchestration of “The Purple Dress”, an Israeli song (lyrics-Sasha Argov, music-Matti Caspi.) Not a Viennese waltz, it was, nevertheless, a waltz to be danced.
“Spirit of Europe”
The Spirit of Europe Orchestra
Ronen Nissan-conductor
The Mary Nathaniel Golden Hall of Friendship, Jerusalem YMCA
July 3, 2008
…………………………..
“Sounding Jerusalem” ended with 30 or so brass players sounding from various rooftops in the Old City in a daring performance conceived and directed by German trumpeter Rainer Auerbach. This was a fitting musical message to end the festival.
…………………………….
On a balmy, Jerusalem summer evening, the Artis String Quartet (Austria) was performing a concert titled “Sweet Viennese Dreams” in the historical courtyard of the 12th century cloisters of the Lutheran Church of the Redeemer in the Old City. With daylight fading, we took our seats in the serene courtyard, which boasts trees and greenery and timelessness. The Artis Quartet was founded in 1988 in Vienna, where all members nowadays reside. The quartet has a busy performance schedule; a highlight of their 2006-2007 concert season was their performance in Vienna of all the Mozart string quartets. Violinists and violist perform standing rather than sitting: standing, they explained, allows them to feel less restricted and more communicative.
The program opened with W.A.Mozart’s (1756-1791) Serenade no. 13 in G major, KV 525, “Eine kleine Nachtmusik”, composed in 1787 for chamber ensemble (with optional double bass.) A much loved and accessible work, the opening Allegro was forthright and clean, defined and melodic. The second movement – Romanze: Andante – was not taken too slowly, avoiding the pitfalls of over-sentimentality. With the fine acoustic of the courtyard projecting each note, the audience enjoyed the exuberance of the final movement – Rondo: Allegro.
The String Quartet in F major opus 50 “The Dream” is the fifth of Joseph Haydn’s (1732-1809) “Prussian” Quartets (1787) and was dedicated to his ‘cello-playing patron King Friedrich Wilhem II of Prussia. Written two years after Mozart’s “Haydn” Quartets, Haydn returns the homage by supplying a more Mozartian sound world than in former quartets. As of the initial sounds of the first movement – Allegro moderato- the players entertained the audience, bringing out Haydn’s humorous dissonances. The flowing second movement – Poco Adagio – is luminous and shifts mysteriously, hence its name “The Dream”. The Minuet and Trio were nuanced and shaped, with the intensity of the Finale: Vivace, exciting.
Listening to Mozart’s String Quartet in A major, KV 464, one is unable to imagine the troubles, changes and struggles Mozart encountered in its composition. In fact, it became Beethoven’s favorite of the “Haydn” set, published 1785. An anonymous reviewer, writing in Cramer’s Magazin der Muzik in 1789, wrote ‘Mozart’s six quartets for violins, viola and bass dedicated to Haydn confirm…that he has a decided leaning towards the difficult and the unusual. But then, what great and elevated ideas he has too, testifying to a bold spirit’. The Artis Quartet presented and contrasted both the grace and power of the opening Allegro movement. Their performance of the variations in the third movement – Andante- was delightful in its color and variety. The final Allegro non troppo was rich in counterpoint and textures, ending poignantly.
“Sweet Viennese Dreams”
The Artis Quartet (Austria)
Peter Schumayer-1st violin
Johannes Meissl-2nd violin
Herbert Kefer-viola
Othmar Mueller-cello
The Lutheran Church of the Redeemer, Old City of Jerusalem
June 28, 2008
………………………..
The Artis Quartet’s second concert in Sounding Jerusalem was “Vienna Calling” and took place at the Jerusalem Music Centre. W.A. Mozart’s String Quartet in E flat major, KV 428 (1783) is the third of the “Haydn” Quartets, all composed in Vienna between1782 and 1785. These quartets set new standards for this medium – in richness of invention, density of thought, length and melodic appeal, making more demands on player and listener. They are structured in the fashion Haydn had introduced in his quartets – mainly, that each instrument has its own voice and none are subservient to the first violin. The E flat Major quartet begins boldly with a highly chromatic Allegro non troppo. The artists gave much attention to fullness of sound, tensions and mood changes. The second movement, Andante con moto, is a rich, flowing tapestry of swelling sonorities, dissonances and accents. The third movement – Allegretto (not referred to as a “Minuet”) is characterized by heavy accents and a pedal in the bass, giving it a rustic effect. The fourth movement is virtuosic and varied, with underlying humor.
Alban Berg (1885-1935) was born in Vienna and was a member of the Second Viennese School together with Schoenberg and Webern. Berg’s String Quartet opus 3 was the first of two string quartets and was composed in 1910, though not published until 1920. Berg dedicated it to his wife, Helene, whom he married in 1911.This was the work to establish Berg’s individual style. It is contrapuntal, motivic rather than melodic and wholly atonal. Written in sonata-form, the first movement – Langsam (slowly) – is dark in its statement and highly layered in textures, contrapuntal sections contrasting with a more orchestral approach. It ends contemplatively. The second movement, no more joyful than the first, is outspoken as well as expressive and intimate. Berg uses effects such as flagolettes. With rich sonorities called for, the Artis Quartet gave the audience an intense and moving reading of the piece, taking themselves and their audience to a different region of the soul.
Johannes Brahms (1833-1897) was born in Hamburg but settled in Vienna in 1863. His String Quartet in a minor opus 51 no.2 was composed in 1873. Melancholy and lyric, this quartet was dedicated to his friend, the Viennese surgeon and amateur violinist, Theodor Billroth. The intense opening motif of the first movement – A, F,A, E – was expressive and contrasted effectively with the more relaxed, graceful major second theme. The three-part Andante Moderato movement was given a delicate reading. The open fifth drone in the more homophonic Minuet, a strange element, gave the performance the atmosphere of an ancient tale. The graceful Finale is energetic, and with its hemiolas, produces a dancelike, perhaps gypsy effect, together with fluid melodic lines. The Artis Quartet presented us with a richly varied and profound Brahms canvas.
All hints of Brahmsian tension and brooding were instantly whisked away with a typically whimsical, off-center Shostakovich polka performed playfully as an encore.
The Artis Quartet’s concerts were well programmed and inspiring: chamber music and string playing at its best. The JMC is indeed a superb venue for chamber music.
“Vienna Calling”
The Artis Quartet (Austria)
The Jerusalem Music Center, Yemin Moshe
June 30, 2008
………………………………
“Spirit of Europe” took place at the Jerusalem YMCA and, as well as being one of the “Sounding Jerusalem” events, was a benefit concert for Physicians for Human Rights –Israel. Here in Israel for the second time, the Spirit of Europe Orchestra, under the baton of Israeli-born Ronen Nissan, was established in 2004, with the expansion of the EU, and is based in the city of Melk, on the Danube. The players, most of whom are young, come from Hungary, the Slovak- and Czech Republics and from Austria. Their concert schedule takes them to EU countries as well as out of Europe as part of the “Dialogue of Cultures” program organized by the Provincial Capital of Lower Austria.
The evening opened with Joseph Haydn’s (1732-1809) Symphony no.44 in e minor “Trauer” (Mourning), composed in 1772. Haydn’s wish was that the Adagio movement be played at his own funeral, hence the title. At the time, Haydn was in the service of the Esterhazy family and it was during those years that he wrote most of his symphonies; there he presided over an orchestra of some twenty players, an ensemble that became one of the best in Europe. The symphony is homotonal, all movements having the same tonic. It begins with an Allegro con brio in sonata form. The orchestra gave it a fresh, crisp and dimensional reading, with plenty of contrast and shape. The oboist added color and lyricism. The Minuetto is in canon form. It was performed with feeling and charm. The third movement, Adagio, was expressive and luxuriant, with delicate piani in muted strings and well-crafted phrase endings. The contrapuntal Finale, opening with a decisive unison statement, is again in sonata form. Nissan gave it exhilarating energy and its excitement was infectious.
