Purcell: The Fairy Queen
Gabrieli Consort and Players, Paul McCreesh
St John’s, Smith Square. 1 November 2018
The Gabrieli Consort and Players could probably perform The Fairy Queen in their sleep, such is their experience of Purcell’s music, and this particular work, over many years. They have performed it at the BBC Proms, the Barbican, the Spitalfields Festival and many other venues around the world. They now plan to record it, along with King Arthur, early in the New Year, with the same forces as appeared in this St John’s, Smith Square performance. Their crowdfunding campaign page can be found here.
One of the continuing successes of the Gabrieli’s and their director Paul McCreesh is their ability to reinvent themselves and to continually question and push boundaries in their approach to their music making. For this particular recording (and this concert) they stress that “Gabrieli also brings a forensic understanding of contemporaneous performance techniques to this repertoire, including a new bow hold for string players which transforms articulation and influences tempi; wind instruments using more basic, coarser reeds, for a more martial sound; and natural trumpets performing on instruments without holes, playing entirely through the adjustment of embouchure – a high wire act!“. This was also the premiere of a new performing edition, prepared by McCreesh and Christopher Suckling, their principal bass violinist. It was performed at the low ‘French’ pitch of 392Hz and the violins played using French bow holds. If this suggests an academic approach to music making, the experience of this concert proved to be anything but. It was a compelling and exuberant performance, semi-staged, albeit with only one ‘prop’ – in the shape of an enormous bleached-white wig for Mopsa, aka Charles Daniels. Continue reading
JS Bach: B Minor Mass
Gabrieli Consort and Players, Paul McCreesh
St John’s, Smith Square. 1 April 2018
The St John’s, Smith Square Holy Week Festival concluded with an Easter Sunday performance of the B Minor Mass. it is a piece not normally associated with Holy Week, but it reflects in glorious musical form the belief system of the Christian believer. It is one of Bach’s last works and one that he clearly wanted posterity to hear, even though he never heard it performed himself. In fact, it wasn’t performed complete until a 100 years after Bach’s death. Its compositional background is complex, with versions of some individual movements dating back to 1714 (the Crucifixus) and the Kyrie and Gloria (the Missa) completed in 1733 and presented to the new Saxon Elector with a view to getting the title of Composer to the Electoral Saxon Court, which he eventually got three years later. In the last few years of his life, Bach extended the Missa to include the full Latin Ordinary of the Catholic Mass by adding the Credo (the Symbolum Nicenum), Sanctus, Agnus Dei, and the concluding Dona nobis pacem, the latter a repeat of an earlier Gloria movement. Even its current title is misleading, not least because only a few of the movements are actually in B minor. Continue reading
Praetorius: Mass for Christmas Morning
Gabrieli Consort & Players, Paul McCreesh
St John’s, Smith Square
7 December 2017
The 500th anniversary of the Reformation gave the Gabrieli Consort & Players the chance to revisit the music of their most successful recording, Praetorius’s Mass for Christmas Morning. The recording dates from 1994 and was recorded in the splendour of Denmark’s Roskilde Cathedral. That venue was chosen because of the historic Roskilde organ, dating back to 1544 with additional work in 1611, 1654 and the 1690s, the whole restored back to its pre-1700 state. For this short tour, the Gabrieli Consort & Players visited Hull, Bradford and London’s St John’s, Smith Square, on each occasion joining with local choirs to expand the resources. Continue reading
Handel in Italy
Gabrieli Consort & Players, Paul McCreesh, Gillian Webster
St John’s, Smith Square. 28 March 2017
Corelli: Concerto Grosso in D Op. 6 No. 4; Handel: Donna che in ciel HWV233; Dixit Dominus HWV232
