Showing posts with label Vivaldi. Show all posts
Showing posts with label Vivaldi. Show all posts

Wednesday 18 November 2015

A collection of Angels and Saints, curated by Bojan Čičić

This reviews a concert by The Academy of Ancient Music, directed by Bojan Čičić

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

 18 November

This is a review of a concert given by The Academy of Ancient Music, under the direction of violinist Bojan Čičić, at West Road Concert Hall, Cambridge, on Wednesday 18 November at 7.30 p.m.


The concert was being recorded by the BBC for later transmission on Radio 3 (@BBCRadio3) (on Monday 23 November : available to listen to for 30 days), so we had Martin Handley on the stage at West Road Concert Hall (@WestRoadCH), Cambridge, introducing the items, and sometimes stopping to interview Bojan Čičić (@BojanCicic), who was leading The Academy of Ancient Music (@AAMorchestra), about features of the programme that he had devised for the concert*, which made for a fascinating element of the evening**






Programme

1. Vivaldi (1678–1741) ~ Concerto for Violin in F Major
2. Vejanovskỷ (1633-1693) ~ Sonata in D Major
3. Vejanovskỷ ~ Sonata in C Major
4. Vivaldi ~ Sonata in E Flat Major
5. Leclair (1697-1764) ~ Concerto for Violin and Strings in D Major

6. Manfredini (1684-1762) ~ Concerto in C Major
7. Biber (1644-1704) ~ Passacaglia for unaccompanied violin
8. Vivaldi ~ Concerto for Violin in E Major
9. Vivaldi ~ Concerto for Violin in D Major



1 Antonio Vivaldi ~ Concerto for Violin in F Major Per la solennita di San Lorenzo

 1. Largo – Andante molto
2. Largo
3. Allegro non molto
The rather sombre mood of the opening Largo broadened into a tutti section with the Andante molto, full of graciousness. It became immediately clear that Bojan Čičić’s immense technical facility was being employed for purposes of expressiveness, and, as ever with AAM, it was a pleasure to hear a clear bass-line from Judith Evans. The solo writing had Čičić giving a skittering effect on violin, as well performing fast passages (not for the only time in the evening), with a smaller group of players.

 The Largo felt very triste, and almost looked inward as some of Bach’s fugal writing for solo instruments can feel to do : the sadness was soulfully placed and centred, without sentimentalism. Vivaldi gave the violin some bird-like passages (another of the programme’s recurring themes), before the other instruments came in and, with the organ (Alastair Ross), drew to a close.

 The closing Allegro non molto began with variant forms, a bit like a round, of a falling motif, and then, when Čičić came to make an explicit statement of the material, there were more bird-like bars heard, and one came to appreciate how cellist Joseph Crouch was often operating in a block with David Miller (on theorbo) and Judith Evans (on bass). A highly virtuoso run for Čičić exemplified his phrasing, and his control of pace and energy, as the concerto was nearing its end, with a singing line for the soloist, where he came in and out of prominence.



2 / 3 Pavel Josef Vejanovskỷ ~ Sonata in D Major Sancti spiritus and C Major Paschalis

We had been directed to Giovanni Gabrieli by our programme-notes, and there was a definite feel of ‘courtliness’ in this music, whose open-soundedness was also reminiscent of that of Claudio Monteverdi : almost necessarily, because of the purpose for which these Sonatas had been written, they were oriented to the celebratory, and always had the effect of the ensemble in mind.



 4 Vivaldi ~ Sonata in E Flat Major Santo sepolcro

 1. Largo molto
2. Allegro ma poco
Returning to Vivaldi, the Largo molto gave us an accreting group of players, and, as it took shape, did it remind somewhat of his Opus 8 (Il cimento dell’armonia e dell’inventione***), Concerto No. 4 in F minor, ‘L'inverno’, RV 297 ? There was a simplicity of line, but it was held steady and supported by Čičić’s direction, and the movement came down to a very quiet end. The Allegro ma poco, in nature a fugue, was characterized by Vivaldi’s use of repeated notes, and the piece seemed to appeal on the general level of emotion more than directly musically. It also put one in mind a little of the fugal writing (from the Kyrie eleison)of Mozart’s Requiem Mass in D Minor, K. 626 (incomplete from 1791).