We then had the privilege of being present at the Israeli premiere of Benjamin Yusupov’s (b.1962) Con Moto for Marimba and String Orchestra. Pianist, conductor and composer, Yusupov was born in Tajikistan and emigrated to Israel in 1990. His musical language draws from many sources, including the ethnic music of his native Tajikistan. Soloist in this work was the virtuosic Israeli percussionist Chen Zimbalista. The scene was set with a drone and a Slavonic-type melody sounding in the lower strings. Yusupov always creates a landscape. Both modal and tonal, there is mellow tension throughout the movement, which is dramatic and melancholy in character. Zimbalista’s solo had the audience spellbound. The second movement started with Zimbalista on drums and cymbals. The piece developed into a frenzied dance of assymetrical shapes and jagged accents, an unapologetic expression of colors, shapes and timbres and brilliance, all held together by fine ensemble playing. Zimbalista takes your breath away, but at the same time he is blending, watching the conductor and listening to his fellow players.
Born in the Austro-Hungarian Empire in 1898, Viktor Ullmann was educated in Vienna where studied form, counterpoint and orchestration under Arnold Schoenberg. He was a journalist and also a fine pianist. In September 1942 he was deported to the Theresienstadt concentration camp, where he remained active musically. In October 1944, however, he was taken to Auschwitz-Birkenau, where he was killed. His Piano Sonata no. 7, one of his last works, written on scraps of lined paper and dedicated to his children, was composed in Theresienstadt in August 1944. Guided by the composer’s own suggestions on the score, Nissan has orchestrated three of the five movements of the piece, choosing the medium of string orchestra in order to preserve the intimate character of the piano. The opening Allegro, surprisingly under the circumstances, has a feel of well-being, is very European, using bitter-sweet harmonies, jazzy motifs and gentle dissonances. Beginning with a violin solo, the second movement (the third movement of the complete sonata), Adagio ma con moto, is more dissonant and less tonal than the first. The last movement, titled “Variations and Fugue on a Hebrew Folksong”, opens with the folksong played on the violin, this followed by a set of variations - each a different mood but, in their Yiddishkeit, evoking Jewish life in Eastern Europe.
W.A.Mozart (1756-1791) composed his Symphony no. 29 in A Major KV 201 in 1774. Scored like many previous symphonies for strings, oboes and horns, this symphony is, however, less Italian in style, but with a broader variety of moods, pointing towards the diversity that would characterize his later works. Unusual for Mozart symphonies, the first movement – Allegro moderato- begins with a quiet introduction. The movement was performed in true Mozartian singing manner, with lightness of texture. The Andante, using dotted rhythms and played on muted strings, was elegant and touching in its directness of expression. The Minuet was conversational, nervous and energetic, with the trio being more graceful. The Allegro, con spirito complete with hunting horn calls, was a spirited finale to the performance. Nissan’s attention to fine details and contrasts combines well with the scope of expression and nuances in the orchestra’s palette.
The Spirit of Europe Orchestra is a small, select group of players. Conductor Ronen Nissan is articulate and his players’ performance is lively and dynamic. For their encore, we heard a bold, attractive and gregarious orchestration of “The Purple Dress”, an Israeli song (lyrics-Sasha Argov, music-Matti Caspi.) Not a Viennese waltz, it was, nevertheless, a waltz to be danced.
“Spirit of Europe”
The Spirit of Europe Orchestra
Ronen Nissan-conductor
The Mary Nathaniel Golden Hall of Friendship, Jerusalem YMCA
July 3, 2008
…………………………..
“Sounding Jerusalem” ended with 30 or so brass players sounding from various rooftops in the Old City in a daring performance conceived and directed by German trumpeter Rainer Auerbach. This was a fitting musical message to end the festival.
Friday, July 4, 2008
Les Arts Florissants,Israel Festival 2008
The final concert of the 2008 Israel Festival was an evening of Baroque music performed by Les Arts Florissants (France). Les Arts Florissants, performing for the first time in Israel, is a Baroque ensemble including instrumentalists on original instruments as well as singers. It takes its name (The Flourishing Arts) from a short opera by Marc-Antoine Charpentier and is responsible for unearthing and performing a number of neglected, seldom-performed works of the 17th and 18th centuries. It was founded by William Christie in 1979. In 2007, countertenor Paul Agnew took over conducting the group. The concert on June 22 was part of “Harmony 60”, celebrating 60 years of the State of Israel with three months of cultural exchange between France and Israel.
The evening opened with G.F.Handel’s (1685-1759) Zadok the Priest (HWV 258), one of four coronation anthems Handel composed using the English text, for the coronation of George II of Great Britain in 1727; it has since been sung at every subsequent British coronation service. It is thought that Handel himself made the paraphrase from 1 Kings 1:39-40:
‘Zadok the Priest and Nathan, the Prophet anointed Solomon King.
And all the people rejoic’d, and said:
“God save the King, long live the King, may the King live for ever!
Amen, Hallelujah!”’
The orchestral introduction builds up the drama in preparation of the choir’s entry. The middle section “And all the people rejoic’d” certainly rejoices in a triple dance-like section. The festive final section returns to duple time, with Amens threaded in and out of the texture, ending in the Hallelujah, an ornate Baroque cadence. The choir’s English was excellent, as is their diction. Trumpeters, playing on natural trumpets (no valves) added brilliance and excitement to the performance.
French composer and violinist, Jean-Joseph de Mondonville (1711-1772) enjoyed great success in his lifetime. He was well known for his harpsichord music and in 1738 wrote the first manual on playing violin harmonics. Between 1734 and 1755 he composed 17 grand motets, nine of which have survived. These intense and dramatic motets, in the style of the late French Baroque, became dominant in the music of the Chapelle Royale before the Revolution. They consist of arias, duets, trios, choral sections and ritornelli as well as instrumental sinfonias. The last of the motets, “In exitu Israel” (Psalm 114 and not Psalm 113, as was written in the program notes), was composed in 1753 and first performed at the annual Mass in honor of the king. Depicting the Israelites’ exodus from Egypt, it includes verbal and musical descriptions of the parting of the waters, of the Egyptians following the Israelites, with Mondonville using word-painting and tempo changes for dramatic use. British tenor Ed Lyon was very expressive, ornamenting with vibrati and other techniques. Baritone Marc Mauillon (France) has a powerful voice and showed superb control, performing runs and ornaments with ease. Soprano Sophie Daneman (U.K.) showed delicacy; her voice, however, was not full enough to always be heard in this setting.
Handel’s “Ode for St. Cecilia’s Day”, composed in 1739, happens to be his second setting of the same poem by John Dryden. The main theme of the text is the Pythagorean theory of “harmonia mundi”, presenting music as a central force in the earth’s creation. St. Cecilia was considered the patron saint of musicians. Premiered at the Theatre in Lincoln’s Inn Fields in London, Handel drew material not only from his own Concerto Grosso no. 5 but also from Austrian composer and organist Gottlieb Muffat’s “Componimenti musicali”, a collection of keyboard pieces. With the dazzling and original result he achieved in a very different kind of Handel oratorio, I suppose the composer is to be pardoned for “borrowing” from another. Consisting of recitatives, choral sections, instrumental sections and soprano- and tenor arias, the work falls into two parts, with a march dividing between them, each part ending with an elaborate choral piece. Discussing the merits of various instruments in an appealing manner, the work presents much word painting and some outstanding solo playing by members of the orchestra – the ‘cello, for example, joining the soprano aria in section 5 and fine interaction between trumpeter and tenor on section 6:
‘The trumpet’s loud clangor
Excites us to arms
With shrill notes of anger
And mortal alarms.’
Section 8 was delicate and poignant, with solo flautist and Daneman discussing the “soft complaining flute” against the gentle accompaniment of theorbo and strings. Daneman and Lyon breathed color and meaning into arias and the choir was expressive, perfectly coordinated and polished.
“Les Arts Florissants” has an outstanding choir of soloists working with first class instrumentalists. The audience was excited by their performance as by Paul Agnew’s direction. The 2008 Israel Festival went out with a flourish of brilliance.
“Les Arts Florissants”
Sacred Music by Handel and Mondonville
Paul Agnew-conductor
Sophie Daneman-soprano
Ed Lyon-tenor
Marc Mauillon-baritone
The Jerusalem International Convention Center
June 22, 2008
The evening opened with G.F.Handel’s (1685-1759) Zadok the Priest (HWV 258), one of four coronation anthems Handel composed using the English text, for the coronation of George II of Great Britain in 1727; it has since been sung at every subsequent British coronation service. It is thought that Handel himself made the paraphrase from 1 Kings 1:39-40:
‘Zadok the Priest and Nathan, the Prophet anointed Solomon King.
