The Jerusalem Baroque Orchestra is currently celebrating twenty years of musical performance. The orchestra was founded by conductor, researcher, teacher and harpsichordist Dr David Shemer, who has been its musical director since its establishment. Shemer places emphasis on authentic performance and on the use of period instruments. The first concert of the JBO’s 2008-2009 concert season was a “Tour of Baroque Europe” and was led by British violinist, Margaret Faultless. A leader of the Orchestra of the Age of Enlightenment and other ensembles, Faultless teaches and performs widely, being dedicated to historical performance of Baroque music.
Italian virtuoso violinist, teacher and composer, Arcangello Corelli (1653-1713), certainly took the “tour of Baroque Europe”, was quick in making a reputation for himself in Europe, had his first success in Paris at age 19, possibly traveled to Spain, went into the service of the electoral Prince of Bavaria in 1681, was in Rome in 1685, was in Modena from 1689 to 1690, later returning to Rome. His 12 Concerti Grossi, opus 6, some of the finest examples of the Baroque-style concerto grosso, were heard in Rome as early as 1682, but were only published in 1714. In them, he established a fixed concertino string trio of two violins and ‘cello. Corelli’s Concerto Grosso opus 6 no.4 opened the evening’s program. A sonata da chiesa, it begins with a short adagio movement. The audience enjoyed Faultless’ refreshing energetic approach to string playing. In the Adagio, we were lured into the magic of changing harmonies. The concertino section consisted of Faultless and Noam Schuss (violins) and Katharine Abrahams (‘cello).
Pietro Antonio Locatelli (1695-1764), a child prodigy on the violin, was sent to Rome to study under Corelli. He traveled and performed widely, receiving rapturous acclaim for his playing. Not wishing to spend his life as a court musician, he settled in Amsterdam, absenting himself from the local concert scene and refusing to accept students; he worked there as an Italian music master, unfettered by court or church and where he was offered ample opportunities to publish his works. His Violin Concerto “Il Pianto d’Arianna” Opus 7, published 1741, is, in fact, an instrumental cantata, in which the role of Arianna is “sung” by solo violin and the orchestra takes on the function of the chorus of a Greek tragedy. Referred to it by Faultless in her introduction as a “tone poem”, this work, of the “introduttione teatrale” (theatrical introductions) genre, is proof of the compositional freedom Locatelli enjoyed. It includes recitative and arioso-like textures, taking the listener through tempo- and mood changes, reflecting Ariadne’s shifts in emotion. Faultless plays out the drama, its hope and despair; she has stepped into Ariadne’s shoes, leaving the audience moved and convinced that there was no need for any verbal text.
Antonio Vivaldi (1678-1741) received training as a priest but also in violin and harpsichord. His first official post was as the “maestro di violino” at the Pio Ospidale della Pieta, a girls’ orphanage in Venice providing intensive musical training to girls with aptitude. Known as “il preto rosso” (the red-headed priest) he was vain and bad-tempered but his temperament, extroverted personality and energy were the forces behind the distinctive style of his oeuvre. “L’Estro Armonico” (Harmonic Inspiration or Harmonic Whim) was issued as a set of 12 concertos in 1711 and made Vivaldi’s reputation in Europe. Both embellishment of solo parts and realization of the continuo are challenging aspects of these works. On this subject, German flautist, flute-maker and composer J.J.Quantz wrote “One ought to avoid varying the lyrical ideas of which one does not easily tire, and, likewise, the brilliant passages which have a sufficiently pleasing melody themselves”. Of the set, it was the 11th concerto that generated the most comment and imitation. Joining Faultless in the Concerto for 2 violins from L’Estro Armonico, opus 3 no.11, was Noam Schuss, the JBO’s concertmaster. Schuss, a Baroque specialist and soloist teaches, conducts, plays in the Tel Aviv Soloists’ Orchestra and is first violinist in the Galathea String Quartet. Baroque ‘cellist and recorder-player Katharine Abrahams has performed in Israel and Europe in performances ranging from solo recitals to theatre productions, chamber music to orchestral concerts and with the “Mediva” Early Music Ensemble. The Vivaldi concerto opened with intensive interaction between both solo violinists. In the masterfully written fugue, soloists and orchestra brought out the profile of shapes and textures, articulately guiding the listener through the fugual maze.
The next two works in the program were inspired by Shakespeare plays. Henry Purcell’s (1659-1695) Suite from the Fairy Queen, composed in 1692, one of his last works, is a Restoration masque, or semi-opera, loosely based on Shakespeare’s “A Midsummer Night’s Dream” and was probably composed for William and Mary’s 15th wedding anniversary. Purcell provided incidental music for more than 40 plays. The suite begins with a Prelude-Hornpipe and an Air-Rondeau, which would have been played as people in the audience were taking their seats. The other pieces include some of the many dances from the masque. Opening with a forthright, accented and nuanced reading of the Prelude, the Hornpipe was colored with contrasted gestures. Following the humble Air, we heard Katharine Abrahams now on recorder in the melodic Rondeau, swayed gently in the inegalstyle of Baroque playing. The Jig was joyful, with percussion here giving it energy and abandon. In the Chaconne: Dance for Chinese Man or Woman we enjoyed the variety of color offered by changing instrumentation from section to section. Altogether, Faultless constantly reminds us that we have come to be entertained, and entertained we were!
Matthew Locke (1621-1677) flourished when Charles II returned from exile to the English throne in 1660, scoring the processional march for his coronation in 1661. It seems Locke was in exile with the royalists, possibly in the Netherlands, returning to England in 1651, by which time he was already a composer of repute, being one of the first English composers to write music for the stage. In 1661, he was appointed composer to the king’s private band at forty pounds a year. He and Henry Purcell were friends; Purcell learned much from him, eventually succeeding him as Composer in Ordinary to the king. The JBO performed Locke’s Suite from the incidental music to “The Tempest” to the text by Thomas Shadwell (c.1642-1692), an English playwright whose drama “The Tempest” also known as “The Enchanted Island” was published and first performed in 1674. Introduced by Faultless, who talked about the play’s amazing sets and effects, we heard pieces from the incidental music. The Saraband was highly melodic, embellished by hemiolas and ornaments. The remarkable final Curtain Tune, with its extended crescendo and accelerando, followed by a long diminuendo and rallentando, was drama itself.
Italian violinist virtuoso and composer Francesco Geminiani (1687-1762) studied with Corelli and A.Scarlatti and made his living teaching- and writing music and also collecting art. He arrived in England in 1716, becoming hugely popular, his greatest commercial success being his concerto grosso arrangements of Corelli’s 12 violin sonatas, which appeared in 1726. Geminiani’s imaginative arrangement for string orchestra of the famous La Folia Variations of his Concerto Grosso no 2 is surely a tour-de-force, going far beyond being just an arrangement. With Faultless, Schuss and Abrahams constituting the concertino section, the audience was swept off its feet by the constantly changing scene of instrumentation, boldness of sound and strictly held tempi set off by superb solos, rich, smooth, transparent string-playing and a gamut of emotions. With Geminiani’s La Folia Variations after Corelli’s Violin Sonata opus 5 no. 12, the program had come the full circle.
The Jerusalem Baroque Orchestra’s 2008-2009 got off to a brilliant start. Margaret Faultless’ inspirational leading and interpretation made for an evening of exciting music, the program itself being full of interest. There was magic in the air. The JBO’s printed program has undergone a face-lift, looks attractive and now appears in both Hebrew and English but is somewhat less detailed than the highly informative programs written by Shemer in previous years.
“Tour of Baroque Europe”
The Jerusalem Baroque Orchestra in cooperation with the Jerusalem Music Centre and the Early Music Workshop
David Shemer-musical director
Margaret Faultless-conductor and violin
Noam Schuss-violin
Katharine Abrahams-‘cello
The Mary Nathaniel Golden Hall of Friendship
The Jerusalem YMCA
November 16, 2008
Saturday, November 29, 2008
Monday, November 17, 2008
Anna Magdalena Bach, At Home With Bach
The Barrocade Ensemble opened its second season with a concert of music by J.S.Bach (1685-1750) as well as composers whose works were copied into the Anna Magdalena Bach Notebooks, calling it “Anna Magdalena Bach. At Home with Bach”. The concert was dedicated to the memory of American-born oboist Matthew Peaceman (1956-2008), known for his interest in early- and modern oboe music and, particularly, in Jewish music
The Brandenburg Concertos are a highlight of one of the happiest and most productive periods of J.S.Bach’s life. As Kapellmeister in Coethen, he was composing music at the court of Prince Leoplold, a great music lover. Based on the Italian concerto grosso style, the concertos were compiled from instrumental sinfonias and concerto movements Bach had already written. In 1721, Bach presented the Margrave of Brandenburg with a bound manuscript of the six concertos. The Margrave never thanked or paid the composer. When Bach played chamber music, he usually played the viola; but in the 5th Brandenburg Concerto, he scores it for harpsichord, and what a brilliant role it is, too! It has been referred to as some as the first ever solo keyboard concerto and it is supposed that Bach himself was at the harpsichord. With a somewhat split personality, the harpsichord joins both the concertino and ripieno groups. Shlomit Sivan (violin), Boaz Berney (flute) and Yizhar Karshon (harpsichord) provided the concertino, entertaining the audience royally with well sculpted phrasing, contrasted interludes and energy. At times, Berney’s elegant playing did not come through clearly enough in the YMCA hall, a problem of playing Baroque flute in a large hall. The long harpsichord cadenza of the first movement was handled brilliantly by Karshon. The intimate second movement, Affetuoso, scored for just violin, flute and harpsichord, was delicate and shaped, with the final Allegro lively but also delicate, once more offering the harpsichord much to say.
Of the few secular cantatas Bach composed, “Non sa che sia dolore” (He Knows Not What it is to Suffer) is the only one set to an Italian text. The text tells of the departure of a young man going to sea on his military service. Bach composed the cantata after 1729, but it is not known who wrote the words; the poet, however, does draw on passages written by G.B.Guarini and Pietro Metastasio. We do know that the court of Ansbach was known for its predilection for Italian musical performance and that it employed a number of Italian musicians. In fact, Bach’s cantata for solo soprano closely follows the model of those of A.Scarlatti in its adherence to alternating recitative and aria. It strongly features obbligato flute, handled admirably by Kimberly Reine, giving ample opportunity for both flautist and singer to shine. The cantata opens with a lively sinfonia for flute and strings in the form of a concerto. From her first recitative, Ye’ela Avital communicates with her audience. In the first aria, “Parti pur e con dolore”(Depart then and with sorrow), the warmth and color of Avital’s voice are set off by and converse with the flute and with dynamic strands of instrumental textures. In the last aria, with the audience enjoying Barrocade’s fine, multicolored ensemble sound, there is a sense of well-being; Avital embellishes melismatic passages with ease.
‘Do away with anxiety and dread,
Like the steersman, when the wind is calmed,
Who no more fears or turns pale,
But, content on his prow
Goes singing in the face of the sea.’
In 1723, Bach moved to Leipzig, where he worked at St Thomas’ School and was responsible for music in the town’s four churches. His “Inventions and Sinfonias” were written for educational purposes. They demonstrate contrapuntal techniques and musical styles and are a collection of gems. The Inventions are keyboard pieces written in two voices, whereas the Sinfonias, six of which we heard in this concert, are in three voices. The six elegant miniatures were nicely contrasted in key, instrumentation and character, forming a pleasing group.
The second half of the evening presented pieces from the Notebooks for Anna Magdalena Bach. For some tome now, viol- and violone player, Amit Tiefenbrunn has had the idea in his mind of taking pieces from these collections and performing them with Barrocade. Anna Magdalena, Bach’s second wife, was, herself, a musician, working as a court singer in Coethen, she was a keyboard player and a professional copyist. There are two Notebooks for Anna Magdalena Bach: that of 1722 consists only of works written by J.S.Bach and that of 1725 – keyboard works, chorale settings and popular arias, includes pieces by various composers. In the chorale “Wer nur den lieben Gott lasst walten” (If thou but suffer God to guide thee) we heard the melody played on the viola. “Gib dich zufrieden and sei stille” (Be Content and Be Silent) was sung by Avital with instrumental interludes.
Very different from hearing it played on harpsichord was Reine’s performance on Baroque flute of Aria BWV 988 (Theme of the Goldberg Variations) accompanied by theorbo and viol. She punctuated and embellished it, making it dance, sketching it in dainty transparency. The Polonaise in G major, usually attributed to German singer and composer Johann Adolf Hasse (1699-1783), boasted pleasing contrasts of instrumentation.
