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St. Mary's Anglican Church, Oak Bay
March 5, 2006
I consider myself pretty well connected when it comes to the Victoria early music scene. In fact, "'impeccable" is the word that comes to mind when describing my connections. Still, until a week ago I had absolutely no inkling that the West Coast Consort had been formed. My surprise in encountering this new ensemble only enhanced my delight.
The Consort brings together nine experienced musicians (who play with the Victoria Symphony, the Victoria Chamber Orchestra, the Sooke Philharmonic and the Civic Orchestra) under the direction of Simon Leung. The violinists are Julian Vitek (concertmaster), Sue Innes, Joanne Cowan and Don Kissinger. Volker Metz and Jane Russell are the violists. Karen Whyte is on cello, Richard Backus is the bassist and the continuo group is completed by harpsichordist Peter Smith.
The big surprise unveiled at this premiere concert is the West Coast Consort plays on modern instruments but uses baroque bows. I had no idea Victoria was home to so many baroque bows! The Consort also aims to perform in a historically informed manner. So, for example, the string players make sparing use of vibrato.
In their initial outing, the Consort presented some familiar highlights of the baroque concerto repertoire. They began with Vivaldi's Concerto in G Major "alla rustica", RV 151. This one of Vivaldi's few ripieno concerti (that is, one without a solo instrument). It was played here without the woodwinds that Vivaldi introduces in the third movement. Leung gave us a nice clean reading of the concerto, but one that could, perhaps, have used somewhat brisker tempi in the outer movements. The concerto, as its name suggests, should call up the idea of a rambunctious country dance.
The least familiar work on the programme was Telemann's Darmstadter Concerto. This concerto reminded us that Telemann was a much more forward looking composer than any of the others on the programme. The first movement, in particular, hints at the pre-classical galant style and it was rendered in an appropriately gracious manner. The final movement, however, features more old-fashioned imitative writing. Throughout the piece Leung featured fairly stately tempi.
Geminiani's Concerto Grosso in d minor "La Follia" is an arrangement of Corelli's Sonata for Solo Violin Op. 5, No. 12. (The audience was given not entirely accurate information about the background of this piece.) It provides an opportunity for most members of the strings to take a turn at the centre of attention as the theme is passed around. Each of them rose to the challenge. Particular mention should be made of Karen Whyte's poised cello playing. Leung smiled from ear to ear after the conclusion of the piece, obviously pleased with the results he had drawn from the musicians - and with good reason.
Throughout the performance, members of the Consort offered background information on the pieces they were playing. Prior to playing the Winter Concerto from Vivaldi's Four Seasons Leung had the musicians demonstrate each of the themes that illustrate the various lines of sonnet that inspired the concerto. I had the impression that many in the audience found this made the piece more accessible.
Although the Four Seasons are the hoariest of baroque chestnuts this was one of the highlights of the afternoon. Faced with a plethora of versions of these pieces, many contemporary violinists and ensembles feel that they must do something completely outrageous with Vivaldi's familiar concerti. The West Coast Consort was content to give us a lively and sensitive reading of the Winter Concerto. Julian Vitek shone. He confidently tackled the demanding the solo part, making it seem easy. It was a gimmick free, precise and stylish performance. The quick rendition of the third movement was the highlight of piece - this, I would say, should be the Consort's party piece.
Handel's Concerto Grosso Op. 6, No. 10 in d minor was, in a manner of speaking, written for the West Coast Consort. Many of the subscribers who bought Op. 6 when it appeared were musical societies throughout Britain. These societies were not entirely unlike the West Coast Consort: passionate musicians, not always professionals, who wanted to play for themselves the masterpieces of Handel and the other composers of the age. The pieces give the members of the concertino an opportunity to shine and Sue Innes took full advantage of the opportunity, particularly in the penultimate allegro of the concerto.
Throughout the concert Peter Smith did a wonderful job on harpsichord, despite being asked to play a piece of junk that should never again appear in public. So often modern instrument ensembles include a pianist who has no idea about how to realise a figured base. Smith, however, gave sensitive and stylish realisations of the basso continuo.
The Consort offered as an encore "Bach at the Double" attributed to (if I heard correctly) Professor Teddy Boa. This is a silly parody of Bach's Concerto for Two Violins in d minor. It was definitely a case of moving from the sublime to the ridiculous and not the encore I would have chosen.
The addition of the West Coast Consort to the Victoria musical scene is entirely welcome. The emergence of a local ensemble, using baroque bows and dedicating itself to the baroque repertoire, is a kind of coming of age for the Victoria music community.
The next project is planned for October when the ensemble will tackle Vivaldi's Gloria with the female voices of the Newcombe Singers. I recommend that you take it in.
MiV HomeLast modified: Mon Mar 6 10:50:24 PST 2006