And all the people rejoic’d, and said:
“God save the King, long live the King, may the King live for ever!
Amen, Hallelujah!”’
The orchestral introduction builds up the drama in preparation of the choir’s entry. The middle section “And all the people rejoic’d” certainly rejoices in a triple dance-like section. The festive final section returns to duple time, with Amens threaded in and out of the texture, ending in the Hallelujah, an ornate Baroque cadence. The choir’s English was excellent, as is their diction. Trumpeters, playing on natural trumpets (no valves) added brilliance and excitement to the performance.
French composer and violinist, Jean-Joseph de Mondonville (1711-1772) enjoyed great success in his lifetime. He was well known for his harpsichord music and in 1738 wrote the first manual on playing violin harmonics. Between 1734 and 1755 he composed 17 grand motets, nine of which have survived. These intense and dramatic motets, in the style of the late French Baroque, became dominant in the music of the Chapelle Royale before the Revolution. They consist of arias, duets, trios, choral sections and ritornelli as well as instrumental sinfonias. The last of the motets, “In exitu Israel” (Psalm 114 and not Psalm 113, as was written in the program notes), was composed in 1753 and first performed at the annual Mass in honor of the king. Depicting the Israelites’ exodus from Egypt, it includes verbal and musical descriptions of the parting of the waters, of the Egyptians following the Israelites, with Mondonville using word-painting and tempo changes for dramatic use. British tenor Ed Lyon was very expressive, ornamenting with vibrati and other techniques. Baritone Marc Mauillon (France) has a powerful voice and showed superb control, performing runs and ornaments with ease. Soprano Sophie Daneman (U.K.) showed delicacy; her voice, however, was not full enough to always be heard in this setting.
Handel’s “Ode for St. Cecilia’s Day”, composed in 1739, happens to be his second setting of the same poem by John Dryden. The main theme of the text is the Pythagorean theory of “harmonia mundi”, presenting music as a central force in the earth’s creation. St. Cecilia was considered the patron saint of musicians. Premiered at the Theatre in Lincoln’s Inn Fields in London, Handel drew material not only from his own Concerto Grosso no. 5 but also from Austrian composer and organist Gottlieb Muffat’s “Componimenti musicali”, a collection of keyboard pieces. With the dazzling and original result he achieved in a very different kind of Handel oratorio, I suppose the composer is to be pardoned for “borrowing” from another. Consisting of recitatives, choral sections, instrumental sections and soprano- and tenor arias, the work falls into two parts, with a march dividing between them, each part ending with an elaborate choral piece. Discussing the merits of various instruments in an appealing manner, the work presents much word painting and some outstanding solo playing by members of the orchestra – the ‘cello, for example, joining the soprano aria in section 5 and fine interaction between trumpeter and tenor on section 6:
‘The trumpet’s loud clangor
Excites us to arms
With shrill notes of anger
And mortal alarms.’
Section 8 was delicate and poignant, with solo flautist and Daneman discussing the “soft complaining flute” against the gentle accompaniment of theorbo and strings. Daneman and Lyon breathed color and meaning into arias and the choir was expressive, perfectly coordinated and polished.
“Les Arts Florissants” has an outstanding choir of soloists working with first class instrumentalists. The audience was excited by their performance as by Paul Agnew’s direction. The 2008 Israel Festival went out with a flourish of brilliance.
“Les Arts Florissants”
Sacred Music by Handel and Mondonville
Paul Agnew-conductor
Sophie Daneman-soprano
Ed Lyon-tenor
Marc Mauillon-baritone
The Jerusalem International Convention Center
June 22, 2008
Labels:
Ed Lyon,
Marc Mauillon,
Paul Agnew,
Sophie Daneman
Wednesday, June 25, 2008
Folk Baroque in Jerusalem, concert with a difference
Imagine walking into the auditorium of the Jerusalem Music Centre to hear a concert of the Barrocade ensemble and seeing an electric guitar leaning against Amit Tiefenbrunn’s chair .After collecting my wits, I decided to shed all authentic hang-ups and settled down to enjoy what turned out to be a pleasurable and exuberant end to the group’s 2007-2008 season, its first. Functioning as both soloists and ensemble players, Barrocade members have studied historical performance practice at leading European conservatories and play on replicas of original 17th and 18th century instruments and without a conductor. Barrocade, the Israeli Baroque Collective, definitely has its own signature sound and style. Arrangements of works for this concert were written by Amit Tiefenbrunn, the group’s musical director and viol and violine player; he teaches and also builds historical bowed instruments.
Oboist and composer Andre Philidor (c.1647-1730) compiled a collection of French court music from the reign of Henri III to the end of the 17th century. Introduced by the drum, we heard four of these court dances - each differently orchestrated. In the lilting “La Spanioletta” we heard Michael Ely playing a solo on Baroque guitar against plucked instruments and harpsichord. Baroque flautist and instrument builder Boaz Berney took over the solo, adding elegant embellishments. This was followed by an energetic and colorful Bourree.
Henry Purcell (1659-1695) dedicated his “Come ye Sons of Art, away” to Queen Mary in 1694. The text, probably by Nahum Tate, is full of references to music and musical instruments. “Strike the Viol” was sung by soprano Keren Hadar, firstly against the minimal accompaniment of a single tambourine and double bass, moving into fuller orchestration. Somehow the rhythm adopted a jazzy flavor, and, with the smoothest of transitions, there we were suddenly tapping our feet to Paul Desmond’s (1924-1977) “Take Five”, with Tiefenbrunn improvising on the electric guitar and Hadar joining in the melody.
English composer, singer lutenist and diplomat John Dowland (1563-1626) is known for his melancholy lute songs and consort music. “Flow My Tears”, first published in 1600, begins with The “falling tear motif” (a,g,f,e) which forms the basis for Dowland’s “Lachrimae” (Tears) pieces, many arrangements of which exist. Hadar, whose background includes theatre, captured the tragic character of the song, exercising fine vocal control. In Dowland’s much performed “Frog Galliard”, from his “First Booke of Songes or Ayres”, we heard each verse played with different instrumentation: Yizhar Karshon played the first on harpsichord, the second was heard on plucked instruments spiced with a hint of percussion; and in the third, the melody was played on the violin and highly ornamented. “Fine Knacks for Ladies” is a madrigal in the form of a street-seller’s song. The text, written by Dowland himself, speaks of human characteristics and the worth of worldly things. Here, Barrocade’s alternating of vocal and instrumental stanzas was effective. The verbal text is complex, challenging and full of allusions, no easy task for any singer.
Venetian priest, violinist and composer Antonio Vivaldi (1678-1741) was one of many composers to write variations on the melody and chord progression of “La Folia” (The Folly). This piece, boasting some sixteen variations, is a fine vehicle for displaying Barrocade’s many instrumental textures, combinations and moods. Each small variation presented new interest as well as virtuosic performance.
Italian composer and priest, Claudio Monteverdi (1567-1643) composed his declamatory “Si dolce e il tormento” (So Sweet is the Torment) in 1624. The ensemble’s delicate playing was interestingly contrasted by Hadar’s dramatic reading of the madrigal. Italian Girolamo Frescobaldi (1583-1643) was one of the most important composers of keyboard music of the late Renaissance and early Baroque periods. Here we heard his secular song “Se l’aura spira”. The ensemble serenaded and “commented” on the vocal line as well as introducing each verse.
‘When the graceful breeze blows,
The fresh rose laughs
And the shady hedge of emerald green
Has no fear of the summer heat.’
With a genuine blend of Baroque and folk motifs, we heard the Presto movement from G.P.Telemann’s (1681-1676) Concerto for Flute and Recorder in e minor. This movement has many features of folk music and dances, with strident accents, whirling figures, long sustained notes, bagpipe-type drones and gypsy trills…certainly not your typical Baroque movement. The audience enjoyed the joy and energy inspired by Katya Polin (recorder) and Boaz Berney (Baroque flute.)
