Cellist Adaiha Macadam-Sommer, who won the Voices of Music Bach Competition was making regular appearances with the group until her move to Portland, Oregon; but she returned for both solo and ensemble work last night. Dominic Favia, first seen playing trumpet for American Bach Soloists in April of , was on hand for concertos by Torelli and Telemann.
In addition, violinist Alana Youssefian, an alumna of the Historical Performance program at the Juilliard School, who performed with the Philharmonia Baroque Orchestra a little over a month ago , also divided her time between solo and ensemble performing. Finally, there were two entirely new faces in the violin section, Augusta McKay Lodge another Juilliard alumna and Amy Wang, both of whom also had solo opportunities in the Vivaldi four-violin concerto.
With the video recording of the two Four Seasons concertos, the Voices of Music YouTube channel will soon have a complete documentation of performances of all of the concertos in that collection. As always, St. As to the performances themselves, there were any number of delightful opportunities to encounter new approaches to listen to music previously taken to be familiar. In several of the concerto performances, the ensemble shifted to pizzicato playing as one approach to shine a new light on a passage that had already been repeated several times.
Labels: Arcangelo Corelli , music , Telemann , Vivaldi. The idea behind this title besides making a pitch to lure new members into the PBO audience was the exploration of the concerto grosso, whose first major proponent if not first of all was Arcangelo Corelli. Usually, the grouping entailed some form of structural commonality. In the case of this Opus 6 publication, that commonality can be found only in the deployment of two violins and one cello taking solo parts within a string ensemble.
From a structural point of view, there is no single way of organizing a composition in movements that pervades the entire collection. Egarr established this point through the two concerti he selected for the collection, one for each side of the intermission. He began the program with the tenth concerto grosso in the key of C major.
The informed eye examining the list of movements would quickly recognize this piece as a dance suite, one with an introductory prelude and an Adagio intervening between the allemande and the courante. On the other hand the selection for the second half of the program, the second concerto grosso in F major, consists of an extended sequence of very short movements, which demarcate a rapid-fire succession of mood shifts.
Muffat published a collection of five concerti grossi in under the title Armonico tributo , and Egarr conducted the last of these in the key of G major. Taken as a whole, this piece had its own interesting approach to a five-movement structure. The two outer movements were both dance forms, concluding with an extended passacaglia. The second and fourth movement were both Adagio tempo, and the middle movement was a fugue.
This brings us to Egarr-the -performer sharing the stage with Egarr-the-conductor. Situated behind any keyboard, Egarr definitely knows how to indulge! His organ improvisation had an unmistakable ring of spontaneity, emerging as an engaging pastiche of honoring the past and reveling in the present. In addition he conducted the remainder of the program from behind a harpsichord, where his capacity for improvisation was just as free and stimulating.
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Martinu wrote a fair quantity of music for cello, but these three sonatas are undoubtedly the finest. Here the colours are prevailingly darker, the mood on the whole more urgent.
Take the opening of the Third Sonata: Evans's opening chords are massive and sonorous at first, but the splendour quickly fades--enter Isserlis, cool and restrained, but growing in warmth and tone weight towards the first climax.Apr 30, · Isserlis organized his program around three cello sonatas, each by a composer from a different stylistic period but all composed late in life. The earliest of these was the Opus 65 sonata in G minor by Frédéric Chopin (who died in ), composed between and