Avital presented an endearing performance of the aria “Schlummert ein” from J.S.Bach’s cantata “Ich habe genug” BWV 82 (It is Enough), composed in 1727. The aria is perfectly suited to this artist, and the performance was one of compassion together with tranquility, of shaping and sensitive timing, of allowing the text time to unfold, of fine blending of vocal- and instrumental textures.
‘Slumber, my weary eyes,
Fall softly and close in contentment.
O world, I will linger here no more.
For indeed, I find nothing in you
Pleasing to my soul.
Here I am resigned to misery,
But there, there I shall feel
Sweet peace and quiet rest.’
The atmosphere changed with Avital’s performance of the lyrical Aria di Giovannini, BWV 518 “Willst du dein Herz mir schenken” (Wouldst thou thine heart now give me), (poet unknown), telling of the complexities of secret love. With verses alternating between singer and instruments, Avital gives the aria and the advice it offers a coquettish, dance-like and entertaining reading.
The concert ended on a contemplative note with “Bist du bei mir” BWV 508 (Be Thou with me), poet unknown, music by Gottfried Heinrich Stoelzel. Communicating with Barrocade’s secure instrumental approach, Ye’ela Avital wove in the melodic line, letting it breathe, ornamenting it tastefully.
The Barrocade Ensemble’s first concert of the 2008-2009 Season was interestingly programmed. Kimberly Reine’s program notes were informative and set the tone for a musical evening with the Bach family. The audience enjoyed the variety and delicacy of carefully selected pieces and sensitive performance as well as being guests in the Bach home.
“Anna Magdalena Bach. At Home with Bach.”
Barrocade, the Israeli Baroque Collective
Ye’ela Avital-soprano
Yizhar Karshon-harpsichord
Shlomit Sivan-violin
Boaz Berney, Kimberly Reine-flutes
The Mary Nathaniel Golden Hall of Friendship,
Jerusalem YMCA,
November 5, 2008
I
The Brandenburg Concertos are a highlight of one of the happiest and most productive periods of J.S.Bach’s life. As Kapellmeister in Coethen, he was composing music at the court of Prince Leoplold, a great music lover. Based on the Italian concerto grosso style, the concertos were compiled from instrumental sinfonias and concerto movements Bach had already written. In 1721, Bach presented the Margrave of Brandenburg with a bound manuscript of the six concertos. The Margrave never thanked or paid the composer. When Bach played chamber music, he usually played the viola; but in the 5th Brandenburg Concerto, he scores it for harpsichord, and what a brilliant role it is, too! It has been referred to as some as the first ever solo keyboard concerto and it is supposed that Bach himself was at the harpsichord. With a somewhat split personality, the harpsichord joins both the concertino and ripieno groups. Shlomit Sivan (violin), Boaz Berney (flute) and Yizhar Karshon (harpsichord) provided the concertino, entertaining the audience royally with well sculpted phrasing, contrasted interludes and energy. At times, Berney’s elegant playing did not come through clearly enough in the YMCA hall, a problem of playing Baroque flute in a large hall. The long harpsichord cadenza of the first movement was handled brilliantly by Karshon. The intimate second movement, Affetuoso, scored for just violin, flute and harpsichord, was delicate and shaped, with the final Allegro lively but also delicate, once more offering the harpsichord much to say.
Of the few secular cantatas Bach composed, “Non sa che sia dolore” (He Knows Not What it is to Suffer) is the only one set to an Italian text. The text tells of the departure of a young man going to sea on his military service. Bach composed the cantata after 1729, but it is not known who wrote the words; the poet, however, does draw on passages written by G.B.Guarini and Pietro Metastasio. We do know that the court of Ansbach was known for its predilection for Italian musical performance and that it employed a number of Italian musicians. In fact, Bach’s cantata for solo soprano closely follows the model of those of A.Scarlatti in its adherence to alternating recitative and aria. It strongly features obbligato flute, handled admirably by Kimberly Reine, giving ample opportunity for both flautist and singer to shine. The cantata opens with a lively sinfonia for flute and strings in the form of a concerto. From her first recitative, Ye’ela Avital communicates with her audience. In the first aria, “Parti pur e con dolore”(Depart then and with sorrow), the warmth and color of Avital’s voice are set off by and converse with the flute and with dynamic strands of instrumental textures. In the last aria, with the audience enjoying Barrocade’s fine, multicolored ensemble sound, there is a sense of well-being; Avital embellishes melismatic passages with ease.
‘Do away with anxiety and dread,
Like the steersman, when the wind is calmed,
Who no more fears or turns pale,
But, content on his prow
Goes singing in the face of the sea.’
In 1723, Bach moved to Leipzig, where he worked at St Thomas’ School and was responsible for music in the town’s four churches. His “Inventions and Sinfonias” were written for educational purposes. They demonstrate contrapuntal techniques and musical styles and are a collection of gems. The Inventions are keyboard pieces written in two voices, whereas the Sinfonias, six of which we heard in this concert, are in three voices. The six elegant miniatures were nicely contrasted in key, instrumentation and character, forming a pleasing group.
The second half of the evening presented pieces from the Notebooks for Anna Magdalena Bach. For some tome now, viol- and violone player, Amit Tiefenbrunn has had the idea in his mind of taking pieces from these collections and performing them with Barrocade. Anna Magdalena, Bach’s second wife, was, herself, a musician, working as a court singer in Coethen, she was a keyboard player and a professional copyist. There are two Notebooks for Anna Magdalena Bach: that of 1722 consists only of works written by J.S.Bach and that of 1725 – keyboard works, chorale settings and popular arias, includes pieces by various composers. In the chorale “Wer nur den lieben Gott lasst walten” (If thou but suffer God to guide thee) we heard the melody played on the viola. “Gib dich zufrieden and sei stille” (Be Content and Be Silent) was sung by Avital with instrumental interludes.
Very different from hearing it played on harpsichord was Reine’s performance on Baroque flute of Aria BWV 988 (Theme of the Goldberg Variations) accompanied by theorbo and viol. She punctuated and embellished it, making it dance, sketching it in dainty transparency. The Polonaise in G major, usually attributed to German singer and composer Johann Adolf Hasse (1699-1783), boasted pleasing contrasts of instrumentation.
Avital presented an endearing performance of the aria “Schlummert ein” from J.S.Bach’s cantata “Ich habe genug” BWV 82 (It is Enough), composed in 1727. The aria is perfectly suited to this artist, and the performance was one of compassion together with tranquility, of shaping and sensitive timing, of allowing the text time to unfold, of fine blending of vocal- and instrumental textures.
‘Slumber, my weary eyes,
Fall softly and close in contentment.
O world, I will linger here no more.
For indeed, I find nothing in you
Pleasing to my soul.
Here I am resigned to misery,
But there, there I shall feel
Sweet peace and quiet rest.’
The atmosphere changed with Avital’s performance of the lyrical Aria di Giovannini, BWV 518 “Willst du dein Herz mir schenken” (Wouldst thou thine heart now give me), (poet unknown), telling of the complexities of secret love. With verses alternating between singer and instruments, Avital gives the aria and the advice it offers a coquettish, dance-like and entertaining reading.
The concert ended on a contemplative note with “Bist du bei mir” BWV 508 (Be Thou with me), poet unknown, music by Gottfried Heinrich Stoelzel. Communicating with Barrocade’s secure instrumental approach, Ye’ela Avital wove in the melodic line, letting it breathe, ornamenting it tastefully.
The Barrocade Ensemble’s first concert of the 2008-2009 Season was interestingly programmed. Kimberly Reine’s program notes were informative and set the tone for a musical evening with the Bach family. The audience enjoyed the variety and delicacy of carefully selected pieces and sensitive performance as well as being guests in the Bach home.
“Anna Magdalena Bach. At Home with Bach.”
Barrocade, the Israeli Baroque Collective
Ye’ela Avital-soprano
Yizhar Karshon-harpsichord
Shlomit Sivan-violin
Boaz Berney, Kimberly Reine-flutes
The Mary Nathaniel Golden Hall of Friendship,
Jerusalem YMCA,
November 5, 2008
I
Thursday, November 6, 2008
"Il Pastor Fido", Abu Gosh Festival October 2008
Entering the precincts of the Crusader Church in the last moments of daylight on Monday October 20th, one was invited to forget the pressures and reality of the world outside and to enjoy the peace and tranquility of this verdant courtyard with its 12th century church. The occasion was a concert performed by the “Il Pastor Fido” Ensemble performing Renaissance- and Baroque works as part of the 34th Abu Gosh Vocal Festival (October 18th to 21st, 2008). The group’s name, “Il Pastor Fido” (The Faithful Shepherd) stems from a tragicomedy of the same name, written by the Italian poet Battista Guarini (1532-1612) at a time he was serving as court poet to Duke Alfonso D’Este II in Ferrara. This play had become very popular in 16th century Italy and was the inspiration for many great musical works, like the madrigals of Luca Marenzio, Giaches de Wert, Claudio Monteverdi and others.
Harpsichordist and organist Marina Minkin, born in the Ukraine, teaches, performs and records in Israel and elsewhere. Her doctoral dissertation is a study of Italian composer Anna Bon’s life and work. In the concert, Minkin was playing on a replica of a 1665 Ridolfi harpsichord, built by Thomas Wolf (USA) in 1970.
Born in Rechovot, soprano Michal Okon has degrees in vocal performance and musicology. A versatile musician, Okon’s repertoire ranges from early to contemporary music, from opera to solo performance with orchestras, to performance with Baroque groups to vocal ensembles. Okon records for radio and television.
Alexander Fine, in Israel since 1989, from the FSU, plays bassoon in the Jerusalem Symphony Orchestra but is also a Baroque musician, playing Baroque bassoons and Baroque oboe. Fine was playing a replica of a 1722-3 Eihentopf bassoon which is in the Nurenberg Museum collection. It was built by Peter de Konning in 1999.
Anna Ioffe came to Israel in 1996 from the FSU and has studied violin, Baroque violin and viola d’amore. She performs and records in ensembles that perform early music with modern and has appeared as soloist with the Jerusalem Symphony Orchestra. Ioffe is also a singer.
Growing up in Rechovot, Uri Dror has studied recorder in Israel as well as with many fine European players. A soloist and active chamber musician, Uri teaches, edits and publishes music. In this concert, Dror was playing an F alto recorder after Thomas Stanesby built by Peter van de Poel (Holland), a transitional G alto made by Stephen Bleziger (Germany) and a soprano recorder after Sylvestro Ganassi built by Yoav Ran (Israel.)
The concert opened with Arcangelo Corelli’s (1653-1713) Concerto Grosso no.2 opus 6. Corelli occupied a leading position in the musical life of Rome for some thirty years, performing as a violinist and directing performances. A fine performer on the newly-popular violin, he is considered a founder of modern violin technique; and it was he who proved the potentialities of the concerto grosso form. It was on his Opus 6, his last opus, that Corelli spent many years writing and rewriting the 12 concerti grossi. Scored for violin, recorder and continuo of harpsichord and bassoon, the Concerto Grosso no.2 consists of small sections, much conversation between violin and recorder; mood- and character changes throughout are typical of the Italian temperament in music. In this delightful chamber work, we were treated to well-crafted phrase endings, tasteful ornamenting, and a combination of crystal clear strands together with a fine ensemble sound.
Biagio Marini (1594-1663), an Italian virtuoso violinist and composer, spent his professional life traveling all over Europe, and is best known for his instrumental music and his contribution to string idiom. His “Scherzi e Canzonette”, opus 5, were composed in Parma in 1622 and incorporate explicit instrumental ideas. Written for one or two voices with instrumental ritornelli, we heard three of the songs performed by soprano Michal Okon, with recorder, violin and harpsichord. Performance was clean, measured and articulate, with Okon’s creamy voice and warmth delighting the audience. Following “Invita a l’allegressa”(Invitation to Joy), with voice conversing with the violin, the second song, “Desio di sguardi” (Desire for Glances) gives Dror, playing a Renaissance recorder, solos, adding interest and embellishment. The third song, “Donna che loda il canto di bellisimo giovanetto” (A Woman who Praises the Song of a Youth), with recorder and violin conversing, was articulate, measured and charming.