Of a totally different style, two traditional Ladino songs were performed: the Turkish version of “Alta alta es la luna” (High is the Moon) and “En la mar ay una torre” (In the Sea There is a Tower), a folk song originating in Spain. In the former, we heard talented young oud player Alon Portal in the solo. A drum transition from the first song to the next was effective. The ensemble was now an oriental orchestra, playing delicately in unison, oud and singer also in unison. Keren Hadar was convincing and showed familiarity with this medium. Also on the program was the anonymous Spanish song “Rodrigo Martines”. The viol introduced the song with a fifth drone, to be joined by the ensemble, with castanets adding Spanish fire. This simple rhythmic melody sung in strident, folksy manner by Hadar, is, itself, within the range of a fifth.
The program included two English folk songs. To a drone reminiscent of bagpipes, Hadar sang the much-loved Somerset folk song “Oh No John”, of which there are two versions, both slightly risqué, both entertaining. “Are You Going to Scarborough Fair?” is a song dating back to medieval times. It would have been sung by bards who went from town to town, with many versions emerging in time. The man singing has been jilted by his lover and assigns her all sorts of impossible tasks in order to explain to her that love sometimes requires doing things that seem unreasonable. Beautifully arranged, it began with a flute solo, played by Kimberly Reine, then a verse of singing, a recorder solo, and so on. Hadar’s performance of these folk songs was poignant. Unusual percussion instruments lent color to the texture.
The evening ended with a wild and joyful instrumental version of “Golden Brown”, a song about heroin and a girl, by the English rock band, “The Stranglers”. Boaz Berney playing a Jew’s harp gave the piece a whimsical twist.
This was certainly a concert with a difference and it worked well. Barrocade has a vivid palette of colors and excellent players. Unfortunately, there is no room here to mention the merits of all instrumentalists, all of whom are hand picked – however, I do wish to mention percussionist Shiko Sinai whose contribution to the evening was both outstanding and tasteful; Katya Polin was impressive on both recorder and viola. Baroque violinist Shlomit Sivan’s playing was excellent, as was that of those playing plucked instruments. Keren Hadar is a versatile and daring musician with a generous, highly colored voice; she performs a very wide range of vocal styles. For Renaissance and Baroque music, perhaps using less vibrato would be in order. Kudos to Amit Tiefenbrunn for his many superb and interesting arrangements.
Barrocade’s 2008-2009 season will be dedicated to “musical journeys’, from a visit to Bach’s home, to the mysteries of Greek mythology, from vibrant Naples to the Jewish communities of Renaissance Venice and Mantua.
“Folk Baroque”
Barrocade
Amit Tiefenbrunn-musical director, viola da gamba
Keren Hadar-soprano
Shlomit Sivan-Baroque violin
Kimberly Reine, Boaz Berney- Baroque flutes
Katya Polin-viola, recorder
Shai Pecker-double bass
Jacob Reuven-mandolin
Michael Ely-Baroque guitar
Eitan Hoffer-lute, theorbo
Yizhar Karshon-harpsichord
Shiko Sinai-percussion
Alon Portal-oud
The Jerusalem Music Centre
June 18, 2008
Oboist and composer Andre Philidor (c.1647-1730) compiled a collection of French court music from the reign of Henri III to the end of the 17th century. Introduced by the drum, we heard four of these court dances - each differently orchestrated. In the lilting “La Spanioletta” we heard Michael Ely playing a solo on Baroque guitar against plucked instruments and harpsichord. Baroque flautist and instrument builder Boaz Berney took over the solo, adding elegant embellishments. This was followed by an energetic and colorful Bourree.
Henry Purcell (1659-1695) dedicated his “Come ye Sons of Art, away” to Queen Mary in 1694. The text, probably by Nahum Tate, is full of references to music and musical instruments. “Strike the Viol” was sung by soprano Keren Hadar, firstly against the minimal accompaniment of a single tambourine and double bass, moving into fuller orchestration. Somehow the rhythm adopted a jazzy flavor, and, with the smoothest of transitions, there we were suddenly tapping our feet to Paul Desmond’s (1924-1977) “Take Five”, with Tiefenbrunn improvising on the electric guitar and Hadar joining in the melody.
English composer, singer lutenist and diplomat John Dowland (1563-1626) is known for his melancholy lute songs and consort music. “Flow My Tears”, first published in 1600, begins with The “falling tear motif” (a,g,f,e) which forms the basis for Dowland’s “Lachrimae” (Tears) pieces, many arrangements of which exist. Hadar, whose background includes theatre, captured the tragic character of the song, exercising fine vocal control. In Dowland’s much performed “Frog Galliard”, from his “First Booke of Songes or Ayres”, we heard each verse played with different instrumentation: Yizhar Karshon played the first on harpsichord, the second was heard on plucked instruments spiced with a hint of percussion; and in the third, the melody was played on the violin and highly ornamented. “Fine Knacks for Ladies” is a madrigal in the form of a street-seller’s song. The text, written by Dowland himself, speaks of human characteristics and the worth of worldly things. Here, Barrocade’s alternating of vocal and instrumental stanzas was effective. The verbal text is complex, challenging and full of allusions, no easy task for any singer.
Venetian priest, violinist and composer Antonio Vivaldi (1678-1741) was one of many composers to write variations on the melody and chord progression of “La Folia” (The Folly). This piece, boasting some sixteen variations, is a fine vehicle for displaying Barrocade’s many instrumental textures, combinations and moods. Each small variation presented new interest as well as virtuosic performance.
Italian composer and priest, Claudio Monteverdi (1567-1643) composed his declamatory “Si dolce e il tormento” (So Sweet is the Torment) in 1624. The ensemble’s delicate playing was interestingly contrasted by Hadar’s dramatic reading of the madrigal. Italian Girolamo Frescobaldi (1583-1643) was one of the most important composers of keyboard music of the late Renaissance and early Baroque periods. Here we heard his secular song “Se l’aura spira”. The ensemble serenaded and “commented” on the vocal line as well as introducing each verse.
‘When the graceful breeze blows,
The fresh rose laughs
And the shady hedge of emerald green
Has no fear of the summer heat.’
With a genuine blend of Baroque and folk motifs, we heard the Presto movement from G.P.Telemann’s (1681-1676) Concerto for Flute and Recorder in e minor. This movement has many features of folk music and dances, with strident accents, whirling figures, long sustained notes, bagpipe-type drones and gypsy trills…certainly not your typical Baroque movement. The audience enjoyed the joy and energy inspired by Katya Polin (recorder) and Boaz Berney (Baroque flute.)
Of a totally different style, two traditional Ladino songs were performed: the Turkish version of “Alta alta es la luna” (High is the Moon) and “En la mar ay una torre” (In the Sea There is a Tower), a folk song originating in Spain. In the former, we heard talented young oud player Alon Portal in the solo. A drum transition from the first song to the next was effective. The ensemble was now an oriental orchestra, playing delicately in unison, oud and singer also in unison. Keren Hadar was convincing and showed familiarity with this medium. Also on the program was the anonymous Spanish song “Rodrigo Martines”. The viol introduced the song with a fifth drone, to be joined by the ensemble, with castanets adding Spanish fire. This simple rhythmic melody sung in strident, folksy manner by Hadar, is, itself, within the range of a fifth.
The program included two English folk songs. To a drone reminiscent of bagpipes, Hadar sang the much-loved Somerset folk song “Oh No John”, of which there are two versions, both slightly risqué, both entertaining. “Are You Going to Scarborough Fair?” is a song dating back to medieval times. It would have been sung by bards who went from town to town, with many versions emerging in time. The man singing has been jilted by his lover and assigns her all sorts of impossible tasks in order to explain to her that love sometimes requires doing things that seem unreasonable. Beautifully arranged, it began with a flute solo, played by Kimberly Reine, then a verse of singing, a recorder solo, and so on. Hadar’s performance of these folk songs was poignant. Unusual percussion instruments lent color to the texture.
The evening ended with a wild and joyful instrumental version of “Golden Brown”, a song about heroin and a girl, by the English rock band, “The Stranglers”. Boaz Berney playing a Jew’s harp gave the piece a whimsical twist.
This was certainly a concert with a difference and it worked well. Barrocade has a vivid palette of colors and excellent players. Unfortunately, there is no room here to mention the merits of all instrumentalists, all of whom are hand picked – however, I do wish to mention percussionist Shiko Sinai whose contribution to the evening was both outstanding and tasteful; Katya Polin was impressive on both recorder and viola. Baroque violinist Shlomit Sivan’s playing was excellent, as was that of those playing plucked instruments. Keren Hadar is a versatile and daring musician with a generous, highly colored voice; she performs a very wide range of vocal styles. For Renaissance and Baroque music, perhaps using less vibrato would be in order. Kudos to Amit Tiefenbrunn for his many superb and interesting arrangements.
