Da Camera & Carolyn Sampson

Telemann, Bach, & Scarlatti
Da Camera with Carolyn Sampson
Kings Place. 20 September 2017

I reviewed Da Camera’s very first concert, in March 1999 at Hampstead’s Burgh House, noting that “Emma Murphy is a superb recorder player … she combines outstanding virtuosity with musical intelligence and sensitivity”, and that harpsichordist Steven Devine was (amongst other things) “clearly blessed with enviable technical skills”. In 2001, I commented on their “well-balanced programme, a friendly and informal stage manner, fine musicianship and superb playing” – a comment that they quoted in the programme for this Kings Place concert. In a later review, I praised Susanna Pell for producing a “wide range of tones and textures from her gamba, both in accompanying and in solo pieces”. Since those early days, they have each developed their own independent careers (and, indeed, families), but have now returned to the musical fray with a series of concerts and a new Telemann CD. Continue reading

Carbonelli: Sonate da Camera 1-6

Giovanni Stefano Carbonelli: Sonate da Camera 1-6
Bojan Čičić & The Illyria Consort
Delphian DCD34194. 63’46

For a British musician, now is a very good time to be reminded of the extraordinary contribution that immigrant musicians have made to our musical history, from at least the early 1500s. This CD reflects that in at least two ways. Giovanni Stefano Carbonelli was born in Liverno in 1694. Although supposition that he studied with Corelli seems ill-founded, he certainly absorbed and developed Corelli’s style. He moved to England in, or just before 1719, possibly at the invitation of John Manners (then Marquess of Granby, and soon to become the 3rd Duke of Rutland), who was to be his only known patron in England. Almost immediately on his arrival Carbonelli became leader of the Drury Lane Theatre orchestra, a post which also involved performing concertos and sonatas. In 1735, like many of his fellow Italian immigrant musicians, he anglicised his name, in his case to John Stephen Carbonell. Continue reading

OAE: The Brandenburgs

Bach: Brandenburg Concertos
Orchestra of the Age of Enlightenment
St John’s, Smith Square. 2 May 2017

It is not that often that all six Brandenburg Concertos are performed in one concert. One issue is the logistics of gathering so many instrumentalists together, several for just one piece. Another is the length, in this case overrunning an ambitious estimate by some 20 minutes. On this occasions, the Orchestra of the Age of Enlightenment performed the six concertos in the sensible order of 1, 3, 5 interval 4, 6, 2, providing some key contrast, and saving the most powerful concerto to the end. There had been some shifting of personal before the start of the concert, with the former second violinist Huw Daniel stepping up to concertmaster to replace the indisposed Pavlo Beznosiuk, and Naomi Burrell stepping in to take his place in the line up. Continue reading

Discover Danzi (concert and CD)

Discover Danzi (concert and CD)
ensembleF2
Concert: St John’s, Smith Square, 22 October 2015
CD: Franz Danzi: Music for Piano and Winds Vol 2
Devine Music. DMCD004. 70’05

Concert: Steven Devine, fortepiano, Jane Booth, basset horn, Anneke Scott, natural horn;
CD: plus Katy Bircher, flute, James Eastaway, oboe, Ursula Leveaux, bassoon & Jane Booth, clarinet.

CD: Franz Danzi: Grand Sonata in F for fortepiano and basset horn Op. 62; Sonata in E minor for fortepiano and horn Op. 44; Quintet in D Op.54/2 for flute, oboe, clarinet, bassoon and piano.

The St John’s, Smith Square concert by ensembleF2 was part of a series of events to promote the second in their series of Franz Danzi recordings. The concert included the first two of the CD pieces, but replaced the latter’s concluding Quintet in D with Mozart’s piano Adagio in B minor (KV540), played as an introductory prelude to the Horn Sonata. Both concert and CD contrast two of the most evocative sounds of the early classical period – the basset horn and the natural horn, the similarity of their names bearing no relation to their distinctively different tones.

The basset horn is a wonderful example of the maxim not to judge anything by its appearance. It looks like a piece of badly botched plumbing, Continue reading

Songs of Love, War and Melancholy

Songs of Love, War and Melancholy
the operatic fantasies of Jacques-François Gallay
Anneke Scott, natural horn, Steven Devine, piano, Lucy Crowe, soprano
Resonus Classics. RES10153 66’41 

Fantaisie brillante sur l’opéra ‘Les Martyrs’ de Donizetti (Op. 49),
Fantaisie sur une cavatine de ‘Belisario’ de Donizetti (Op. 42),
‘Fuis, laisse-moi’ de ‘Roberto Devereux’ de Donizetti,
Fantasia sopra un motivo dell’opera ‘Bianca e Fernando’ di Bellini (Op. 47/2),
Troisième Mélodie sur une cavatine de ‘La Sonnambula’ de Bellini (Op. 28),
‘Une Larme Furtive’ de ‘L’Elisir d’amore’ de Donizetti,
Fantaisie sur l’opéra ‘L’Elisir d’amore’ de Donizetti (Op. 46),
Fantaisie brillante sur un motif de ‘Norma’ de Bellini (Op. 40),
‘L’Appel du Chasseur’ des ‘Soirées Italiennes’ de Mercadante.

This CD explores the fascinating (and little-known) world of the French ‘opera fantasy’, an early to mid 19th century musical genre where leading instrumentalists, already well-used to having to create their own repertoire, arranged extracts from Italian operas for their own instrument. One of the leading exponents of that art was the renowned principal horn-player of the Théâtre Italian, Jacques-François Gallay. Five of his Continue reading

London Festival of Baroque Music – Day 4/5

‘Women in Baroque Music’
St John’s, Smith Square & Westminster Abbey, 18/19  May 2015

SJSS 2I couldn’t get to the lunchtime concert on day 3 of the festival, but it was given by soprano Rowan Pierce and the young group Medici, under the title of ‘Future Baroque’, with music by Handel, Bach, Royer, Telemann, Corelli and Vivaldi. Unless I have missed something, this was another event that seemed to bypass the festival’s theme, although it did include as its final work Agitata da due venti, a surviving fragment from Vivaldi’s opera L’Adelaide and later also included in his Griselda, composed for the virtuoso soprano Margherite Giacomazzi.

‘Leçons des ténèbres’
Julia Doyle & Grace Davidson, sopranos,
Jonathan Manson, bass viol, Steven Devine, harpsichord, organ & director

The Monday evening concert (St John’s, Smith Square, 18 May) Continue reading

J C Bach: Adriano in Siria

J C Bach: Adriano in Siria
Classical Opera.
Britten Theatre. 14 April 2015

Johann Christian Bach, JSB’s youngest son, arrived in London in 17 62, aged 26. He stayed for the rest of his life, earning the epitaph of the ‘London Bach’. Two years later, the 8-year old Mozart arrived in London with his family. During his 15-month stay, Mozart wrote his first symphonies and opera arias and absorbed the influence of the many musicians that had flocked to post-Handelian London. JC Bach was a particular influence on the young Mozart. He later wrote of Bach: “I love him with all my heart, and have the highest regard for him.”. This influence is reflected in Classical Opera’s choice of Continue reading