Although, in true British fashion, George Frederic Handel is usually claimed as the quintessential English composer, some of his most exciting music was composed during the four years he spent in Italy (1706-10). Early training seemed to set Handel on course to be an organist and church musician, to the extent that he travelled to Lübeck in 1703 with a view to succeeding the great Buxtehude at the Marienkirche. But three years in Hamburg’s opera world (1703-6) changed that ambition, and resulted in an invitation by a Medici to come to Italy. He was already well-versed in the Italian music through his early training with Zachow in Halle, but his ability to immediately absorb national styles quickly became apparent, as it later did on his arrival in London in 1710. Continue reading
Haydn: The Seasons 1801
Gabrieli Consort & Players, Wroclaw Baroque Orchestra, National Forum of Music Choir, Paul McCreesh
Signum SIGCD 480. 2 CDs. 133’08
Those that have followed the Gabrieli Consort and Paul McCreesh over the years will know that they rarely do things by halves. In their early years, this included such seminal recordings as, for example, their 1994 reconstruction of a Lutheran Christmas recorded with massed forces in Roskilde Cathedral, the latter chosen because of its important historic organ. In recent years they have built close connections with the National Forum of Music in Wroclaw, Poland. This much heralded recording of the 1801 version of Haydn’s The Seasons is the latest of those collaborations. The opening thunderous wallop on the timpani will warn you that this is a recording of some drama and punch. Using a new performing edition (and English translation) by Paul McCreesh this is the first recording to feature the large orchestral forces that Haydn called for in some of the early performances, with a string section of 60, 10 horns and a choir of 70, using the combined forces of the Gabrieli Consort & Players, Wroclaw Baroque Orchestra and National Forum of Music Choir.
Often overlooked in favour of The Creation, The Seasons is in many ways a more forward-looking work, with more of a hint of the romanticism that was eventually going to overtake all the arts. Continue reading
Haydn: Harmoniemesse, etc.
London Youth Choir & Chamber Choir, Gabrieli Consort & Players
Paul McCreesh, Robbie Jacobs
St Andrew Holborn, 9 March 2017
Ian Grandage: Dawn, Sunset; Ola Gjeilo: Northern Lights; Rheinberger: Morgenlied and Abendlied; Rachmaninov: Bogoroditse Dyevo.
On a day when the BBC reported on research into the sad state of music education in English secondary schools, it was good to be reminded of the many musical activities that are available to young people. Two examples were on show at this event: Gabrieli Roar and the London Youth Choir.
Gabrieli Roar was founded in 2010, and is a partnership between the Gabrieli Consort and a range of British youth choirs, enabling the latter to perform alongside professional musicians and providing support and encouragement, particularly in areas of low cultural provision. The London Youth Choir (LYC) was established in 2012. It runs five choirs for children aged from 3 to 21 years living or educated in Greater London. The choirs are auditioned, and choir members pay £55 a term subscription. It has been a part of Gabrieli Roar since 2015. Continue reading
Handel: L’Allegro, il Penseroso ed il Moderato 1740
Gabrieli Consort & Players, Paul McCreesh
Signum SIGCD392. 2 CDs. 77’12+64’26=141’38.
L’Allegro, il Penseroso ed il Moderato, Concerto Grosso in G (Op 6/1), Concerto Grosso in E Minor (Op 6/3), Organ Concerto in B-Flat (O 7/1)
Handel’s L’Allegro, il Penseroso ed il Moderato is one of his most attractive and approachable, but also his most complex and confusing, works. It is not clear what it is. It is not an opera, an oratorio, ode or cantata, but was loosely described at the time as ‘an entertainment’. There is no plot, no human characters or underlying narrative. The title is in Italian, the text in English. The three ‘characters’ of the title represent the contrasting temperaments of mirth (Allegro) and melancholy (Penseroso), joined, in the third part, by Moderato, the voice of reason, restraint and, it seems, “chaste love”. Two of the ‘roles’ are each sung by three different voices (Allegro by tenor, boy treble and bass; Moderato by baritone, soprano and tenor), with Allegro on one occasion sung as a duet. Continue reading