Barrocade’s 2008-2009 season will be dedicated to “musical journeys’, from a visit to Bach’s home, to the mysteries of Greek mythology, from vibrant Naples to the Jewish communities of Renaissance Venice and Mantua.
“Folk Baroque”
Barrocade
Amit Tiefenbrunn-musical director, viola da gamba
Keren Hadar-soprano
Shlomit Sivan-Baroque violin
Kimberly Reine, Boaz Berney- Baroque flutes
Katya Polin-viola, recorder
Shai Pecker-double bass
Jacob Reuven-mandolin
Michael Ely-Baroque guitar
Eitan Hoffer-lute, theorbo
Yizhar Karshon-harpsichord
Shiko Sinai-percussion
Alon Portal-oud
The Jerusalem Music Centre
June 18, 2008
Saturday, June 21, 2008
Summer Evening Concert at Christ Church,Jaffa Gate Jerusalem
The Bel Canto Choir, one branch of the Jerusalem Oratorio Choir, conducted by Noa Burstein, held its Summer Evening Concert at Christ Church in the Old City of Jerusalem. The Gothic-style church provided an attractive and atmospheric venue and was packed to capacity.
The concert opened with Italian, Jewish composer Salamone Rossi’s (c.1570-c.1630) setting of “On the Banks of the Babylon” (Psalm 137). Published in 1623 in a collection of Psalms and motets with all Hebrew texts, this a cappella work depicts the anguish of exiled Jews and their longing for Jerusalem. In a rich, mellow blend of voices, the choir captured the personal expression of the work. Estonian composer, Urmas Sisask (b.1960) is known mainly for his choral works. The clean melodic lines of his “Dona Nobis Pacem” reflect his interest in Gregorian chant. Imitative and characterized by parallel-moving fourths, it was performed with accuracy. Of the Franco-Flemish school, Orlando di Lasso (c.1532-1594) composed his homophonic madrigal “Matona Mia Cara” to the rather vulgar words of a German soldier singing to a woman in his German-accented Italian. The choir performed it with elegance, enjoying its lush harmonies; the bell-like effects of the refrain were no less than delightful. After G.G.Gastoldi’s (c.1550-1662) lilting madrigal “Il Bell’Umorre” (In Merry Mood) we then heard Alessandro Scarlatti’s (1660-1725) sacred a cappella piece “Exultate Deo” (Rejoice to God), (Psalm 61). I found the choir’s intonation excellent but there was a tendency to over-accent each beat rather than create phrases. The first part of the concert ended with Joseph Rheinberger’s (1839-1901) “Stabat Mater”. Composed in 1890 for mixed choir, organ and optional string orchestra (we heard it with string quartet), it is an intense work of spiritual conviction. The choir performed it expressively, contrasting moments of velvety compassion with jagged, intense fiery sections. I asked myself whether choir members understood the verbal text well enough. This was followed by F.Schubert’s (1797-1828) “Stabat Mater” in g minor, D.175 (1815), scored for choir and orchestra. Here it was accompanied by ‘cello, two flutes and piano.
There were two Israeli works on the program. Yehezkel Braun (b.1922) arranged the Sephardic romance “Molinero” (The Miller) in 1980. Sung in Ladino, it is an uncluttered setting and the choir captured the style well. The lyrics to “Tirza Yaffa” (Pretty Linden) were written by Ch.N.Bialik, the music by N.Cohen-Havron. This lovely arrangement for choir and piano was performed with the freshness and fragrance of Nature depicted in the text.
Argentinian composer and virtuoso bandoneon (a large button accordion) player, Astor Piazzolla (1921-1992) blends traditional, earthy and folk elements into richly colored works. His “Chiquilin de Bachin”, to words by Horacio Ferrer, for choir, piano and solo alto, is melodic and sentimental. Choir member, Susana Huler, familiar with the language and genre, sang the solo.
‘Evenings with his face all dirty,
Like an angel in blue jeans,
He sells roses at the tables
In the diner of Bachin’s:
If the moon is shining
On the oven lining,
He eats moonlight and burnt beans (Translation: Coby Lubliner.)
British composer and arranger, Bob Chilcott (b. 1955) uses highly effective and uncomplicated choral devices to produce music that is attractive and appealing. In a relaxed and flowing arrangement of Lennon and McCartney’s “Yesterday”, Burstein and the choir delighted the audience. Soprano Aviva Barazani wove her solo into the choral texture with charm, technical ease and color, her high range ringing out silvery and rich.
Bel Canto’s repertoire includes Afro-American spirituals. The choir was joined by guest soloist, Yael Tai, whose large, full-colored voice filled the church and she dazzled the audience with her competent, emotional and authentic performance. The evening ended with the joyful spiritual “Every Time I Feel the Spirit” sung a cappella, with choir member Dov Faust singing a lovely bass solo.
Noa Burstein has chosen some fine singers for the Bel Canto choir. As a result of the thorough vocal and musical training for which she is known, she produces a beautiful choral blend in performance that is accurate, expressive, in-depth and well-tuned. Burstein’s choice of repertoire is challenging and varied, offering both singers and audience a taste of the wide range of choral music. Pianist Tanya Schupak accompanies sensitively and with taste. Bel Canto’s performance would benefit from more work on diction.
Bel Canto Choir of the Jerusalem Oratorio
Conductor-Noa Burstein
Tanya Schupik-piano, organ
Yael Tai-guest soprano
Aviva Barazani-soprano
Susana Huler-alto
Dov Faust-bass
Nava Schwarzwald, Tamar Kornhendler-flutes
Ariella Zeitlin, Sofia Korsanova-violins
Anna Shapiro-viola
Gilad Arnon—‘cello
Christ Church, Jaffa Gate, Jerusalem
Wednesday June 11, 2008.
The concert opened with Italian, Jewish composer Salamone Rossi’s (c.1570-c.1630) setting of “On the Banks of the Babylon” (Psalm 137). Published in 1623 in a collection of Psalms and motets with all Hebrew texts, this a cappella work depicts the anguish of exiled Jews and their longing for Jerusalem. In a rich, mellow blend of voices, the choir captured the personal expression of the work. Estonian composer, Urmas Sisask (b.1960) is known mainly for his choral works. The clean melodic lines of his “Dona Nobis Pacem” reflect his interest in Gregorian chant. Imitative and characterized by parallel-moving fourths, it was performed with accuracy. Of the Franco-Flemish school, Orlando di Lasso (c.1532-1594) composed his homophonic madrigal “Matona Mia Cara” to the rather vulgar words of a German soldier singing to a woman in his German-accented Italian. The choir performed it with elegance, enjoying its lush harmonies; the bell-like effects of the refrain were no less than delightful. After G.G.Gastoldi’s (c.1550-1662) lilting madrigal “Il Bell’Umorre” (In Merry Mood) we then heard Alessandro Scarlatti’s (1660-1725) sacred a cappella piece “Exultate Deo” (Rejoice to God), (Psalm 61). I found the choir’s intonation excellent but there was a tendency to over-accent each beat rather than create phrases. The first part of the concert ended with Joseph Rheinberger’s (1839-1901) “Stabat Mater”. Composed in 1890 for mixed choir, organ and optional string orchestra (we heard it with string quartet), it is an intense work of spiritual conviction. The choir performed it expressively, contrasting moments of velvety compassion with jagged, intense fiery sections. I asked myself whether choir members understood the verbal text well enough. This was followed by F.Schubert’s (1797-1828) “Stabat Mater” in g minor, D.175 (1815), scored for choir and orchestra. Here it was accompanied by ‘cello, two flutes and piano.
There were two Israeli works on the program. Yehezkel Braun (b.1922) arranged the Sephardic romance “Molinero” (The Miller) in 1980. Sung in Ladino, it is an uncluttered setting and the choir captured the style well. The lyrics to “Tirza Yaffa” (Pretty Linden) were written by Ch.N.Bialik, the music by N.Cohen-Havron. This lovely arrangement for choir and piano was performed with the freshness and fragrance of Nature depicted in the text.