5 Jean-Marie Leclair ~ Concerto for Violin and Strings in D Major, Opus 7, No. 2

 1. Adagio – Allegro ma non troppo
2. Adagio
3. Allegro
The Concerto began with a clear statement of its material, here using the organ to build up its effect. Nonetheless, it felt that Leclair was initially holding much back, despite contributions made by the theorbo and notes from the organ. Later, a sense of warmth and inclusiveness had emerged in the writing of the Allegro ma non troppo, although there were still little moments of harmonic tension.

 Čičić was provided with some lively playing, especially when we had reduced to the four violins, and Leclair next gave those strings some paired entries, before we heard him rising through the keys. In a solo section, we had the clear sense that this player was serving the music, and not himself, and the complex nature of the writing makes one wonder who the original violinist was (and wish to find out what is thought).

The relatively short Adagio, with its clock-effect, felt as though it owed to Vivaldi’s Opus 8 (please see above), whichever of that Concerto, or Concerto No. 3 in F Major, ‘L'autunno’, RV 293, it may be. The concluding Allegro gave the impression of the soloist building virtuosity with the other instrumentalists, and there was a sort of keening, with a bird-like quality, in the cadenzas : there was the clear idea that Leclair envisaged the soloist shining with this writing, and one could also appreciate the attack that Miller (theorbo) and Crouch (cello) brought to their playing. With the developing bird-tones (which seemed most like a cuckoo ?), Leclair showed us his sense of humour – which was rather silly, but still funny (as Python can be), and the AAM did it very well.


 * * * * *
6 Francesco Onofrio Manfredini ~ Concerto in C Major Pastorale per in Santissimo Natale, Op. 3, No. 12

 1. Pastorale : Largo
2. Largo
3. Allegro
It is well worth giving this Concerto Grosso an airing, as it is usually eclipsed by that of Corelli, whereas it is more reflective, and trying other things. (Apparently, if larger forces had been available, Čičić had been contemplating Locatelli’s version of such ‘Christmas Concerti’.) The first two movements, which seem to help make us ready for the relative exuberance of the third, both ended with quiet gestures / cadences on theorbo from Miller, and Ross (on organ) and Evans (double-bass) both underpinned the ‘suspensiveness’ of the central Largo.

 Marked Allegro, the closing movement signals that apparent exuberance in yet more bird-like calls, before the very fine writing for violin takes us into flourishes and arabesques. The piece ends thoughtfully, and we might be reminded that the first Sunday in Advent this year is at the end of November.



7 Heinrich Ignaz Franz von Biber ~ Passacaglia for unaccompanied violin (which concludes ‘The Mystery Sonatas’, for Violin and Continuo)

 In tackling this demanding Passacaglia, which impressed those members of the audience at West Road who were not already thoroughly impressed, Čičić brought out its liltingly rhythmical character, underneath its expansively developing form : now as a completely solo performer, his playing occupies the air, and speaks to us through its violinistic excellence, rather than to claim (or exert) power.

 In conversation with Handley, he said how the Passacaglia is unusual for the time, being amongst the earliest writing that we have for solo violin, and, in this as in playing the piece, one was aware of Čičić’s keen, but unassuming knowledge and understanding of music from this period. (Inevitably, as one had listened, one thought also of the Bach Sonatas and Partitas, and forwards in time to Paganini’s 24 Caprices for Solo Violin.)



8 Vivaldi ~ Concerto for Violin in E Major Il riposo

 1. Allegro
2. Adagio
3. Allegro
From the start of the Allegro, there was a patent oddness in the muted string-sound that Vivaldi requires, especially in the section when we were without the recognizable trio of instruments (cello, theorbo, and double-bass), with the impression of ‘thinness’ / ‘wateriness’ being appropriately otherworldly, if the repose does echo a status of being written for the feast of the nativity : meaning and expression were always foremost.

 The mood of tranquillity continued with the lovely ambience of the Adagio, a musical feeling of suspension, to which David Miller’s quiet plucking of the theorbo added. The Allegro had a distinct chirpiness about it (perhaps on account of the narrative in the gospel according to Luke ?), as well as a reflective side, and a violin passage seemed to bring in what felt like very good-natured rejoicing (at the virgin birth ?). Yet there was also a passage of suspension in the playing of the familiar trio, keeping us off, until ready, for the quiet close.