Johann Christoph Pepusch (1667-1752) was a German-born composer, viola- and harpsichord player, who spent most of his working life in England, where he became known as John Christopher Pepusch. “Corydon”, Cantata V from his “Six English Cantatas” of 1710, with text by the poet John Hughes (1677-1720), is one of many secular English cantatas on the subject of lonely shepherds. It was performed here by Okon, with Dror, Minkin and Fine. Following the opening recitative, we heard the da capo aria “Gay charmer, to befriend thee…” with its enticing recorder obbligato. The short cantata ends with “Who, from Love his Heart securing…”performed whimsically, with ornaments to charm and hemiolas to confuse the senses, ending the work in dance-like grace.
Elizabethan composer Thomas Morley (1557/8-1602) referred to his canzonets as a “lighter form of madrigal”. His “The First Books of Canzonetts to two voyces” (1597) contains songs for two voices plus some instrumental fantasias. Okon and Dror chose to perform two, the first being “Sweet nymph, come to thy lover”, with Dror “singing” the second voice on recorder. The artists, nevertheless, brought out the interactive aspects, engaging in Morley’s rhythmical, contrapuntal hide-and seek. The second canzonet, “Miraculous Love’s Wounding”, with its bitter-sweet duality, sets a mournful tone, with Okon and Dror presenting the individuality of two melodic lines and a mix ofmodes, in accordance with the text:
“Miraculous love’s wounding!
Even those darts, my sweet Phyllis,
So fiercely shot against my heart rebounding,
Are turned to roses, violets and lilies,
With odour sweet abounding.”
As the central figure in the French school of bass viol composers, teachers and performers, Marain Marais’ (1656-1728) works were widely performed during his lifetime, also outside of France. We heard the second piece of his “Pieces en trio pour les flutes, violins et dessus de viole”, published in 1692. This collection appears to be the first of its kind in Europe. The ensemble presented it with true French court elegance, with flowing, expressive melodic development and typical French-style inegal rhythms. In the last movement, a Passacaille, the players added variety and delicate touches to the variations along side the strict ostinato basis of the piece.
French composer, teacher and theorist, Michel Pignolet de Monteclair (1667-1737) played the basse de violon and double bass in the Paris Opera orchestras. His oeuvre includes twenty French- and four Italian cantatas. “La Bergere” (The Shepherdess) is from his third book of cantatas (1728). Okon’s convincing performance invites the listener to join her in the pastoral atmosphere of the piece; we follow her from narrative to dances, through the tense third movement to the dotted, slow final piece (complete with bird calls) suggestive of idyllic tranquility and sleep.
Giovanni Battista Riccio flourished from 1609 to 1621. His motet “Iubilent Omnes” from the Third Book of Sacred Music of Praise (Venice 1620) is rare in this period of Italian music in that it calls for recorder. The text is taken from Psalms 150 and 99. The joyful closing work of this concert gave instrumentalists interludes between phrases of verbal text.
The crypt of the Crusader Church is an intimate concert venue and has a lively acoustic. “Il Pastor Fido” is an ensemble of five superb performers; they have been working together for a year. Their concert was well programmed, taking the audience from Italy, England, France and back to Italy and from court to pastoral situations. The audience enjoyed the results of fine collaboration between players and stylistically pleasing performance.
“Il Pastor Fido”
Michal Okon-soprano
Uri Dror-recorders
Anna Ioffe-Baroque violin
Marina Minkin-harpsichord
Alexander Fine-Baroque bassoon
The Crypt, Crusader Church,
Abu Gosh, Israel
October 20, 2008
.
Harpsichordist and organist Marina Minkin, born in the Ukraine, teaches, performs and records in Israel and elsewhere. Her doctoral dissertation is a study of Italian composer Anna Bon’s life and work. In the concert, Minkin was playing on a replica of a 1665 Ridolfi harpsichord, built by Thomas Wolf (USA) in 1970.
Born in Rechovot, soprano Michal Okon has degrees in vocal performance and musicology. A versatile musician, Okon’s repertoire ranges from early to contemporary music, from opera to solo performance with orchestras, to performance with Baroque groups to vocal ensembles. Okon records for radio and television.
Alexander Fine, in Israel since 1989, from the FSU, plays bassoon in the Jerusalem Symphony Orchestra but is also a Baroque musician, playing Baroque bassoons and Baroque oboe. Fine was playing a replica of a 1722-3 Eihentopf bassoon which is in the Nurenberg Museum collection. It was built by Peter de Konning in 1999.
Anna Ioffe came to Israel in 1996 from the FSU and has studied violin, Baroque violin and viola d’amore. She performs and records in ensembles that perform early music with modern and has appeared as soloist with the Jerusalem Symphony Orchestra. Ioffe is also a singer.
Growing up in Rechovot, Uri Dror has studied recorder in Israel as well as with many fine European players. A soloist and active chamber musician, Uri teaches, edits and publishes music. In this concert, Dror was playing an F alto recorder after Thomas Stanesby built by Peter van de Poel (Holland), a transitional G alto made by Stephen Bleziger (Germany) and a soprano recorder after Sylvestro Ganassi built by Yoav Ran (Israel.)
The concert opened with Arcangelo Corelli’s (1653-1713) Concerto Grosso no.2 opus 6. Corelli occupied a leading position in the musical life of Rome for some thirty years, performing as a violinist and directing performances. A fine performer on the newly-popular violin, he is considered a founder of modern violin technique; and it was he who proved the potentialities of the concerto grosso form. It was on his Opus 6, his last opus, that Corelli spent many years writing and rewriting the 12 concerti grossi. Scored for violin, recorder and continuo of harpsichord and bassoon, the Concerto Grosso no.2 consists of small sections, much conversation between violin and recorder; mood- and character changes throughout are typical of the Italian temperament in music. In this delightful chamber work, we were treated to well-crafted phrase endings, tasteful ornamenting, and a combination of crystal clear strands together with a fine ensemble sound.
Biagio Marini (1594-1663), an Italian virtuoso violinist and composer, spent his professional life traveling all over Europe, and is best known for his instrumental music and his contribution to string idiom. His “Scherzi e Canzonette”, opus 5, were composed in Parma in 1622 and incorporate explicit instrumental ideas. Written for one or two voices with instrumental ritornelli, we heard three of the songs performed by soprano Michal Okon, with recorder, violin and harpsichord. Performance was clean, measured and articulate, with Okon’s creamy voice and warmth delighting the audience. Following “Invita a l’allegressa”(Invitation to Joy), with voice conversing with the violin, the second song, “Desio di sguardi” (Desire for Glances) gives Dror, playing a Renaissance recorder, solos, adding interest and embellishment. The third song, “Donna che loda il canto di bellisimo giovanetto” (A Woman who Praises the Song of a Youth), with recorder and violin conversing, was articulate, measured and charming.
Johann Christoph Pepusch (1667-1752) was a German-born composer, viola- and harpsichord player, who spent most of his working life in England, where he became known as John Christopher Pepusch. “Corydon”, Cantata V from his “Six English Cantatas” of 1710, with text by the poet John Hughes (1677-1720), is one of many secular English cantatas on the subject of lonely shepherds. It was performed here by Okon, with Dror, Minkin and Fine. Following the opening recitative, we heard the da capo aria “Gay charmer, to befriend thee…” with its enticing recorder obbligato. The short cantata ends with “Who, from Love his Heart securing…”performed whimsically, with ornaments to charm and hemiolas to confuse the senses, ending the work in dance-like grace.
Elizabethan composer Thomas Morley (1557/8-1602) referred to his canzonets as a “lighter form of madrigal”. His “The First Books of Canzonetts to two voyces” (1597) contains songs for two voices plus some instrumental fantasias. Okon and Dror chose to perform two, the first being “Sweet nymph, come to thy lover”, with Dror “singing” the second voice on recorder. The artists, nevertheless, brought out the interactive aspects, engaging in Morley’s rhythmical, contrapuntal hide-and seek. The second canzonet, “Miraculous Love’s Wounding”, with its bitter-sweet duality, sets a mournful tone, with Okon and Dror presenting the individuality of two melodic lines and a mix ofmodes, in accordance with the text:
“Miraculous love’s wounding!
Even those darts, my sweet Phyllis,
So fiercely shot against my heart rebounding,
Are turned to roses, violets and lilies,
With odour sweet abounding.”
As the central figure in the French school of bass viol composers, teachers and performers, Marain Marais’ (1656-1728) works were widely performed during his lifetime, also outside of France. We heard the second piece of his “Pieces en trio pour les flutes, violins et dessus de viole”, published in 1692. This collection appears to be the first of its kind in Europe. The ensemble presented it with true French court elegance, with flowing, expressive melodic development and typical French-style inegal rhythms. In the last movement, a Passacaille, the players added variety and delicate touches to the variations along side the strict ostinato basis of the piece.
French composer, teacher and theorist, Michel Pignolet de Monteclair (1667-1737) played the basse de violon and double bass in the Paris Opera orchestras. His oeuvre includes twenty French- and four Italian cantatas. “La Bergere” (The Shepherdess) is from his third book of cantatas (1728). Okon’s convincing performance invites the listener to join her in the pastoral atmosphere of the piece; we follow her from narrative to dances, through the tense third movement to the dotted, slow final piece (complete with bird calls) suggestive of idyllic tranquility and sleep.
Giovanni Battista Riccio flourished from 1609 to 1621. His motet “Iubilent Omnes” from the Third Book of Sacred Music of Praise (Venice 1620) is rare in this period of Italian music in that it calls for recorder. The text is taken from Psalms 150 and 99. The joyful closing work of this concert gave instrumentalists interludes between phrases of verbal text.
The crypt of the Crusader Church is an intimate concert venue and has a lively acoustic. “Il Pastor Fido” is an ensemble of five superb performers; they have been working together for a year. Their concert was well programmed, taking the audience from Italy, England, France and back to Italy and from court to pastoral situations. The audience enjoyed the results of fine collaboration between players and stylistically pleasing performance.
“Il Pastor Fido”
Michal Okon-soprano
Uri Dror-recorders
Anna Ioffe-Baroque violin
Marina Minkin-harpsichord
Alexander Fine-Baroque bassoon
The Crypt, Crusader Church,
Abu Gosh, Israel
October 20, 2008
.
Labels:
Alexander Fine,
Anna Ioffe,
Marina Minkin,
Michal Okon,
Uri Dror
Monday, October 27, 2008
Jerusalem Early Music Workshop 2008
The Jerusalem Early Music Workshop, under the auspices of the Jerusalem Music Centre and run by Hed Sella, its director, was taking place for the 22nd time over the Succoth holiday of 2008. At Beit Shmuel, some twenty notable European, Canadian and Israeli musicians tutored 120 young Israeli players in an intensive course focusing on performance practice of the Renaissance, Baroque and Classical periods. Many of the students play conventional, modern instruments and this workshop was a chance for them to be exposed to period instruments and to the subtlety and sophistication of early repertoire. The workshop is known for its informal, warm and encouraging atmosphere. Students attend classes and concerts and play in ensembles. Clarinetist Lorenzo Coppola feels the importance of such a workshop is not just to produce professional performers but to encourage playing for pleasure and a future concert-loving audience. Tutors I talked to praised the excellent organization of the course.
I spent the morning of Sunday October 19 wandering around Beit Shmuel and Hebrew Union College visiting just a few of the many ensemble groups. The students, impressive in their competence, disciplined and serious, were preparing works to be performed at the students’ concert. Canadian soprano Ann Monoyios was working on a cantata by A.Scarlatti with a female singer, two recorder players, harpsichord and ‘cellist. Monoyios was discussing ornaments, the importance of eye contact and the role of the ‘cello in bringing out the many hemiolas of the piece.
In another room, Israeli harpsichord player, Yizhar Karshon, himself at the harpsichord, was guiding three flautists and a bassoonist through a Boismortier quartet. Karshon was talking about expression, tonguing, textures and contrasts, the role of the flutes as regarding that of the harpsichord-bassoon continuo. He went on to talk about the authentic “Baroque sound”. The transition from a slow movement to a fast one needed more work; Karshon showed the young players the importance of the break between movements, followed by fresh energy and a mood change in store to surprise the audience in the movement to come.
Baritone Assif Am-David was working on a Telemann cantata with a soprano, violinist, flautist, harpsichordist and ‘cellist. He was giving tips regarding Baroque performance practice and encouraging the singer to ornament her line.
