Senza Basso — Auf dem Weg zu Bach
Music by Baltzar, Matteis, Westhoff, Torelli, Corelli,
Vilsmayr, Pisendel, Purcell and Biber
Nadja Zwiener, Violin
Genuin GEN 21728. 65’57
Well known in the UK as the leader of The English Concert and in Germany as leader of the Bachakademie Stuttgart, Senza Basso — Auf dem Weg zu Bach (Without bass — on the way to Bach) is violinist Nadja Zwiener‘s first solo CD. It explores a fascinating genre of music for solo violin preceding Bach’s famous 1720 Six Sonatas and Partitas for solo violin. In his programme essay ‘Melodic polyphony, polyphonic melody – composing senza basso in the Baroque era’, Michael Maul points out the challenges of composing, playing and listening to music with a normal bass line, describing it as “an art of omission and of sensing the unplayed”.
by Dall’Abaco, Porpora, Marcello, Tartini & Telemann
The English Concert, Harry Bicket
Signum Classics SIGCD549. 68’43
Dall’Abaco (1675-1742) Concerto a piu instrumenti in D major Op.5 No.5
Porpora (1686-1768) Cello Concerto in G major
Marcello (1673-1747) Oboe Concerto in D minor
Tartini (1692-1770) Violin Concerto in B minor D.125
Telemann (1681-1767) Viola Concerto in G major TWV 51.69.
At first sight, this appears to be a blatant promotional effort on behalf of The English Concert (who are celebrating their 45th birthday), one clue being calling it after themselves, rather than the composers or music it contains. I think that image is unfortunate, as the music and the instrumental soloists are of the highest order. It is based on the composers and performers connected with the many early 18th-century European court orchestras, several of which proved to be pioneering musical hothouses, albeit depending on the whims of the current princely ruler. The featured soloists are Nadja Zwiener (violin), Tuomo Suni (violin), Joseph Crouch (cello), Katharina Spreckelsen (oboe), Alfonso Leal del Ojo (viola), all regular members of The English Concert rather than bought-in soloists. Continue reading
Spitalfields Music: Shakespeare in Love
The English Concert, Harry Bicket, Mary Bevan, Tim Mead
Shorditch Church, 7 December 2016
The Spitalfields Music Winter Festival is one of the highlights of the London musical calendar, sensibly positioned in early December just before the Christmas musical silliness takes hold. Founded in 1976, initially to raise interest and money for the restoration of the fabulous Nicholas Hawksmoor Christ Church Spitalfields, Spitalfields Music has grown to became a major arts and community organisation working throughout the year in the East End of London. It’s 40th year included 15 new commissions, programming more than 65 performances across East London, enabling some 5000 local people to take part in free musical activities, and working with communities ranging from 1500 local school children to care home residents. The week-long festival ranged from contemporary jazz, a Bollywood show with ‘a tuba the size of Belgium’, a show for toddlers, musical dinners in a hidden Masonic Temple together with the usual array of top-notch classical music events, with the usual focus on early and contemporary music.
I missed the first few days (including Gothic Voices in the Tower of London, The Sixteen, Melvyn Tan, and a dance and music theatre show. So for me, the festival started with The English Concert’s tribute to the music inspired by Shakespeare in his own anniversary year. A cleverly designed programme focused on Purcell’s Fairy Queen and Handel’s Guilio Cesare in the two halves, and featured soprano Mary Bevan and Countertenor Tim Mead, two of the finest singers around. Continue reading
Spitalfields Music: The English Concert
Christ Church Spitalfields. 9 December 2015
Dandrieu: Trio Sonata Op 1/2; Charpentier: Magnificat H73; Charpentier: In nativitatem Domini nostri Jesu Christi canticum; Stradella: Cantata per il Santissimo Natale ‘Ah! Troppo è ver’.
Following their paired-down concert at the Sam Wanamaker Playhouse a few days earlier (reviewed here), The English Concert transferred their magic to the magnificent East London church of Christ Church Spitalfields for one of the Spitalfields Winter Festival showpiece concerts. Contrasting the seasonal music of France and Italy, the music spanned the period from the mid-17th to the early 18th century.
The evening started with Jean-François Dandrieu, a composer well-known to organists for his lively Noël variations, but otherwise overlooked in favour of the likes of Rameau and Couperin. The delightful Trio Sonata in D from his 1706 Livres de Sonates en trio demonstrated Italian influence, not least in its use of counterpoint and the Corellian walking bass in the opening Largo, and its vivacious concluding Presto. A true trio, with Joseph Crouch’s cello (or, in this case, perhaps more correctly Continue reading