9 Vivaldi ~ Concerto for Violin in D Major S. lingua di S. Antonio di Padova

By the time of this final work in the concert****, one was fully aware both of how tight the ensemble was, and, from the Allegro's first cadenza, how much Bojan Čičić was enjoying playing*****, as well as directing AAM (@AAMorchestra), by gesture and by nod. The communication between the instrumentalists was clear, with taut, attentive first and second violins (respectively, with Čičić, Rebecca Livermore, and William Thorp and Iwona Muszynska), as well as the very familiar face of Jane Rogers, on viola, on the other side of the chamber-organ. The second cadenza showed Čičić continuing to have a good time with this Concerto, which felt not only natural, but spontaneous and alive.

The scene was being set, in the second movement (marked Grave), for the conclusion of the work, but it had its own poise and grace, and Čičić was no less impressive for that, both as director and violinist : in the Allegro, he showed great confidence and assurance in establishing a forceful pace and beat for its opening, and then turning to the kindred material for the solo part.

AAM showed that it was really together under his direction, and with his excitingly taking choices for clarity and for the nature of the work’s expressiveness. As has been said, it was clear that the audience would have gladly heard more from this director and orchestra, but it was not to be on this occasion.




As is usually possible at West Road (@WestRoadCH) – as is also true of York Early Music Festival / National Centre of Early Music (@yorkearlymusic) or at King’s College Chapel (@ConcertsatKings) – a chance to congratulate Bojan Čičić on his playing and leadership, and to express the hope that the exposure, here and on Radio 3, might bring greater recognition for him as a soloist (though he did point out that we are talking about the world of baroque violin, of course).



 End-notes

 * The first of four performances, the others being at Milton Court Concert Hall, London, on 20 November, at Dorset County Museum, Dorchester, on 25 November, and at Hall for Cornwall, Truro, on 26 November.



** It was also interesting to see how the emphasis and even some of the information differed between Handley’s presentation and the content of the AAM programme-notes (which, unusually, also did not provide RV numbers (for the works by Vivaldi)).

*** It is a great shame that more attention is not given to all twelve Concertos in the set.

**** There was ample enthusiasm for an encore, but maybe none had been prepared, or some of the AAM players needed to get away ?

***** In its real sense, where ‘to enjoy’ and ‘to rejoice’ have common origins – not the more vacuous sense in which, most often when being served something, one is nowadays seemingly unceasingly enjoined to ‘enjoy [it]’. [It seems that, in some places (such as http://english.stackexchange.com/questions/181698/why-does-enjoy-almost-not-have-a-causative-sense), some are still discussing such matters as what words mean – and why.]




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Monday 27 October 2014

La Bretagna all'Italiana - or La Serenissima in Cambridge (Part I)

A review of La Serenissima's concert, performing with Mhairi Lawson at Trinity College, Cambridge

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

27 October

This (over)lengthy review is of a Cambridge Early Music concert given by La Serenissima, with soprano Mhairi Lawson, in the chapel of Trinity College, Cambridge, on Monday 13 October

The programme for the evening was entitled La Bretagna all’Italiana, and La Serenissima (@LaSerenissimaUK) was led (and introduced), as ever, by violinist Adrian Chandler (@AdeSerenissima), with Mhairi Lawson (soprano), Gareth Deats (cello), Robert Howarth (harpsichord), and Eligio Quinteiro (theorbo) – the ensemble’s full complement of players, on which Adrian calls for Vivaldi concerti and the like, is given on the beautifully presented web-site, at http://laserenissima.co.uk/about/*


Introductory

For the purposes of this review (NB This gushing overdue posting is just for the first half), Adrian Chandler is styled ‘Adrian’, because one simply must do so after having been to The Eagle on a couple of occasions with Gareth (and Robert ?) and him…


The first of which was after those three, as a trio, gave their Pisendel recital during one Cambridge Summer Music Festival, material founded in the original ‘Per Monsieur Pisendel’ album (which now has a tempting-looking sequel – Santa, please note !) : an intriguing story, fascinatingly told by Adrian between the pieces (and in the CD booklet), of the expert violinist who turned composer with the help of Antonio Vivaldi, one Johann Georg Pisendel, who rightly deserves – as La Serenissima believes – to be better known.