German ‘cellist Rainer Zipperling’s young musicians, playing flute, oboe, bassoon, ‘cello, violin and harpsichord, were working on Vivaldi’s Concerto in g minor. The ensemble sound was rich and pleasing. Addressing each player by name, Zipperling discussed dynamics, the varying of each phrase and advised the players not to “warn” the audience of an approaching subito forte! He advised the ‘cellist not to drag and that he should “sing” more. There was work done with the violinist on a tricky rhythmic passage. “The forte makes you throw the bow, distracting yourself from the actual rhythm.”
British baritone, Peter Harvey, no newcomer to the workshop, told me he was enjoying the high standard of singing but felt that more male singers should attend the course. His ensemble, - consisting of violin, Baroque flute, ‘cello and harpsichord and two soprano singers, was working on Louis-Nicolas Clerambault’s cantata “Leandre et Hero”. Alternating in the solo role, the two singers gave expression to the drama and emotion of the work, ‘cellist and harpsichordist kept constant eye contact; violinist and flautist presented some well-coordinated, poignant moments.
British violinist, Margaret Faultless, was enjoying the serious attitude shown by the students and appreciated having the chance to spend time talking “shop” with other tutors between lessons. Her ensemble, made up of recorder, two violins, ‘cello and harpsichord, was playing Mancini’s Concerto in g minor. Faultless, addressing her students by name, spoke about live performance of Baroque music –suggesting it should include “loud whispering” and “quiet shouting”. She discussed various approaches to continuo playing around 1700. The session ended with Faultless taking the ensemble through the routine of how to bow at the end of a performance. Faultless will be conducting and soloing with the Jerusalem Baroque Orchestra November 15 and 16, 2008.
Shut your eyes and, in all the classes I audited, you might forget you were hearing such young players, many of them teenagers. However, in the leafy, tranquil Beit Shmuel courtyard, a ping-pong table offered participants relaxation from concert preparation. In Matthew Halls’ room, a blond, still smooth-faced, jeans-clad, youth was holding up the rehearsal, looking for his bassoon score. Once it was found, Halls told him never to leave his music around again….a gentle reminder that the players here, highly gifted as they may be, are young. This larger ensemble of 14 players included two oboes and two horns for an invigorating performance of Handel’s “Water Music” Suite. Halls, in his relaxed, humorous manner, talked about musicianship. “Once we have a clear pulse, we can be free”, he said. “Watch me for rubato. Let’s go the extra meter to achieve superb artistry. Do get your heads out of the score and look at me.” “By standing, you can be flexible and freer. How about playing this as the most joyful piece you have ever played!” Halls suggested the horns turn the bell of their instruments towards the audience, the idea being to “thrill them”. One player asked about dynamics. Halls’ answer was “We don’t make plans for dynamics. Watch me”. I talked to Halls about the workshop. He felt he had invested a lot of energy in his classes but that the young players were responsive and gave much energy back.
Concert I
The three tutors’ concerts – “Bach and Beyond” - took place in the Hirsch Theatre of Merkaz Shimson and were open to the general public. In the first, Matthew Halls, a well-known conductor and harpsichord player, performed J.S. Bach’s (1685-1750) Goldberg Variations, BWV 988 on the beautiful Michael Johnson harpsichord which belongs to the JMC. Halls has performed the Goldberg Variations frequently of late and has recently recorded them;this year he will record all the J.S.Bach keyboard concertos. He sees the Goldberg Variations as a journey (or a map) which becomes clearer as the player proceeds. His playing is beautifully measured and accurate, his journey is one of energy and contrasts, of entertaining dances, of virtuosity, textural complexities and also humor. Halls is articulate and takes time to spell out the melodic, harmonic and expressive content of each variation. The concert ended with a poignant Sarabande, a subject which has a set of variations, probably an early J.S.Bach piece.
Matthew Halls (UK)-harpsichord
J.S.Bach – The Goldberg Variations
The Hirsch Theatre, Mercaz Shimshon
Beit Shmuel, Jerusalem
October 15, 2008.
Concert II
In the second concert, we heard works from the Baroque to the Romantic period. The evening began with J.S.Bach’s Suite in d minor for ‘cello solo, BWV 1008, performed by gamba-player and ‘cellist, Rainer Zipperling. A professor at the Frankfurt- and Cologne Conservatories, Zipperling’s recent recording of the six Bach Suites for Violoncello Solo has received glowing critiques. In the opening Prelude of the d minor suite, Zipperling breathes temperament into the melody, using vibrato to embellish it. In the Allemande, his caressing tone poignantly guides the listener through each different key. Following the hugely energetic Courante, the broad Sarabande is ornamented and conversational, with the artist taking his time to convey the personal character of the piece. The Minuets are technically complex; however, Zipperling places emphasis on the entertaining aspect of these court dances. In the Gigue, the short, eighth-note upbeat and following downbeat were a charming touch and contrasted well with the many fast, sixteenth-note passages. It was a rich and thought-provoking performance.
Carl Philipp Emanuel Bach (1714-1788), J.S.Bach’s second son, spent thirty years in the service of Frederick the Great, a flautist himself. His Sonata in C major, Wq 73, seems to have been written originally for violin and keyboard. We heard it performed on Baroque flute and fortepiano by Kate Clark and Zvi Meniker. Meniker was playing a Walter model fortepiano, built by Wolf (USA) and owned by Bar Ilan University’s Music Department. From the opening Allegro di molto, the artists delighted the audience with brightness and clean playing. The Andante was delicate and expressive, with charming ornamentation and a small flute cadenza. Following this, the elegant and demanding Allegretto movement was a vehicle for interesting stresses and much energy. Performer, researcher and lecturer Kate Clark was born in Sydney Australia and now lives in Amsterdam. She is a leading specialist on the Renaissance flute. Zvi Meniker was born in Moscow and raised in Israel. Today he teaches at the Hanover Conservatory and is visiting professor at the Buchmann-Mehta School of Music in Tel Aviv.
Ludwig van Beethoven’s (1770-1827) Trio opus 11 in B flat major for clarinet, ‘cello and fortepiano was composed in 1797. Beethoven dedicated it to Countess Wilhemine von Thun and chose to include the clarinet because of the novelty and popularity of woodwind instruments at the time. Clarinetist Lorenzo Coppola, who emceed the evening with much humor, talked about opera buffa, referring to this trio, with its special effects, as an “opera without singers”. For this work, Coppola was playing a copy of a 1790’s Heinrich Grenser clarinet. The work was a myriad of beautifully shaped phrases, crisp, accurate motifs and lush textures. Coppola’s tone and expression are gorgeous. “Pria ch’io l’impegno” (a humorous song claiming that before starting anything important, one must first eat) was a currently popular tune from Joseph Weigl’s opera “L’Amor Marinaro” (The Corsair). Using the song in the third movement of the trio – Thema con variazione - , Beethoven dismembers Weigl’s ditty and reconstructs it in nine different ways, ending with a dancing 6/8 Allegretto coda.
Joseph Haydn’s (1732-1809) Trio in D major for flute, ‘cello and fortepiano was one of three piano trios composed in 1789 or 1790 at the behest of London publisher John Bland, with the flute replacing the violin due to the request of some of Bland’s clients. From the opening Allegro, Clark, Zipperling and Meniker presented the audience with the joy of articulate, Haydnesque lines and gestures. The second movement - Andante piutosto allegretto – was touching, delicate and singing and the final Vivace assai, pleasing in its lightness and intense moments. There was clearly fine collaboration between the artists.
Composed in the last year of his life, “The Shepherd on the Rock” is very different to other Lieder composed by Franz Schubert (1797-1828) in that it falls into three sections, has texts by two different poets and is scored for clarinet in addition to soprano voice and piano. In fact, it is more like an operatic aria than a Lied. It calls for soprano voice although the words are those of a shepherd yearning through a long winter for his beloved.
……. “The further my voice travels,
The clearer it returns to me from below.
So far from me does my love dwell
That I yearn for her more ardently over there”.. (Translation: Lionel Salter.)
Canadian soprano, Ann Monoyios, Coppola and Meniker shape each phrase and nuance magically. Monoyios begins the vocal line with delicacy; her piano tone is controlled and bewitching as she takes us through the shepherd’s longing and sadness. Meniker and Coppola are with her all the way. Monoyios paints the last section of transcendent hope with the joy and color of spring.
“Spring is coming,
Spring, my joy;
Now I will make ready to go journeying.”
Monoyios, a Baroque specialist, performs, gives master classes and records widely, and is a member of faculty of the Royal Conservatory of Music in Toronto.
The evening ended with Monoyios singing a gentle, caressing cradle song by Louis Spohr.
Ann Monoyios (Canada) –soprano
Kate Clark (Holland) –flute
Lorenzo Coppola (Italy) – clarinet
Rainer Zipperling (Germany) – ‘cello
Zvi Meniker (Israel-Germany) – fortepiano
The Hirsch Theatre, Mercaz Shimshon,
Beit Shmuel, Jerusalem
October 16, 2008
Concert III
Concert III was an evening of Baroque music, opening with J.F.Fasch’s (1688-1758) Sonata in F major for oboe, violin, horn & basso continuo. In this ensemble we heard Dutch oboist Peter Frankenberg, British violinist Margaret Faultless and British horn player Andrew Clark. Clark performs on a variety of different horns, according to the historical context of repertoire being performed. In this concert, he played a large natural horn (no valves), making no use of hand-stopping, for the Fasch and Telemann works. Fasch, admired by J.S.Bach, marks the transition from the Baroque-, through the Roccoco-, to the early Classical style. The players, delighting the audience with the mix of their different timbres, presented the various characteristics of the work – the majestic, jovial, the flowing and lyrical – with a fine ensemble sound as well as plenty of personal expression.
Practical knowledge of various instruments is one of the most important keys to understanding G.Ph.Telemann’s (1681-1767) works. His aim is to give “each instrument that which suits it” while “exploiting the potential of each to the utmost”. In his Concerto a 3 in F major for horn, recorder & basso continuo, we heard Clark on horn and Han Tol (Holland) on recorder. Johannes Tol has performed, recorded and taught in Europe, America and the Far East and, from 1999 to 2007, was a member of the outstanding Flanders Quartet. His performance in this concert was expressive and brilliant. In the F major concerto, following the Allegro molto movement, the Loure, in keeping with Telemann’s love of the French style, was played with the elegance of lovely ornaments on recorder, harpsichord (using the lute register) and ‘cello. The Tempo di menuet movement, heavy in its beats, reflects Telemann’s taste for Polish, Moravian and Hanakian folk music, acquired on his travels between 1705 and 1708.
The recorder is featured in only a handful of Antonio Vivaldi’s (1678-1741) concertos, but where it does appear, the result is a concerto of virtuosic technique and musical variety. In his Concerto in g minor, RV 105, written in the typical Vivaldian form of three movements – fast, slow, fast –, we hear Tol on recorder, Peter Frankenberg (Holland) –oboe, Margaret Faultless-violin and Marc Vallon (bassoon) as well as basso continuo. The first movement is lively, giving all players melodic expression. The second movement – Largo –, given much expression by Tol, is, indeed, an aria for recorder, accompanied by bassoon and harpsichord. In the third movement, all instruments play once more; the bassoon is now given renewed, demanding solo duties. This rhythmic, colorful Allegro molto movement was inspiring in its energy. Marc Vallon (France), an orchestral- and chamber music player, has taught modern and Baroque bassoon at the Paris and Lyons Conservatory, gives master classes and is an arranger and composer. Musicologist and Baroque oboist Peter Frankenberg tours and records with several European ensembles, tutoring at a number of summer courses.
In Vivaldi’s Trio Sonata in a minor for recorder, bassoon and basso continuo, we had the pleasure of hearing Israeli recorder player Lara Morris. A member of several European consorts, Morris currently teaches recorder at the Jerusalem Academy of Music. From the opening Largo, one is lured into the fascinating combination of recorder and bassoon, certainly strange bedfellows, but how articulate and intense they are! Morris’ playing is expressive and brilliant; Vallon, too, no less, as we heard in the Allegro, which they presented with verve. In the Largo cantabile, the bassoon joins accompanying instruments, giving the recorder the stage. In the Allegro molto, with the two conversing once more, the audience enjoyed the energy and joy resulting from fine, communicative playing.