Argentinian composer and virtuoso bandoneon (a large button accordion) player, Astor Piazzolla (1921-1992) blends traditional, earthy and folk elements into richly colored works. His “Chiquilin de Bachin”, to words by Horacio Ferrer, for choir, piano and solo alto, is melodic and sentimental. Choir member, Susana Huler, familiar with the language and genre, sang the solo.
‘Evenings with his face all dirty,
Like an angel in blue jeans,
He sells roses at the tables
In the diner of Bachin’s:
If the moon is shining
On the oven lining,
He eats moonlight and burnt beans (Translation: Coby Lubliner.)
British composer and arranger, Bob Chilcott (b. 1955) uses highly effective and uncomplicated choral devices to produce music that is attractive and appealing. In a relaxed and flowing arrangement of Lennon and McCartney’s “Yesterday”, Burstein and the choir delighted the audience. Soprano Aviva Barazani wove her solo into the choral texture with charm, technical ease and color, her high range ringing out silvery and rich.
Bel Canto’s repertoire includes Afro-American spirituals. The choir was joined by guest soloist, Yael Tai, whose large, full-colored voice filled the church and she dazzled the audience with her competent, emotional and authentic performance. The evening ended with the joyful spiritual “Every Time I Feel the Spirit” sung a cappella, with choir member Dov Faust singing a lovely bass solo.
Noa Burstein has chosen some fine singers for the Bel Canto choir. As a result of the thorough vocal and musical training for which she is known, she produces a beautiful choral blend in performance that is accurate, expressive, in-depth and well-tuned. Burstein’s choice of repertoire is challenging and varied, offering both singers and audience a taste of the wide range of choral music. Pianist Tanya Schupak accompanies sensitively and with taste. Bel Canto’s performance would benefit from more work on diction.
Bel Canto Choir of the Jerusalem Oratorio
Conductor-Noa Burstein
Tanya Schupik-piano, organ
Yael Tai-guest soprano
Aviva Barazani-soprano
Susana Huler-alto
Dov Faust-bass
Nava Schwarzwald, Tamar Kornhendler-flutes
Ariella Zeitlin, Sofia Korsanova-violins
Anna Shapiro-viola
Gilad Arnon—‘cello
Christ Church, Jaffa Gate, Jerusalem
Wednesday June 11, 2008.
Wednesday, June 18, 2008
Abu Gosh Festival,2008
The 33rd Abu Gosh Vocal Music Festival took place June 6 to June 9 2008, offering 18 concerts in the local churches plus many outdoor performances. I had the pleasure of spending a few hours at the festival Monday June 9.
The courtyard of the Crusader Church provides tranquil relief from the scorching midday heat. Shaded by old trees, it is peaceful and quiet. In one corner, a local man was selling coffee, tea, olive oil and herbs. A recording of Gregorian chant was heard in the background. The Crypt itself was intimate, dark and cool. “La Fresca Rosa Ridente”, performed by Ayala Sicron (voice), Drora Bruck (recorders) and Barry Moscovitz (theorbo), presented 16th and 17th century Italian songs of spring and love. This title, “La Fresca Rosa Ridente”, is taken from an aria by G. Frescobaldi (1583-1643) – “Se l’aura spira”:
‘When the graceful breeze blows,
The fresh rose laughs
And the shady hedge of emerald green
Has no fear of the summer heat’.
We were presented with many aspects of spring and love. The program opened with all three artists performing an anonymous 16th century piece “Era di maggio” (It Was the Month of May). In C. Monteverdi’s (1567-1643) complex “Ecco di dolce raggi” (Here the Sweet Rays of Sun) for voice and theorbo (Scherzi Misicale, 1632) we learn that spring comes along to thaw the heart. In S.Landi’s (1587-1639) “T’amai gran tempo”, (I Have Loved You for a Long Time) however, love has turned sour. The man addresses his lady, suggesting she look at birds rather than at other men. Ayala Sicron brought the text alive. She and Moscovits interacted well. In G.G. Gastoldi’s “Io foco son” (I Am as Fire) from his Balletti of 1594, we heard Sicron, Bruck (on tenor recorder) and Moscovits blending superbly in a mellow, homophonic piece that spoke of one lover being on fire, the other, ice! In Monteverdi’s “Ed e pur dunque vero”, (It is the Truth, Nevertheless) performed by all three artists, we were witness, yet again, to more suffering in love. The man (played by Sicron) has been left by Lydia (Bruck on soprano recorder). As voice and recorder reveal a miniature drama, we understand how unhappy he is, on one hand, and how exuberant Lydia is on the other. Despair has the last word. In “Menti lingua bugiarda” (Lying Tongue), Tarquinio Merula (1594-1665), whose years of employment as church organist were a series of scandals and acts of indecency, advises the lady to stop lying; she should need nobody else as he loves her. The recorder introduces the song, comments and provides charming interludes. Sicron’s performance invites the audience to be involved, her voice is creamy and she sings with vocal ease. Singer and composer, Barbara Strozzi (1619-1677) was unique in that she published her works in single-composer volumes. Most of her works were for soprano voice and continuo, suggesting they were for her to perform. In “Amor dormiglione” (Dormant Love), Sicron gives the song a lively reading; her voice glides and skips at will.
To provide respite from the trials and tribulations of love, we heard some instrumental pieces. Bruck and Moscovits performed G.P.Cima’s (1570-1622) Sonata no. 1. Scored for recorder and theorbo, Bruck brought out the Italian temperament of the piece, showing fine technique and good taste. Dario Castello (c.1590-c.1630) was a composer and cornetto player in Venice. His Sonata II, played brilliantly by Bruck on soprano recorder with Moscovits on theorbo, is inventive and technically challenging, complex and entertaining. Johannes Hieronymus Kapsberger (c.1580-1651) is mostly remembered for his works for lute and chitarrone. To the enjoyment of the audience, Barry Moscovits performed Kapsberger’s “Toccata arpeggiata” (1604) with elegance and attention to the many surprising harmonic developments, contrasts and unusual rhythmic groupings of the piece.
The Crypt was a fitting venue for “La Fresca Rosa Ridente”, performance was of a high standard, explanations were informative and the program well balanced.
Behind the Kiryat Yearim Church, in a spot that boasts the most wonderful view, there are leafy, old trees under which you can sit and listen to a relaxing, informal concert. “The Winds of Change” is a trio of orchestral players: Alexander Fine-bassoon, Dafna Yitzhaki-flute and Demetrios Karamintzas-oboe. They opened their recital with two Baroque works. Antonio Vivaldi’s (1678-1741) Concerto di Camera in g minor, performed here in its original scoring, is an attractive work in three movements. The pleasant acoustic of this venue gave each musical gesture expression. This was followed by G.P. Telemann’s (1681-1767) Sonata in c minor, also in its original scoring. In this sonata da chiesa, the audience enjoyed the contrasts between movements, the trio’s fine technique and clean tuning. J.Haydn’s London Trio no. 1 was originally written for flute, violin and ‘cello. It worked well on flute, oboe and bassoon and its Haydenesque lightness and joy came alive in the outdoors. C.P.E. Bach (1714-1788), J.S.Bach’s second son, composed only one sonata for oboe and bassoon. The piece, ending with a set of variations, delighted listeners gathered around. Young, Greek-born Karamintzas, a member of the Jerusalem Symphony Orchestra, delighted listeners with his excellent playing. Fine is known to concert audiences both as an orchestral player and as a player of Baroque oboe and bassoon. His explanations and humorous comments were enjoyed by the audience.
The “Criolla Celebration, a Concert of Festive Music for Guadalupe” was performed in the Kiryat Yearim Church to a full house. This program is a collection of pieces put together by musicologist and researcher Bernardo Illari especially for the PHOENIX Ensemble and for the Abu Gosh Festival. Music of Baroque composers, such as Spaniards Tomas de Torrejon (1644-1728) and Juan de Araujo (c.1649-1712) and Bolivian composer Roque Jacinto de Chavarria (1688-1719) is represented; in addition, there are a number of traditional pieces of that region. The celebration is that of Our Lady of Guadaloupe, a festival which took place in the city of La Plata c.1717 and which lasted for more than a week.