On that occasion, La Serenissima was not, as it has sometimes done, giving an all-Vivaldi performance (though he is ever present), and that was a link with this recent Cambridge recital – along with Adrian’s continuing search for rarities, star works by other composer / violinists (Pisendel being but one) that we may not otherwise (tend to) hear.


Opening half

Programme

1. Due Canzoni da Battello ~ Anon. (c. 1730)

2. Sonata Scozzese ~ Francesco Maria Veracini (1690–1768)

3. A Scots Cantata ~ William Boyce (1711–1779)

4. Sonata II in D Major (‘Manchester’), RV. 12 ~ Antonio Vivaldi (1678–1741)


Mhairi Lawson began by singing two (1) Canzoni da Battello – and two further ones began the Closing half (write-up in progress), all thought to date to around 1730. At this time (and from the late seventh century until 1797), Venice was still a Republic : Serenissima Repubblica di Venezia – or just La Serenissima, from where the band takes its name**.

In the solo violin introduction to Si la gondola avere, Adrian brought out a sweetness of tone, which heralded richness in Mhairi’s voice, itself a contrast to the robust, yet delicate theorbo, before a close with violin again. In the second piece, Cara Nina el bon to sesto, Mhairi gave us more lightness, and the overall impression, with theorbo accompaniment, was less formal than in the opening song.


Neither of these Canzoni is attributed (please see next paragraph), and they typically have texts in Venetian dialect (as Adrian tells us in his programme-notes). Since he is necessarily mentally and historically rooted in Venice, Adrian provided much detail in the programme, but one also wanted to heed these short numbers – and their lyrics, fleeting as the may-fly, for there was little or none of the ruminative word-setting that we know from Handel or Bach. (And one knew that one could read over his notes later, in serene tranquillity !)


Afterwards, Adrian told us that these pieces survive, both in collections in manuscript form (in libraries, music colleges, etc.), and because they made their way into three volumes published, in London, by John Walsh (in the 1740s). (The notes tell us that there are occasional, usually sole, compositions that give Hasse, Pergolesi or Lampugani as their author.)


Adrian introduced the (2) Sonata Scozzese by outlining how Veracini migrated to London from Florence in the 1730s, and, through playing in the Entr’acte of John Gay’s The Beggar’s Opera, came to write this piece, with its Scotch snaps, and its variations on Tweeside.

Scored for the quartet of instrumentalists, the sonata is led by the violin (rather than its having a solo part), and opens with what sounds like Scottish intonation, before becoming more Italianate – quite an extended movement, reminiscent of the dance.

Formally, there is an Adagio between the Allegro moderatamente and the final Scozzese, but it appeared to be run together with the latter, and was – not least in comparison with the Allegro – fairly brief. The Scozzese is marked Un poco andante e affettuoso – Largo – Un poco andante e affettuoso :

Before the Scots tune was stated, the movement was characterized by deft down-strokes in, and hesitancy about, the violin-writing, and it then developed with the feel of ‘The Pipes’, and with the bow skating on Adrian’s strings. In the Largo section, a little akin to that in Vivaldi’s Concerto No. 4 in F Minor***, Op. 8 (RV 297, ‘Inverno’ (‘Winter’)), there was an inward, reflective mood given by the solo violin, before we moved back to the opening theme proper at the work’s close.

In and through hearing these pieces, and seeing – if quick enough – Adrian’s agile finger- and bow-work, we witnessed how a variety of techniques and effects for violin are part of this repertoire. As, in different ways, no doubt Béla Bartók places demands on his soloist in, say, his Violin Concerto No. 2 (BB 117) – or Johann Sebastian Bach in his Partita No. 3 in C Major (whose works in this set of Sonatas and Partitas for solo violin, BWV 1001–1006, partly inspired Bartók’s own Sonata for Solo Violin, Sz. 117, BB 124). However, of course, delving around in and then interpreting eighteenth-century (or earlier ?) treatises on string-playing is all part of the groundwork for what we hear in performance…


Mhairi stepped up again from sitting at the side of the chapel for Boyce’s (3) A Scots Cantata – maybe, when Tom Stoppard was giving us Vienna in a craze for things Scots in his adaptation On the Razzle, that seemed a little unlikely (albeit a century later, in 1842). However, it is clear from what is in this programme that something Caledonian was afoot in London in the first half of the eighteenth century****, which the local and (as Adrian puts it) ‘imported’ composers strove to serve.