An interesting and moving item on the program was a group of pieces from two J.S.Bach cantatas, forming what baritone Peter Harvey called a “fake cantata”. “Tritt auf die Glaubensbahn” (Walk in the Way of Faith) BWV 152, composed in Weimar in1714, calls for a small ensemble of players, thus creating an intimate chamber piece. “Wer sich erhoehet, der soll erniedriget warden” (Whosoever exalteth himself shall be abased, and he who gains humility shall be exalted over.), BWV 47, was composed in Leipzig in 1726. The lush and interesting opening sinfonia, scored for recorder (Tol), oboe, violin, ‘cello and organ, issues in the “Tritt auf die Glaubensbahn” aria, with its opening motif depicting the stepping movement of “Tritt”, with its superb oboe obbligato. Peter Harvey’s voice boasts a rich mix of light and dark and his study of and interest in the verbal text are clear. In the aria “Der Heiland is gesetzt in Israel” (The Savior is set for the fall and rising again of many in Israel), we enjoy the intimacy and delicacy of voice, organ and ‘cello. In “Jesu, beuge doch mein Herze” (Jesus, humble my heart), violin and oboe interact and intertwine beguilingly. Harvey sings the final chorale as a solo:
“Perishable honor I will gladly reject,
If only You reserve the eternal for me,
That You have won through Your harsh, bitter death.
This I pray to you, my Lord and God”.
Peter Harvey (UK)-baritone
Kate Clark (Holland)-flute
Peter Frankenberg (Holland)-oboe
Marc Vallon (France)-bassoon
Rainer Zipperling (Germany)-‘cello
Margaret Faultless (UK)-violin
Han Toll (Holland)-recorder
Lara Morris (Israel)-recorder
Andrew Clark (UK)-horn
Matthew Halls (UK)-harpsichord
The Hirsch Theatre, Mercaz Shimshon,
Beit Shmuel, Jerusalem
October 18, 2008
I spent the morning of Sunday October 19 wandering around Beit Shmuel and Hebrew Union College visiting just a few of the many ensemble groups. The students, impressive in their competence, disciplined and serious, were preparing works to be performed at the students’ concert. Canadian soprano Ann Monoyios was working on a cantata by A.Scarlatti with a female singer, two recorder players, harpsichord and ‘cellist. Monoyios was discussing ornaments, the importance of eye contact and the role of the ‘cello in bringing out the many hemiolas of the piece.
In another room, Israeli harpsichord player, Yizhar Karshon, himself at the harpsichord, was guiding three flautists and a bassoonist through a Boismortier quartet. Karshon was talking about expression, tonguing, textures and contrasts, the role of the flutes as regarding that of the harpsichord-bassoon continuo. He went on to talk about the authentic “Baroque sound”. The transition from a slow movement to a fast one needed more work; Karshon showed the young players the importance of the break between movements, followed by fresh energy and a mood change in store to surprise the audience in the movement to come.
Baritone Assif Am-David was working on a Telemann cantata with a soprano, violinist, flautist, harpsichordist and ‘cellist. He was giving tips regarding Baroque performance practice and encouraging the singer to ornament her line.
German ‘cellist Rainer Zipperling’s young musicians, playing flute, oboe, bassoon, ‘cello, violin and harpsichord, were working on Vivaldi’s Concerto in g minor. The ensemble sound was rich and pleasing. Addressing each player by name, Zipperling discussed dynamics, the varying of each phrase and advised the players not to “warn” the audience of an approaching subito forte! He advised the ‘cellist not to drag and that he should “sing” more. There was work done with the violinist on a tricky rhythmic passage. “The forte makes you throw the bow, distracting yourself from the actual rhythm.”
British baritone, Peter Harvey, no newcomer to the workshop, told me he was enjoying the high standard of singing but felt that more male singers should attend the course. His ensemble, - consisting of violin, Baroque flute, ‘cello and harpsichord and two soprano singers, was working on Louis-Nicolas Clerambault’s cantata “Leandre et Hero”. Alternating in the solo role, the two singers gave expression to the drama and emotion of the work, ‘cellist and harpsichordist kept constant eye contact; violinist and flautist presented some well-coordinated, poignant moments.
British violinist, Margaret Faultless, was enjoying the serious attitude shown by the students and appreciated having the chance to spend time talking “shop” with other tutors between lessons. Her ensemble, made up of recorder, two violins, ‘cello and harpsichord, was playing Mancini’s Concerto in g minor. Faultless, addressing her students by name, spoke about live performance of Baroque music –suggesting it should include “loud whispering” and “quiet shouting”. She discussed various approaches to continuo playing around 1700. The session ended with Faultless taking the ensemble through the routine of how to bow at the end of a performance. Faultless will be conducting and soloing with the Jerusalem Baroque Orchestra November 15 and 16, 2008.
Shut your eyes and, in all the classes I audited, you might forget you were hearing such young players, many of them teenagers. However, in the leafy, tranquil Beit Shmuel courtyard, a ping-pong table offered participants relaxation from concert preparation. In Matthew Halls’ room, a blond, still smooth-faced, jeans-clad, youth was holding up the rehearsal, looking for his bassoon score. Once it was found, Halls told him never to leave his music around again….a gentle reminder that the players here, highly gifted as they may be, are young. This larger ensemble of 14 players included two oboes and two horns for an invigorating performance of Handel’s “Water Music” Suite. Halls, in his relaxed, humorous manner, talked about musicianship. “Once we have a clear pulse, we can be free”, he said. “Watch me for rubato. Let’s go the extra meter to achieve superb artistry. Do get your heads out of the score and look at me.” “By standing, you can be flexible and freer. How about playing this as the most joyful piece you have ever played!” Halls suggested the horns turn the bell of their instruments towards the audience, the idea being to “thrill them”. One player asked about dynamics. Halls’ answer was “We don’t make plans for dynamics. Watch me”. I talked to Halls about the workshop. He felt he had invested a lot of energy in his classes but that the young players were responsive and gave much energy back.
Concert I
The three tutors’ concerts – “Bach and Beyond” - took place in the Hirsch Theatre of Merkaz Shimson and were open to the general public. In the first, Matthew Halls, a well-known conductor and harpsichord player, performed J.S. Bach’s (1685-1750) Goldberg Variations, BWV 988 on the beautiful Michael Johnson harpsichord which belongs to the JMC. Halls has performed the Goldberg Variations frequently of late and has recently recorded them;this year he will record all the J.S.Bach keyboard concertos. He sees the Goldberg Variations as a journey (or a map) which becomes clearer as the player proceeds. His playing is beautifully measured and accurate, his journey is one of energy and contrasts, of entertaining dances, of virtuosity, textural complexities and also humor. Halls is articulate and takes time to spell out the melodic, harmonic and expressive content of each variation. The concert ended with a poignant Sarabande, a subject which has a set of variations, probably an early J.S.Bach piece.
Matthew Halls (UK)-harpsichord
J.S.Bach – The Goldberg Variations
The Hirsch Theatre, Mercaz Shimshon
Beit Shmuel, Jerusalem
October 15, 2008.
Concert II
In the second concert, we heard works from the Baroque to the Romantic period. The evening began with J.S.Bach’s Suite in d minor for ‘cello solo, BWV 1008, performed by gamba-player and ‘cellist, Rainer Zipperling. A professor at the Frankfurt- and Cologne Conservatories, Zipperling’s recent recording of the six Bach Suites for Violoncello Solo has received glowing critiques. In the opening Prelude of the d minor suite, Zipperling breathes temperament into the melody, using vibrato to embellish it. In the Allemande, his caressing tone poignantly guides the listener through each different key. Following the hugely energetic Courante, the broad Sarabande is ornamented and conversational, with the artist taking his time to convey the personal character of the piece. The Minuets are technically complex; however, Zipperling places emphasis on the entertaining aspect of these court dances. In the Gigue, the short, eighth-note upbeat and following downbeat were a charming touch and contrasted well with the many fast, sixteenth-note passages. It was a rich and thought-provoking performance.
Carl Philipp Emanuel Bach (1714-1788), J.S.Bach’s second son, spent thirty years in the service of Frederick the Great, a flautist himself. His Sonata in C major, Wq 73, seems to have been written originally for violin and keyboard. We heard it performed on Baroque flute and fortepiano by Kate Clark and Zvi Meniker. Meniker was playing a Walter model fortepiano, built by Wolf (USA) and owned by Bar Ilan University’s Music Department. From the opening Allegro di molto, the artists delighted the audience with brightness and clean playing. The Andante was delicate and expressive, with charming ornamentation and a small flute cadenza. Following this, the elegant and demanding Allegretto movement was a vehicle for interesting stresses and much energy. Performer, researcher and lecturer Kate Clark was born in Sydney Australia and now lives in Amsterdam. She is a leading specialist on the Renaissance flute. Zvi Meniker was born in Moscow and raised in Israel. Today he teaches at the Hanover Conservatory and is visiting professor at the Buchmann-Mehta School of Music in Tel Aviv.
Ludwig van Beethoven’s (1770-1827) Trio opus 11 in B flat major for clarinet, ‘cello and fortepiano was composed in 1797. Beethoven dedicated it to Countess Wilhemine von Thun and chose to include the clarinet because of the novelty and popularity of woodwind instruments at the time. Clarinetist Lorenzo Coppola, who emceed the evening with much humor, talked about opera buffa, referring to this trio, with its special effects, as an “opera without singers”. For this work, Coppola was playing a copy of a 1790’s Heinrich Grenser clarinet. The work was a myriad of beautifully shaped phrases, crisp, accurate motifs and lush textures. Coppola’s tone and expression are gorgeous. “Pria ch’io l’impegno” (a humorous song claiming that before starting anything important, one must first eat) was a currently popular tune from Joseph Weigl’s opera “L’Amor Marinaro” (The Corsair). Using the song in the third movement of the trio – Thema con variazione - , Beethoven dismembers Weigl’s ditty and reconstructs it in nine different ways, ending with a dancing 6/8 Allegretto coda.
Joseph Haydn’s (1732-1809) Trio in D major for flute, ‘cello and fortepiano was one of three piano trios composed in 1789 or 1790 at the behest of London publisher John Bland, with the flute replacing the violin due to the request of some of Bland’s clients. From the opening Allegro, Clark, Zipperling and Meniker presented the audience with the joy of articulate, Haydnesque lines and gestures. The second movement - Andante piutosto allegretto – was touching, delicate and singing and the final Vivace assai, pleasing in its lightness and intense moments. There was clearly fine collaboration between the artists.
Composed in the last year of his life, “The Shepherd on the Rock” is very different to other Lieder composed by Franz Schubert (1797-1828) in that it falls into three sections, has texts by two different poets and is scored for clarinet in addition to soprano voice and piano. In fact, it is more like an operatic aria than a Lied. It calls for soprano voice although the words are those of a shepherd yearning through a long winter for his beloved.
……. “The further my voice travels,
The clearer it returns to me from below.
So far from me does my love dwell
That I yearn for her more ardently over there”.. (Translation: Lionel Salter.)
Canadian soprano, Ann Monoyios, Coppola and Meniker shape each phrase and nuance magically. Monoyios begins the vocal line with delicacy; her piano tone is controlled and bewitching as she takes us through the shepherd’s longing and sadness. Meniker and Coppola are with her all the way. Monoyios paints the last section of transcendent hope with the joy and color of spring.
“Spring is coming,
Spring, my joy;
Now I will make ready to go journeying.”
Monoyios, a Baroque specialist, performs, gives master classes and records widely, and is a member of faculty of the Royal Conservatory of Music in Toronto.
The evening ended with Monoyios singing a gentle, caressing cradle song by Louis Spohr.
Ann Monoyios (Canada) –soprano
Kate Clark (Holland) –flute
Lorenzo Coppola (Italy) – clarinet
Rainer Zipperling (Germany) – ‘cello
Zvi Meniker (Israel-Germany) – fortepiano
The Hirsch Theatre, Mercaz Shimshon,
Beit Shmuel, Jerusalem
October 16, 2008
Concert III
Concert III was an evening of Baroque music, opening with J.F.Fasch’s (1688-1758) Sonata in F major for oboe, violin, horn & basso continuo. In this ensemble we heard Dutch oboist Peter Frankenberg, British violinist Margaret Faultless and British horn player Andrew Clark. Clark performs on a variety of different horns, according to the historical context of repertoire being performed. In this concert, he played a large natural horn (no valves), making no use of hand-stopping, for the Fasch and Telemann works. Fasch, admired by J.S.Bach, marks the transition from the Baroque-, through the Roccoco-, to the early Classical style. The players, delighting the audience with the mix of their different timbres, presented the various characteristics of the work – the majestic, jovial, the flowing and lyrical – with a fine ensemble sound as well as plenty of personal expression.