PHOENIX, under the musical direction of Brazilian-born researcher and viol player Dr. Myrna Herzog, performed it on period instruments - such as the shawm, dulcian, harpsichord, theorbo, Baroque guitar, recorder, viol and harpsichord – producing a delicate but highly colorful consort timbre. The choir was the excellent Shachar Choir from Rechovot under the direction of Gila Brill. Vocal soloists were Macarena Lopez-Lavin-soprano, Michal Okon-soprano, Hadas Gur-mezzo-soprano, Shlomo Blumenfeld-baritone, Noa Horev-alto, Noa Stav-alto and Boaz Brill-tenor.
The performance opened with singers and percussionists entering in procession from the back of the church, singing “Todo el mundo en general” (May the Whole World Say in Full Voice) from La Plata (1717). The ensuing work is a mosaic of solos alternating with and joined by the other soloists or by the choir, creating the impression that all there are part of the festival. This is strengthened by the fact that we hear allusions to South American folk music and dances; singers sway to the rhythms and utter shouts of joy. Religious and secular are intertwined. Melodies are cushioned in richly-colored harmonies, inviting the audience to enjoy the accessibility of this music. There were poignant moments, too. The antiphonal “Silencio pasito” (Silence Softly), referring to Mary sleeping, was naïve and delicate as was Lopes’ solo in “Maria todo es Maria” (Mary, All is Mary) sung first against the viol in a very minimal setting, then joined by the women’s section of the choir. Michal Okon gave the almost fragrant “Cefiro de las flores” (Zephyr of the Flowers) a mellifluous reading. Hadas Gur and Boaz Brill, with smaller voices, were not always heard clearly above the ensemble. Lara Morris’ two recorder solos – the Cachua (an Indian dance from Bolivia, Ecuador and Peru) and “Baile de toritos” (Dance of the Small Bulls) – were brilliant. The first was an improvisation over an ostinato, whereas the second was an intense, purely melodic piece. Versatile baritone, Shlomo Blumenfeld’s voice has a warm quality which reaches out to his audience.
This Festive Baroque concert was the right fare for a festival. The concept of religious service, folk music, dance and spontaneity existing together is refreshing. The audience found its joyousness infectious. Having the text (and its translation) in the program was important to the understanding the of the various aspects of such a celebration. Herzog’s high standards of performance, her choice of musicians and attention to detail are her own hallmark of excellence; in this program, we also sense her love and familiarity of the spirit of South American music.
The Abu Gosh Vocal Music Festival
June 9, 2008
The courtyard of the Crusader Church provides tranquil relief from the scorching midday heat. Shaded by old trees, it is peaceful and quiet. In one corner, a local man was selling coffee, tea, olive oil and herbs. A recording of Gregorian chant was heard in the background. The Crypt itself was intimate, dark and cool. “La Fresca Rosa Ridente”, performed by Ayala Sicron (voice), Drora Bruck (recorders) and Barry Moscovitz (theorbo), presented 16th and 17th century Italian songs of spring and love. This title, “La Fresca Rosa Ridente”, is taken from an aria by G. Frescobaldi (1583-1643) – “Se l’aura spira”:
‘When the graceful breeze blows,
The fresh rose laughs
And the shady hedge of emerald green
Has no fear of the summer heat’.
We were presented with many aspects of spring and love. The program opened with all three artists performing an anonymous 16th century piece “Era di maggio” (It Was the Month of May). In C. Monteverdi’s (1567-1643) complex “Ecco di dolce raggi” (Here the Sweet Rays of Sun) for voice and theorbo (Scherzi Misicale, 1632) we learn that spring comes along to thaw the heart. In S.Landi’s (1587-1639) “T’amai gran tempo”, (I Have Loved You for a Long Time) however, love has turned sour. The man addresses his lady, suggesting she look at birds rather than at other men. Ayala Sicron brought the text alive. She and Moscovits interacted well. In G.G. Gastoldi’s “Io foco son” (I Am as Fire) from his Balletti of 1594, we heard Sicron, Bruck (on tenor recorder) and Moscovits blending superbly in a mellow, homophonic piece that spoke of one lover being on fire, the other, ice! In Monteverdi’s “Ed e pur dunque vero”, (It is the Truth, Nevertheless) performed by all three artists, we were witness, yet again, to more suffering in love. The man (played by Sicron) has been left by Lydia (Bruck on soprano recorder). As voice and recorder reveal a miniature drama, we understand how unhappy he is, on one hand, and how exuberant Lydia is on the other. Despair has the last word. In “Menti lingua bugiarda” (Lying Tongue), Tarquinio Merula (1594-1665), whose years of employment as church organist were a series of scandals and acts of indecency, advises the lady to stop lying; she should need nobody else as he loves her. The recorder introduces the song, comments and provides charming interludes. Sicron’s performance invites the audience to be involved, her voice is creamy and she sings with vocal ease. Singer and composer, Barbara Strozzi (1619-1677) was unique in that she published her works in single-composer volumes. Most of her works were for soprano voice and continuo, suggesting they were for her to perform. In “Amor dormiglione” (Dormant Love), Sicron gives the song a lively reading; her voice glides and skips at will.
To provide respite from the trials and tribulations of love, we heard some instrumental pieces. Bruck and Moscovits performed G.P.Cima’s (1570-1622) Sonata no. 1. Scored for recorder and theorbo, Bruck brought out the Italian temperament of the piece, showing fine technique and good taste. Dario Castello (c.1590-c.1630) was a composer and cornetto player in Venice. His Sonata II, played brilliantly by Bruck on soprano recorder with Moscovits on theorbo, is inventive and technically challenging, complex and entertaining. Johannes Hieronymus Kapsberger (c.1580-1651) is mostly remembered for his works for lute and chitarrone. To the enjoyment of the audience, Barry Moscovits performed Kapsberger’s “Toccata arpeggiata” (1604) with elegance and attention to the many surprising harmonic developments, contrasts and unusual rhythmic groupings of the piece.
The Crypt was a fitting venue for “La Fresca Rosa Ridente”, performance was of a high standard, explanations were informative and the program well balanced.
Behind the Kiryat Yearim Church, in a spot that boasts the most wonderful view, there are leafy, old trees under which you can sit and listen to a relaxing, informal concert. “The Winds of Change” is a trio of orchestral players: Alexander Fine-bassoon, Dafna Yitzhaki-flute and Demetrios Karamintzas-oboe. They opened their recital with two Baroque works. Antonio Vivaldi’s (1678-1741) Concerto di Camera in g minor, performed here in its original scoring, is an attractive work in three movements. The pleasant acoustic of this venue gave each musical gesture expression. This was followed by G.P. Telemann’s (1681-1767) Sonata in c minor, also in its original scoring. In this sonata da chiesa, the audience enjoyed the contrasts between movements, the trio’s fine technique and clean tuning. J.Haydn’s London Trio no. 1 was originally written for flute, violin and ‘cello. It worked well on flute, oboe and bassoon and its Haydenesque lightness and joy came alive in the outdoors. C.P.E. Bach (1714-1788), J.S.Bach’s second son, composed only one sonata for oboe and bassoon. The piece, ending with a set of variations, delighted listeners gathered around. Young, Greek-born Karamintzas, a member of the Jerusalem Symphony Orchestra, delighted listeners with his excellent playing. Fine is known to concert audiences both as an orchestral player and as a player of Baroque oboe and bassoon. His explanations and humorous comments were enjoyed by the audience.
The “Criolla Celebration, a Concert of Festive Music for Guadalupe” was performed in the Kiryat Yearim Church to a full house. This program is a collection of pieces put together by musicologist and researcher Bernardo Illari especially for the PHOENIX Ensemble and for the Abu Gosh Festival. Music of Baroque composers, such as Spaniards Tomas de Torrejon (1644-1728) and Juan de Araujo (c.1649-1712) and Bolivian composer Roque Jacinto de Chavarria (1688-1719) is represented; in addition, there are a number of traditional pieces of that region. The celebration is that of Our Lady of Guadaloupe, a festival which took place in the city of La Plata c.1717 and which lasted for more than a week.