Having duly referenced the recent vote ‘north of the border’, Adrian observed that the form is essentially recitative / aria – twice. Although being Scottish may have made Mhairi’s construing her text easier, it was the least of her qualifications to perform this piece when singers’ meat and drink is conveying meaning through a tongue that is likely to be unfamiliar to much of the audience – and many may relish settings of, for example (for this is not), Burns without being able to understand every nuance.

Even so, these central words (set in the second section of recitative), probably deliberately, pose no problem to following what is happening :

These tender notes did a’ her pity move, with melting heart she listened to the boy;
o’ercome she smil’d and promis’d him her love; he in return thus sang his rising joy.

Jeanny’s reaction, then, is the pivotal moment, the impetus for Jonny’s vigorous rejoicing in the second aria, where the scoring for voice dwelt on the phrase ‘dear enchanting bliss’ as the undulating accompaniment held the tune.


Regarding why the work that closed the first half, Vivaldi’s (4) Sonata for Violin and Continuo, RV 12, is numbered amongst what are called The ‘Manchester’ Sonatas, Adrian was quick to say that Vivaldi never came to England, but that the third largest collection in the world has ended up in that city, in the Henry Watson Library (for reasons that his notes and he went into…).

It opened tenderly, with a Preludio – Largo, but became spiky and quasi-military, before seeming to resemble the counter-tenor aria ‘Erbarme dich’ from Bach’s St Matthew Passion***** (BWV 244). Next, the Corrente – Allegro, full of energy from the off, with accents and a rising scale. Later, a falling figure and highly fluid solo writing in this movement left one feeling full of excitable emotion.

The following Giga – Allgero repeated and developed its initial phrase, progressing a bit as an eight-bar blues might. Yet what was most noticeable, other than Vivaldi’s typical employment of a driving violin style, was his use of ornament and emphasis. Throughout the movement, Gareth and Adrian were in visual interplay to give and receive cues, a noticeable feature of the close ensemble of La Serenissima (as well as seeing pleasure shared on Gareth’s face in reaction to some turn, or phrasing).

To close, the Gavotta – Presto was firmly in il prete rosso’s rhythmic style, and seemed to revisit the theme from the first movement. Not beyond being crafty with our expectations, and after laying a false trail as to where he was going, Vivaldi used the note that he had set up to springboard a coda in conclusion of the piece.


Audience reception and interval

Music this good (score and playing) is infectious ! One need not just have judged the effect of this performance by the applause, for the CD stall – with Adrian taking almost no break before signing – was very busy, and with an impressive range of titles (at least one per year since the group started).

Adrian was heard to say about a very good relationship with Avie Records, and that, in almost all cases, La Serenissima itself owns rights to the recordings, and can thus keep them in circulation (i.e. it could prevent titles being deleted).

Some time soonish, a companion posting will attempt to complete a write-up of the second half without being so novelistic...


End-notes

* Through elision, a URL that looks for all the world, on a quick glance, as though it is for some dubious suppository that involves lasers ?!

** Unless one has been there, it is hard to describe how glorious it is.

*** From, of course, a set of twelve concerti in all, Il cimento dell'armonia e dell'inventione (The Contest Between Harmony and Invention), Op. 8 – of which, Concerto No. 7 in D Minor, RV 242, is known as Per Pisendel.

**** From the Internet, it seems that Boyce was not alone in setting this material, for we have one Signior Lorenzo Bocchi’s composition, ‘The Tune after an Italian Manner’.

***** Asked in the interval, Adrian could not place Ebarme dich (which one dared not try to hum / whistle), but said that it must be coincidence, on the basis that he understands that Bach did not know the Vivaldi piece.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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