Practical knowledge of various instruments is one of the most important keys to understanding G.Ph.Telemann’s (1681-1767) works. His aim is to give “each instrument that which suits it” while “exploiting the potential of each to the utmost”. In his Concerto a 3 in F major for horn, recorder & basso continuo, we heard Clark on horn and Han Tol (Holland) on recorder. Johannes Tol has performed, recorded and taught in Europe, America and the Far East and, from 1999 to 2007, was a member of the outstanding Flanders Quartet. His performance in this concert was expressive and brilliant. In the F major concerto, following the Allegro molto movement, the Loure, in keeping with Telemann’s love of the French style, was played with the elegance of lovely ornaments on recorder, harpsichord (using the lute register) and ‘cello. The Tempo di menuet movement, heavy in its beats, reflects Telemann’s taste for Polish, Moravian and Hanakian folk music, acquired on his travels between 1705 and 1708.
The recorder is featured in only a handful of Antonio Vivaldi’s (1678-1741) concertos, but where it does appear, the result is a concerto of virtuosic technique and musical variety. In his Concerto in g minor, RV 105, written in the typical Vivaldian form of three movements – fast, slow, fast –, we hear Tol on recorder, Peter Frankenberg (Holland) –oboe, Margaret Faultless-violin and Marc Vallon (bassoon) as well as basso continuo. The first movement is lively, giving all players melodic expression. The second movement – Largo –, given much expression by Tol, is, indeed, an aria for recorder, accompanied by bassoon and harpsichord. In the third movement, all instruments play once more; the bassoon is now given renewed, demanding solo duties. This rhythmic, colorful Allegro molto movement was inspiring in its energy. Marc Vallon (France), an orchestral- and chamber music player, has taught modern and Baroque bassoon at the Paris and Lyons Conservatory, gives master classes and is an arranger and composer. Musicologist and Baroque oboist Peter Frankenberg tours and records with several European ensembles, tutoring at a number of summer courses.
In Vivaldi’s Trio Sonata in a minor for recorder, bassoon and basso continuo, we had the pleasure of hearing Israeli recorder player Lara Morris. A member of several European consorts, Morris currently teaches recorder at the Jerusalem Academy of Music. From the opening Largo, one is lured into the fascinating combination of recorder and bassoon, certainly strange bedfellows, but how articulate and intense they are! Morris’ playing is expressive and brilliant; Vallon, too, no less, as we heard in the Allegro, which they presented with verve. In the Largo cantabile, the bassoon joins accompanying instruments, giving the recorder the stage. In the Allegro molto, with the two conversing once more, the audience enjoyed the energy and joy resulting from fine, communicative playing.
An interesting and moving item on the program was a group of pieces from two J.S.Bach cantatas, forming what baritone Peter Harvey called a “fake cantata”. “Tritt auf die Glaubensbahn” (Walk in the Way of Faith) BWV 152, composed in Weimar in1714, calls for a small ensemble of players, thus creating an intimate chamber piece. “Wer sich erhoehet, der soll erniedriget warden” (Whosoever exalteth himself shall be abased, and he who gains humility shall be exalted over.), BWV 47, was composed in Leipzig in 1726. The lush and interesting opening sinfonia, scored for recorder (Tol), oboe, violin, ‘cello and organ, issues in the “Tritt auf die Glaubensbahn” aria, with its opening motif depicting the stepping movement of “Tritt”, with its superb oboe obbligato. Peter Harvey’s voice boasts a rich mix of light and dark and his study of and interest in the verbal text are clear. In the aria “Der Heiland is gesetzt in Israel” (The Savior is set for the fall and rising again of many in Israel), we enjoy the intimacy and delicacy of voice, organ and ‘cello. In “Jesu, beuge doch mein Herze” (Jesus, humble my heart), violin and oboe interact and intertwine beguilingly. Harvey sings the final chorale as a solo:
“Perishable honor I will gladly reject,
If only You reserve the eternal for me,
That You have won through Your harsh, bitter death.
This I pray to you, my Lord and God”.
Peter Harvey (UK)-baritone
Kate Clark (Holland)-flute
Peter Frankenberg (Holland)-oboe
Marc Vallon (France)-bassoon
Rainer Zipperling (Germany)-‘cello
Margaret Faultless (UK)-violin
Han Toll (Holland)-recorder
Lara Morris (Israel)-recorder
Andrew Clark (UK)-horn
Matthew Halls (UK)-harpsichord
The Hirsch Theatre, Mercaz Shimshon,
Beit Shmuel, Jerusalem
October 18, 2008
Sunday, September 21, 2008
Barrocade Ensemble,Vanhal and Vivaldi
The Barrocade Ensemble, the Israeli Baroque Collective, performed a short concert in Jerusalem prior to its tour abroad to take part in the “VBE Baroque Evenings Festival” in Varazdin, a town of cultural and historical interest on the Drava River in northwestern Croatia. Established in 1971, this international festival offers a variety of Baroque concerts of all kinds in churches and picturesque venues around the town. This will be Barrocade’s first guest appearance at the festival.
The concert opened with Jan Krtitel Vanhal’s (1739-1813) “Salve Regina” for soprano and strings. Details of Vanhal’s life are sketchy but it is thought he was born of a Czech peasant family and was taken under the wing of a certain Countess Schaffgotsch, who sent him to study in Vienna. He eventually became a prolific composer, writing two or three operas, 100 quartets, at least 73 symphonies and 95 sacred works. The original manuscript of the “Salve Regina” we heard is today in Varazdin, where it was written at a time Vanhal was court composer there. The performance we heard, with soprano Ye’ela Avital singing the solo, was the Israeli premiere of the work. The opening Cantabile is paced in slow, heavy beats. Avital’s voice glides with ease, she is warm and communicative. The Allegro movement, though joyful, was taken at a controlled pace. The sudden pauses, typical of Vanhal’s style typical of the “Sturm und Drang” movement, add dramatic effect.
The next work on the program was Antonio Vivaldi’s (1678-1741) Mandolin Concerto in D major, with Jacob Reuven playing the solo. We know from a letter of Vivaldi’s that his protector, the Marquis Guido Bentivoglio, played the mandolin but there is no evidence that the mandolin concerti were written to be performed by him. Scored for strings, theorbo and harpsichord, the work began with energy and joy. Reuven was articulate, with brilliant solo passages, much “conversation” with the orchestra as well as moments where he joined instruments reinforcing harmonies. The Largo movement, with thinner orchestration, was intimate and delicate and taken at a relaxed enough pace for all nuances and ornamentation to be heard. The Allegro was spirited, with Reuven adding brilliance and excitement. The audience loved it. Israeli mandolin artist Jacob Reuven (b.1976) has performed with many local orchestras and ensembles. In addition to being a classical artist, he is a member of “Mactub”, an international ensemble performing classical, Arabic and Middle Eastern music.
Over the course of three centuries, more than 150 composers have used the La Folia theme in their works. Vivaldi used the popular melody and chord progression in 1705 for his La Folia Variations Opus 1, no.12, scoring it for two violins and basso continuo. We heard the Barrocade’s arrangement of it for strings, harpsichord, theorbo, mandolin and flutes. The ensemble’s version of it is a work in progress, developing and changing in time as the result of much discussion of ideas among the players. After a well-defined exposition of the short theme, we were treated to twenty variations of it, each differently orchestrated, each different in color… from flutes playing in parallel rhythms in the first, to a variation of only bowed and plucked instruments, to a mellow, darker texture, to abrasively bowed, intense textures, to a variation of virtuosity on the part of the mandolin, to serene, lyrical variations, to vehement, stormy ones, to ones of sudden dynamic changes, to running triplets. Violinist Shlomit Sivan was expressive and touching in her solos in two of the variations. This was a fine example of Barrocade’s rich palette of instrumental color.
The concert ended with Vivaldi’s motet “Laudate Pueri Dominum” in G, RV601, for soprano and orchestra, a joyous yet serene setting of Psalm 112. Israeli Ye’ela Avital is known to many as a performer of Baroque music, but her repertoire actually includes works from early- to contemporary music; she teaches and performs widely in Israel and Europe. This Vivaldi motet is an excellent vehicle for the Barrocade group; Avital delights the audience with the sheer melodic beauty of the piece, with her flowing melismas and her ornamenting, together with the fact that there is much to interest the players, too. The work is a series of short, contrasted movements. The Gloria was especially lovely, opening with Kimberly Reine’s moving cantabile flute solo. Flute and voice blended well against delicate orchestration. The florid Amen was rich and well phrased, bringing a very pleasing concert to an end. Barrocade’s concerts offer concert-goers the joys of live music, inspiring and involving the audience.
The Barrocade Ensemble’s concert series begins in November, details of which can be viewed on http://www.barrocade.co.il/ .
"Barrocade"
Slomit Sivan, Yasuko Hirata-violins
Katia Polin-viola, recorders
Boaz Berney, Kimberly Reine-flutes
Alexandra Polin-‘cello
Amit Tiefenbrunn-violone
Rinat Avissar-double bass
Eitan Hoffer-theorbo
Yizhar Karshon-harpsichord
St Andrews Scots Memorial Church, Jerusalem
September 18, 2008
The concert opened with Jan Krtitel Vanhal’s (1739-1813) “Salve Regina” for soprano and strings. Details of Vanhal’s life are sketchy but it is thought he was born of a Czech peasant family and was taken under the wing of a certain Countess Schaffgotsch, who sent him to study in Vienna. He eventually became a prolific composer, writing two or three operas, 100 quartets, at least 73 symphonies and 95 sacred works. The original manuscript of the “Salve Regina” we heard is today in Varazdin, where it was written at a time Vanhal was court composer there. The performance we heard, with soprano Ye’ela Avital singing the solo, was the Israeli premiere of the work. The opening Cantabile is paced in slow, heavy beats. Avital’s voice glides with ease, she is warm and communicative. The Allegro movement, though joyful, was taken at a controlled pace. The sudden pauses, typical of Vanhal’s style typical of the “Sturm und Drang” movement, add dramatic effect.
The next work on the program was Antonio Vivaldi’s (1678-1741) Mandolin Concerto in D major, with Jacob Reuven playing the solo. We know from a letter of Vivaldi’s that his protector, the Marquis Guido Bentivoglio, played the mandolin but there is no evidence that the mandolin concerti were written to be performed by him. Scored for strings, theorbo and harpsichord, the work began with energy and joy. Reuven was articulate, with brilliant solo passages, much “conversation” with the orchestra as well as moments where he joined instruments reinforcing harmonies. The Largo movement, with thinner orchestration, was intimate and delicate and taken at a relaxed enough pace for all nuances and ornamentation to be heard. The Allegro was spirited, with Reuven adding brilliance and excitement. The audience loved it. Israeli mandolin artist Jacob Reuven (b.1976) has performed with many local orchestras and ensembles. In addition to being a classical artist, he is a member of “Mactub”, an international ensemble performing classical, Arabic and Middle Eastern music.
Over the course of three centuries, more than 150 composers have used the La Folia theme in their works. Vivaldi used the popular melody and chord progression in 1705 for his La Folia Variations Opus 1, no.12, scoring it for two violins and basso continuo. We heard the Barrocade’s arrangement of it for strings, harpsichord, theorbo, mandolin and flutes. The ensemble’s version of it is a work in progress, developing and changing in time as the result of much discussion of ideas among the players. After a well-defined exposition of the short theme, we were treated to twenty variations of it, each differently orchestrated, each different in color… from flutes playing in parallel rhythms in the first, to a variation of only bowed and plucked instruments, to a mellow, darker texture, to abrasively bowed, intense textures, to a variation of virtuosity on the part of the mandolin, to serene, lyrical variations, to vehement, stormy ones, to ones of sudden dynamic changes, to running triplets. Violinist Shlomit Sivan was expressive and touching in her solos in two of the variations. This was a fine example of Barrocade’s rich palette of instrumental color.
The concert ended with Vivaldi’s motet “Laudate Pueri Dominum” in G, RV601, for soprano and orchestra, a joyous yet serene setting of Psalm 112. Israeli Ye’ela Avital is known to many as a performer of Baroque music, but her repertoire actually includes works from early- to contemporary music; she teaches and performs widely in Israel and Europe. This Vivaldi motet is an excellent vehicle for the Barrocade group; Avital delights the audience with the sheer melodic beauty of the piece, with her flowing melismas and her ornamenting, together with the fact that there is much to interest the players, too. The work is a series of short, contrasted movements. The Gloria was especially lovely, opening with Kimberly Reine’s moving cantabile flute solo. Flute and voice blended well against delicate orchestration. The florid Amen was rich and well phrased, bringing a very pleasing concert to an end. Barrocade’s concerts offer concert-goers the joys of live music, inspiring and involving the audience.