PHOENIX, under the musical direction of Brazilian-born researcher and viol player Dr. Myrna Herzog, performed it on period instruments - such as the shawm, dulcian, harpsichord, theorbo, Baroque guitar, recorder, viol and harpsichord – producing a delicate but highly colorful consort timbre. The choir was the excellent Shachar Choir from Rechovot under the direction of Gila Brill. Vocal soloists were Macarena Lopez-Lavin-soprano, Michal Okon-soprano, Hadas Gur-mezzo-soprano, Shlomo Blumenfeld-baritone, Noa Horev-alto, Noa Stav-alto and Boaz Brill-tenor.
The performance opened with singers and percussionists entering in procession from the back of the church, singing “Todo el mundo en general” (May the Whole World Say in Full Voice) from La Plata (1717). The ensuing work is a mosaic of solos alternating with and joined by the other soloists or by the choir, creating the impression that all there are part of the festival. This is strengthened by the fact that we hear allusions to South American folk music and dances; singers sway to the rhythms and utter shouts of joy. Religious and secular are intertwined. Melodies are cushioned in richly-colored harmonies, inviting the audience to enjoy the accessibility of this music. There were poignant moments, too. The antiphonal “Silencio pasito” (Silence Softly), referring to Mary sleeping, was naïve and delicate as was Lopes’ solo in “Maria todo es Maria” (Mary, All is Mary) sung first against the viol in a very minimal setting, then joined by the women’s section of the choir. Michal Okon gave the almost fragrant “Cefiro de las flores” (Zephyr of the Flowers) a mellifluous reading. Hadas Gur and Boaz Brill, with smaller voices, were not always heard clearly above the ensemble. Lara Morris’ two recorder solos – the Cachua (an Indian dance from Bolivia, Ecuador and Peru) and “Baile de toritos” (Dance of the Small Bulls) – were brilliant. The first was an improvisation over an ostinato, whereas the second was an intense, purely melodic piece. Versatile baritone, Shlomo Blumenfeld’s voice has a warm quality which reaches out to his audience.
This Festive Baroque concert was the right fare for a festival. The concept of religious service, folk music, dance and spontaneity existing together is refreshing. The audience found its joyousness infectious. Having the text (and its translation) in the program was important to the understanding the of the various aspects of such a celebration. Herzog’s high standards of performance, her choice of musicians and attention to detail are her own hallmark of excellence; in this program, we also sense her love and familiarity of the spirit of South American music.
The Abu Gosh Vocal Music Festival
June 9, 2008
Monday, June 16, 2008
Authentic performance of street music from southern Italy
“Via Toledo”, performed by the “Accordone” Ensemble from Italy, was surely a highlight of the 2008 Israel Festival. Founded in 1984, with the aim of researching and performing Italian music from the Renaissance to the beginning of the 18th century, the group combines both musical and dramatic elements in authentic performance. This concert focused on the music of southern Italy – tarantellas, love songs, songs with religious content, laments and dances. In order to put the program together, members of the ensemble went from village to village collecting material and recording older people in songs that have been oral tradition for hundreds of years. The south of Italy, with its temperate climate, has always been the natural meeting place of people from Mediterranean countries – Greeks, Romans, Arabs, Normans Spaniards and French people – and the various traditions of these people have left their mark on the music of the region.
The concert began with actor and singer Pino de Vittorio singing unaccompanied. His voice is natural and strong and, between stanzas, he takes a few dance steps. We may have been sitting in a concert hall, but, in effect, we were in the streets of Italy. De Vittorio is a real showman – his singing is full of pathos; with underlying humor he croons love songs and convinces the audience of his devotion and suffering. “Na via di rose”, a traditional song from Basilicata, is a lilting love-song. The singer was accompanied by plucked instruments and a drum.
‘In the middle of the road
There is a path of roses,
I picked one and it pricked my hand.
In the middle of the road
I must make a bridge
Of precious stones, rubies and diamonds,
Not even the Saints must cross it,
But only my beloved lady for a moment
And only my beloved, in one moment
Closes the door, because the wind comes in.’
There were a number of tarantellas in the program. This dance was associated with the tarantula whose poison was said to cause convulsions, hallucinations and madness. Actually, it turns out that the spider’s bite was not poisonous but the energy of the tarantella itself inspired movement and dance that were considered therapeutic. In a group of three tarantellas with texts so very Italian, and inspired by the Neapolitan tradition, singer Marco Beasley, who edits texts sung by the group, was accompanied by plucked instruments and organ as well as frame drum and castanets.
Beasley’s tenor voice is silken and he has fine stage presence. In the unaccompanied “Pigliate l’alma mia” (Take My Soul), music by Severino Corneti (1530-1582), he used rests as a dramatic effect in a moving performance. On a very different note, “Sona Carmagnola” (At the Sound of the Bass Drum), this song of the troops of Cardinal Ruffo of Calabria (1799) tells of war and rebellion. It was introduced by plucked instruments and drum; Beasley sang the verses and the ensemble joined in, singing the refrain.
Instrumental accompaniments were delicate, authentic and tasteful. Maure Durante played a virtuosic solo on the frame drum, an unsophisticated instrument that had reached Europe through Islamic culture. Durante amazed the audience with a dazzling variety of effects, pitches and timbres.
Accordone’s performance was interesting and refreshing, dynamic and joyful. Singers and instrumentalists, under the musical direction of Guido Morini, were first class. The audience was delighted and Accordone, in true Italian spirit, obliged with four encores.
Accordone (Italy)
“Via Toledo”
Guido Morini-organ, harpsichord, musical direction
Marco Beasley-voice
Pino de Vittorio-voice, battente guitar
Stefano Rocco-lute, Baroque guitar
Fabio Accurso-lute
Franco Pavan-theorbo
Mauro Durante-frame drum, violin
The Henry Crown Symphony Hall, Jerusalem Centre for the Performing Arts
June 7, 2008
The concert began with actor and singer Pino de Vittorio singing unaccompanied. His voice is natural and strong and, between stanzas, he takes a few dance steps. We may have been sitting in a concert hall, but, in effect, we were in the streets of Italy. De Vittorio is a real showman – his singing is full of pathos; with underlying humor he croons love songs and convinces the audience of his devotion and suffering. “Na via di rose”, a traditional song from Basilicata, is a lilting love-song. The singer was accompanied by plucked instruments and a drum.
‘In the middle of the road
There is a path of roses,
I picked one and it pricked my hand.
In the middle of the road
I must make a bridge
Of precious stones, rubies and diamonds,
Not even the Saints must cross it,
But only my beloved lady for a moment
And only my beloved, in one moment
Closes the door, because the wind comes in.’
There were a number of tarantellas in the program. This dance was associated with the tarantula whose poison was said to cause convulsions, hallucinations and madness. Actually, it turns out that the spider’s bite was not poisonous but the energy of the tarantella itself inspired movement and dance that were considered therapeutic. In a group of three tarantellas with texts so very Italian, and inspired by the Neapolitan tradition, singer Marco Beasley, who edits texts sung by the group, was accompanied by plucked instruments and organ as well as frame drum and castanets.
Beasley’s tenor voice is silken and he has fine stage presence. In the unaccompanied “Pigliate l’alma mia” (Take My Soul), music by Severino Corneti (1530-1582), he used rests as a dramatic effect in a moving performance. On a very different note, “Sona Carmagnola” (At the Sound of the Bass Drum), this song of the troops of Cardinal Ruffo of Calabria (1799) tells of war and rebellion. It was introduced by plucked instruments and drum; Beasley sang the verses and the ensemble joined in, singing the refrain.
Instrumental accompaniments were delicate, authentic and tasteful. Maure Durante played a virtuosic solo on the frame drum, an unsophisticated instrument that had reached Europe through Islamic culture. Durante amazed the audience with a dazzling variety of effects, pitches and timbres.
Accordone’s performance was interesting and refreshing, dynamic and joyful. Singers and instrumentalists, under the musical direction of Guido Morini, were first class. The audience was delighted and Accordone, in true Italian spirit, obliged with four encores.
Accordone (Italy)
“Via Toledo”
Guido Morini-organ, harpsichord, musical direction
Marco Beasley-voice
Pino de Vittorio-voice, battente guitar
Stefano Rocco-lute, Baroque guitar
Fabio Accurso-lute
Franco Pavan-theorbo
Mauro Durante-frame drum, violin
The Henry Crown Symphony Hall, Jerusalem Centre for the Performing Arts
June 7, 2008
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