The Barrocade Ensemble’s concert series begins in November, details of which can be viewed on http://www.barrocade.co.il/ .
"Barrocade"
Slomit Sivan, Yasuko Hirata-violins
Katia Polin-viola, recorders
Boaz Berney, Kimberly Reine-flutes
Alexandra Polin-‘cello
Amit Tiefenbrunn-violone
Rinat Avissar-double bass
Eitan Hoffer-theorbo
Yizhar Karshon-harpsichord
St Andrews Scots Memorial Church, Jerusalem
September 18, 2008
Monday, September 8, 2008
The Golden Age of Judeo-Spanish Music,Beit Avi Chai,Jerusalem
The main auditorium at Beit Avi Chai was crowded to overflowing on the evening of August 21. The occasion was “Sounds from the Golden Age” – an evening of Ladino songs from the Golden Age of Sephardic music, interspersed with instrumental pieces from the Middle Ages. The concert was under the musical direction of recorder player and flautist Michael Melzer, who saw this as an opportunity to breathe new life into existing material by way of his own musical arrangements. People attending the concert represented different groups of Jerusalem communities. An instrumental ensemble of recorders, oud, percussion, double bass and a specially constructed viol combination instrument - was seated on the stage. The players were joined by singers Ofer Khalaf and Esti Keinan.
With a startling, buzzy barrage of driving rhythms, the concert opened with Francisco de la Torre’s (beginning 16th century) “Danza”, after which a jaunty early Saltarello was played mostly in parallel octaves, providing solos for several of the players. We heard an Estampie, the text of which was found in France, one of the few written for two voices. “Tre Fontane” (Three Wellsprings), a dance from the Middle Ages, representing the three monotheistic religions which had joined forces till the Jews’ banishment from Spain, was energetic, with recorders and oud placed against an ostinato of bowed instruments and drum – a virtuosic piece. Guglielmo Ebreo da Pesaro (Benjamin Guglielmo) was a Jewish dancing master in the 15th century in Pesaro, Italy. He served many European courts and wrote a treatise on dancing – “De pratica seu arte tripudii vulgare opusculum (On the Practice or Art of Dancing) (1463) – which included both tunes and choreography. In his reading of Guglielmo’s “La Spagna”, a basse dance (i.e. all steps close to the floor with no leaps) Melzer creates a tranquil, beautifully crafted solo to the accompaniment of double bass and percussion. The last dance played was “Cho min ciamento di gioia” (The Start of a Game), a homophonic, set of long, intricate phrases, each ending simultaneously.
Singer Ofer Khalaf did not grow up hearing songs in Ladino at home, but has made a serious study of the repertoire under the guidance of Rubic Simantov. Khalaf presented a number of Ladino romances, the first of which was “La rosa enflorece”, (The Rose Blooms in May) a 16th century love song of the Judeo-Spanish oral tradition, as passed on from generation to generation by Jewish women. In a superb and heart-rending performance of this much-loved song, Melzer’s arrangement was introduced by viol and double bass – double bass player Chagai Bilitsky had much to say melodically - it was expressive and mournful, with Ralli Margalit skillfully “singing” and ornamenting the melody on her viol-combination instrument in oriental, fragrant idiom. Khalaf began the song itself with humming, then adding the words, with his own expressive interpretation. The viol brought the piece to a poignant close.
‘The rose blooms in May
But my soul wilts from love sickness;
Nightingales sing with sighs of love.
In your hands are my soul and my fate.
Come quicker, dove, hurry and save me.’
The Romance “Porque IIorax, blanca nina” (Why Should You Cry?) exists in a number of versions. The whispering effects at the outset of the piece belie undertones of a complex domestic plot, whereby a man leaves his young wife, advising her to find a new husband after eight years of his absence. Melzer gives his instrumentalists individual melodic roles and expression, the combination of which resulted in a mesmerizing collage; Khalaf’s singing is full of feeling, from the gut. The next song he performed was probably in existence before the Jews were banished from Spain. Another tricky family situation unfolds here: a young man, released from prison, arrives at his mother’s home with a girl who is, as fate would have it, his mother’s daughter. In this strophic song, Oren Fried’s percussion sets the scene together with Chagai Bilitsky on double bass. We become aware of a military march in the distance. Khalaf sings the emotional text in a strident, uncompromising, heart-rending manner.
Melzer has clothed the touching, cantabile Ladino lullaby “Durme, durme” in Renaissance dress, beginning with an instrumental version of it, with delicate percussion bell effects creating an air of magic. Recorder solos were lyrical and pleasing. Khalaf’s sung verses were sandwiched between lilting instrumental sections. The instrumentalists joined the singing, too
‘Sleep, sleep, Mother’s little one,
Free from worry and grief.
Listen, my joy, to your mother’s words,
To the words of “Shema Yisrael”.
Sleep, sleep, Mother’s little one,
With the beauty of “Shema Yisrael”’.
Esti Keinan-Ofri is a singer, dancer and instrumentalist who performs ethnic music, in particular, Ladino songs, into which she shows great insight. At this concert, she presented four songs in Ladino, each being a performance in the true sense! Keinan sang two versions of “Tres hermanicas” (Three Sisters), opening with a duet with Margalit. Keinan’s alto voice is rich, boasting a large range; however, her strength lies in her dramatic presence and total involvement in her texts. In her second song, “Maldicha tripa” (A Cursed Belly), oud player Luai Chilifi plays a beguiling, meditative solo. The plot tells of a young daughter who goes to war to save her father from conscription. Keinan, with her large palette of gestures and vocal color, is expressive and spontaneous, taking the listener into the depths of his or her soul. In “La mujer de Terach” (Terach’s wife, mother of Abraham) Keinan accompanying herself with the utmost of delicacy with the help of a small gong, is eventually joined by Fried’s voice and percussions. (They perform together as the “Kol-Toff” [Voice-drum] Duo.)Beginning with a somewhat Sprechgesang (speech in song) technique, Keinan’s reading of the piece takes her into strident sounds of the most vehement expression. Her fourth song, the wedding song “Ay, que Buena” (Oh, How Beautiful), was also performed with Fried – a percussionist whose hallmark is good taste and delicacy. The song is sensitive, sensuous and earthy. Keinan is free and spontaneous in her use of the stage, her face and body. She and Fried communicate well, complementing each other in understated nuances.
The evening ended with Ofer Khalaf singing “Yo menamore d’un aire” (I Fell in Love), one of the most popular and best-known Ladino songs. To this joyful, flowing melody Melzer has added independent melodic lines for recorders. As in some of the texts above, we are once again reminded that the domestic scene is fraught with problems! The audience savored every moment of it.
‘I fell in love with a breeze,
A breeze of a woman so pretty,
Dearer to me than my heart.
I fell in love during the night,
The moon deceived me-
Were it daytime, I would not have found love.
If I fall in love ever again
I will do it in daylight.’
This concert was the outcome of much research, work and artistic creativity on the part of Michael Melzer and his fellow musicians. The combination of Ladino songs and Renaissance dances was interesting and certainly refreshing. Melzer’s instrumentalists are hand-picked, his singers outstanding; performance was polished, at the same time leaving room for freedom and spontaneity. Considering the wealth of material covered in the concert and the audience’s interest and involvement, a detailed printed program would have been helpful. The auditorium at Beit Avi Chai is a pleasing venue for events of this kind.
“Sounds of the Golden Age”
Michael Melzer-artistic direction, musical arrangements, recorders
Yael Melzer-recorders
Ofer Khalaf-tenor
Ralli Margalit-“Hu-Tar” ‘cello
Luai Chilifi-oud
Chagai Bilitsky-double bass
Oren Fried-percussions
Guest artist Esti Keinan-Ofri-alto
Beit Avi Chai, Jerusalem
August 21, 2008
With a startling, buzzy barrage of driving rhythms, the concert opened with Francisco de la Torre’s (beginning 16th century) “Danza”, after which a jaunty early Saltarello was played mostly in parallel octaves, providing solos for several of the players. We heard an Estampie, the text of which was found in France, one of the few written for two voices. “Tre Fontane” (Three Wellsprings), a dance from the Middle Ages, representing the three monotheistic religions which had joined forces till the Jews’ banishment from Spain, was energetic, with recorders and oud placed against an ostinato of bowed instruments and drum – a virtuosic piece. Guglielmo Ebreo da Pesaro (Benjamin Guglielmo) was a Jewish dancing master in the 15th century in Pesaro, Italy. He served many European courts and wrote a treatise on dancing – “De pratica seu arte tripudii vulgare opusculum (On the Practice or Art of Dancing) (1463) – which included both tunes and choreography. In his reading of Guglielmo’s “La Spagna”, a basse dance (i.e. all steps close to the floor with no leaps) Melzer creates a tranquil, beautifully crafted solo to the accompaniment of double bass and percussion. The last dance played was “Cho min ciamento di gioia” (The Start of a Game), a homophonic, set of long, intricate phrases, each ending simultaneously.
Singer Ofer Khalaf did not grow up hearing songs in Ladino at home, but has made a serious study of the repertoire under the guidance of Rubic Simantov. Khalaf presented a number of Ladino romances, the first of which was “La rosa enflorece”, (The Rose Blooms in May) a 16th century love song of the Judeo-Spanish oral tradition, as passed on from generation to generation by Jewish women. In a superb and heart-rending performance of this much-loved song, Melzer’s arrangement was introduced by viol and double bass – double bass player Chagai Bilitsky had much to say melodically - it was expressive and mournful, with Ralli Margalit skillfully “singing” and ornamenting the melody on her viol-combination instrument in oriental, fragrant idiom. Khalaf began the song itself with humming, then adding the words, with his own expressive interpretation. The viol brought the piece to a poignant close.
‘The rose blooms in May
But my soul wilts from love sickness;
Nightingales sing with sighs of love.
In your hands are my soul and my fate.
Come quicker, dove, hurry and save me.’
The Romance “Porque IIorax, blanca nina” (Why Should You Cry?) exists in a number of versions. The whispering effects at the outset of the piece belie undertones of a complex domestic plot, whereby a man leaves his young wife, advising her to find a new husband after eight years of his absence. Melzer gives his instrumentalists individual melodic roles and expression, the combination of which resulted in a mesmerizing collage; Khalaf’s singing is full of feeling, from the gut. The next song he performed was probably in existence before the Jews were banished from Spain. Another tricky family situation unfolds here: a young man, released from prison, arrives at his mother’s home with a girl who is, as fate would have it, his mother’s daughter. In this strophic song, Oren Fried’s percussion sets the scene together with Chagai Bilitsky on double bass. We become aware of a military march in the distance. Khalaf sings the emotional text in a strident, uncompromising, heart-rending manner.
Melzer has clothed the touching, cantabile Ladino lullaby “Durme, durme” in Renaissance dress, beginning with an instrumental version of it, with delicate percussion bell effects creating an air of magic. Recorder solos were lyrical and pleasing. Khalaf’s sung verses were sandwiched between lilting instrumental sections. The instrumentalists joined the singing, too
‘Sleep, sleep, Mother’s little one,
Free from worry and grief.
Listen, my joy, to your mother’s words,
To the words of “Shema Yisrael”.
Sleep, sleep, Mother’s little one,
With the beauty of “Shema Yisrael”’.
Esti Keinan-Ofri is a singer, dancer and instrumentalist who performs ethnic music, in particular, Ladino songs, into which she shows great insight. At this concert, she presented four songs in Ladino, each being a performance in the true sense! Keinan sang two versions of “Tres hermanicas” (Three Sisters), opening with a duet with Margalit. Keinan’s alto voice is rich, boasting a large range; however, her strength lies in her dramatic presence and total involvement in her texts. In her second song, “Maldicha tripa” (A Cursed Belly), oud player Luai Chilifi plays a beguiling, meditative solo. The plot tells of a young daughter who goes to war to save her father from conscription. Keinan, with her large palette of gestures and vocal color, is expressive and spontaneous, taking the listener into the depths of his or her soul. In “La mujer de Terach” (Terach’s wife, mother of Abraham) Keinan accompanying herself with the utmost of delicacy with the help of a small gong, is eventually joined by Fried’s voice and percussions. (They perform together as the “Kol-Toff” [Voice-drum] Duo.)Beginning with a somewhat Sprechgesang (speech in song) technique, Keinan’s reading of the piece takes her into strident sounds of the most vehement expression. Her fourth song, the wedding song “Ay, que Buena” (Oh, How Beautiful), was also performed with Fried – a percussionist whose hallmark is good taste and delicacy. The song is sensitive, sensuous and earthy. Keinan is free and spontaneous in her use of the stage, her face and body. She and Fried communicate well, complementing each other in understated nuances.
The evening ended with Ofer Khalaf singing “Yo menamore d’un aire” (I Fell in Love), one of the most popular and best-known Ladino songs. To this joyful, flowing melody Melzer has added independent melodic lines for recorders. As in some of the texts above, we are once again reminded that the domestic scene is fraught with problems! The audience savored every moment of it.
‘I fell in love with a breeze,
A breeze of a woman so pretty,
Dearer to me than my heart.
I fell in love during the night,
The moon deceived me-
Were it daytime, I would not have found love.
If I fall in love ever again
I will do it in daylight.’
This concert was the outcome of much research, work and artistic creativity on the part of Michael Melzer and his fellow musicians. The combination of Ladino songs and Renaissance dances was interesting and certainly refreshing. Melzer’s instrumentalists are hand-picked, his singers outstanding; performance was polished, at the same time leaving room for freedom and spontaneity. Considering the wealth of material covered in the concert and the audience’s interest and involvement, a detailed printed program would have been helpful. The auditorium at Beit Avi Chai is a pleasing venue for events of this kind.
“Sounds of the Golden Age”
Michael Melzer-artistic direction, musical arrangements, recorders
Yael Melzer-recorders
Ofer Khalaf-tenor
Ralli Margalit-“Hu-Tar” ‘cello
Luai Chilifi-oud
Chagai Bilitsky-double bass
Oren Fried-percussions
Guest artist Esti Keinan-Ofri-alto
Beit Avi Chai, Jerusalem
August 21, 2008
Saturday, August 30, 2008
Cologne New Philharmonic Orchestra - Junge Philharmonie
The evening of August 9th was wet and blustery in Cornwall but inclement weather did not prevent local people and summer visitors from attending a concert played by a few members of the Cologne New Philharmonic Orchestra at the Church of St. Mary the Virgin in Penzance. The present church was built in 1833-5, becoming a parish church with its own vicar in 1871.TheCologne New Philharmonic Orchestra, directed by Volker Hartung, is the only independent orchestra in Germany and its members come from many countries: the eight performers that evening were from Germany, Poland, Spain and Belgium. Hartung himself was not present.
The evening’s concert began with W.A.Mozart’s (1756-1791) Violin Concerto in G Major, KV 216.Composed in Salzburg in 1775, the work is in three movements. Soloist was Marek Dumicz, the orchestra’s concertmaster, with a string sextet playing the orchestral parts. The opening Allegro movement was fresh-sounding, with much interaction between the players. The cadenza was expressive and personal without being showy. The Adagio movement was given a personal, rich reading. Here, the cadenza was well paced and thought-provoking. The Rondeau:Allegro was joyful but measured, Dumicz’ phrases were finely shaped and melodic subjects nicely contrasted. The work ended with a touch of Mozartean humility.
Also by Mozart, we heard the aria “Nel Sen mi Palpita”, with the young Belgian soprano Astrid Defauw as soloist. The aria is from Act one of “Mitridate, re di Ponto”, an opera written by Mozart in 1770 (the composer was 14 years of age!), when he was touring Italy. In this aria, Aspasia, who is engaged to Mitridate, awaits her fiance’s return, grieving the fact that he is parted from her. Defauw’s performance was exciting and dynamic; her understanding of the role was supported by her vocal ease and musicality. Her diction was not always distinct.
The ensemble performed a selection of pieces from Henry Purcell’s (1658-1695) opera “Dido and Aeneas”. To a libretto by Nahum Tate, it was Purcell’s first opera, composed in 1689. In the Overture, the septet sets the gloomy scene. The aria “I am prest with torment” is sung to a ground (recurring) bass, a musical form frequently used by Purcell. Here, Dido tells her servant Belinda of her doubts about Aeneas’ intentions. Defauw’s performance of it was emotional and enriched by excellent instrumental support. The selection ended with Dido’s heart-rending “When I am laid in earth”. Defauw ornamented the piece tastefully as she let the aria unfold and breathe, her high notes rich and effortless. Her own involvement in the tragedy of the piece was convincing and moving.
Gioacchino Rossini (1792-1868) composed his six string sonatas in Ravenna Italy in the summer of 1804. He was only twelve years of age. They are often performed by larger ensembles; the CNPO players, however, performed his Sonata III in C major for strings in its original scoring, as a quartet. Based on the classical model of the generation preceding Rossini, the work conjures up the immediacy and sparkling cantabile melodic fluency present in Rossini operas! The opening Allegro was both cleanly played and delightfully entertaining, with its humorous moments and joy. The Andante painted a more serious scene, with the final Moderato movement presenting a dazzling set of variations, offering brilliant solos to players, double-bass player included.
Felix Mendelssohn-Bartholdy (1809-1847) composed the incidental music to “A Midsummer Night’s Dream” opus 61 in 1843. Actually, he had written the Overture 17 years earlier! The CNPO chose to play the Scherzo from it; the ensemble’s lightness and agility, variety of color and textures were a keen reminder to us that the setting for the Shakespeare play was an enchanted wood.
The concert ended with Joseph Haydn’s (1732-1809) Concerto in C major for Violoncello and Orchestra, Hob. VII:1, with the ‘cello solo played by Dmitri Gornovski. Haydn composed the work around 1761-1765 to be performed by his friend Joseph Weigl, the principal ‘cellist of Prince Nicolaus’ Esterhazy Orchestra. The score calls for strings, two oboes and two horns. There is also a basso continuo line that might have been played by another ‘cellist or a bass string player or, possibly, by Haydn himself at the harpsichord. The Cologne ensemble made do with no wind instruments. The original ‘cello line, however, divides its time between playing solo and joining tutti sections, this dual role making great demands on that player. All the concerto’s movements are in sonata form. The first movement – Moderato – expounds Haydnesque joy. Gornovski’s richness of tone and expression made for interesting listening, his cadenza measured, communicating a sense of well-being. After a dramatic entry of two bars, the Adagio movement is tranquil, articulate and meditative, with Gornovski’s bow caressing and singing. The final movement - Allegro molto – is witty and joyful. The soloist’s energy and virtuosity had his audience involved and bright-eyed.
Johann Pachelbel’s much-loved, mellow Canon in D major was played as an encore, providing another chance to hear beautiful solo work.
The program was varied, with an appealing selection of works. The Cologne New Philharmonic Orchestra has high standards of performance, its reading into works profound. Tempi are taken for what they are and never as a vehicle for showmanship. Performing these works with so few players creates playing that is more individual and expressive than often heard in larger ensembles. The audience was enthusiastic and appreciative.
Junge Philharmonie Koeln,
Violins: Marek Dumicz (concertmaster, Poland), Sabine Baron (Germany), Mateosz Zuzanski (Poland), Michal Rozek (Spain)
Viola: Alexandra Kiszka (Poland)
Violoncello: Dmitri Gornovski (Germany)
Double bass: Alexander Maar (Germany)
Soprano: Astrid Defauw (Belgium)
The Church of St. Mary the Virgin, Penzance, Cornwall UK.
August 9, 2008
The evening’s concert began with W.A.Mozart’s (1756-1791) Violin Concerto in G Major, KV 216.Composed in Salzburg in 1775, the work is in three movements. Soloist was Marek Dumicz, the orchestra’s concertmaster, with a string sextet playing the orchestral parts. The opening Allegro movement was fresh-sounding, with much interaction between the players. The cadenza was expressive and personal without being showy. The Adagio movement was given a personal, rich reading. Here, the cadenza was well paced and thought-provoking. The Rondeau:Allegro was joyful but measured, Dumicz’ phrases were finely shaped and melodic subjects nicely contrasted. The work ended with a touch of Mozartean humility.
Also by Mozart, we heard the aria “Nel Sen mi Palpita”, with the young Belgian soprano Astrid Defauw as soloist. The aria is from Act one of “Mitridate, re di Ponto”, an opera written by Mozart in 1770 (the composer was 14 years of age!), when he was touring Italy. In this aria, Aspasia, who is engaged to Mitridate, awaits her fiance’s return, grieving the fact that he is parted from her. Defauw’s performance was exciting and dynamic; her understanding of the role was supported by her vocal ease and musicality. Her diction was not always distinct.
The ensemble performed a selection of pieces from Henry Purcell’s (1658-1695) opera “Dido and Aeneas”. To a libretto by Nahum Tate, it was Purcell’s first opera, composed in 1689. In the Overture, the septet sets the gloomy scene. The aria “I am prest with torment” is sung to a ground (recurring) bass, a musical form frequently used by Purcell. Here, Dido tells her servant Belinda of her doubts about Aeneas’ intentions. Defauw’s performance of it was emotional and enriched by excellent instrumental support. The selection ended with Dido’s heart-rending “When I am laid in earth”. Defauw ornamented the piece tastefully as she let the aria unfold and breathe, her high notes rich and effortless. Her own involvement in the tragedy of the piece was convincing and moving.
Gioacchino Rossini (1792-1868) composed his six string sonatas in Ravenna Italy in the summer of 1804. He was only twelve years of age. They are often performed by larger ensembles; the CNPO players, however, performed his Sonata III in C major for strings in its original scoring, as a quartet. Based on the classical model of the generation preceding Rossini, the work conjures up the immediacy and sparkling cantabile melodic fluency present in Rossini operas! The opening Allegro was both cleanly played and delightfully entertaining, with its humorous moments and joy. The Andante painted a more serious scene, with the final Moderato movement presenting a dazzling set of variations, offering brilliant solos to players, double-bass player included.
Felix Mendelssohn-Bartholdy (1809-1847) composed the incidental music to “A Midsummer Night’s Dream” opus 61 in 1843. Actually, he had written the Overture 17 years earlier! The CNPO chose to play the Scherzo from it; the ensemble’s lightness and agility, variety of color and textures were a keen reminder to us that the setting for the Shakespeare play was an enchanted wood.
The concert ended with Joseph Haydn’s (1732-1809) Concerto in C major for Violoncello and Orchestra, Hob. VII:1, with the ‘cello solo played by Dmitri Gornovski. Haydn composed the work around 1761-1765 to be performed by his friend Joseph Weigl, the principal ‘cellist of Prince Nicolaus’ Esterhazy Orchestra. The score calls for strings, two oboes and two horns. There is also a basso continuo line that might have been played by another ‘cellist or a bass string player or, possibly, by Haydn himself at the harpsichord. The Cologne ensemble made do with no wind instruments. The original ‘cello line, however, divides its time between playing solo and joining tutti sections, this dual role making great demands on that player. All the concerto’s movements are in sonata form. The first movement – Moderato – expounds Haydnesque joy. Gornovski’s richness of tone and expression made for interesting listening, his cadenza measured, communicating a sense of well-being. After a dramatic entry of two bars, the Adagio movement is tranquil, articulate and meditative, with Gornovski’s bow caressing and singing. The final movement - Allegro molto – is witty and joyful. The soloist’s energy and virtuosity had his audience involved and bright-eyed.
Johann Pachelbel’s much-loved, mellow Canon in D major was played as an encore, providing another chance to hear beautiful solo work.
The program was varied, with an appealing selection of works. The Cologne New Philharmonic Orchestra has high standards of performance, its reading into works profound. Tempi are taken for what they are and never as a vehicle for showmanship. Performing these works with so few players creates playing that is more individual and expressive than often heard in larger ensembles. The audience was enthusiastic and appreciative.
Junge Philharmonie Koeln,
Violins: Marek Dumicz (concertmaster, Poland), Sabine Baron (Germany), Mateosz Zuzanski (Poland), Michal Rozek (Spain)
Viola: Alexandra Kiszka (Poland)
Violoncello: Dmitri Gornovski (Germany)
Double bass: Alexander Maar (Germany)
Soprano: Astrid Defauw (Belgium)
The Church of St. Mary the Virgin, Penzance, Cornwall UK.
August 9, 2008
Labels:
Church of St Mary the Virgin,
Cornwall,
Penzance,
UK
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