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Church of St. John the Divine
July 16, 2010
Aficionados of Johannes Brahms might disagree, but the 1700s were the golden age of the sonata for violin and keyboard. From Corelli's Op. 5, published on the first day of the new century, 1 January 1700, to the masterpieces of Mozart in its waning years, and Beethoven's Op. 12, No. 1, written in 1798, the 1700s produced an astounding range of masterpieces in the genre. The new Montreal-based ensemble, Les Amusement de la Chambre nicely surveyed some of the highlights of this rich musical trove. (Strictly speaking, the Haydn on the programme is a trio, but the cello mainly just reinforces the bass of keyboard part.)
As I was settling into my seat and studying the programme, I saw that the performance was to begin with the first of François Couperin's Concerts Royaux. Now, I am not a huge fan of Couperin le grand. On the page, his music doesn't look like much, and in performance it often comes across as fiddly and shallow. A good performance owes almost everything to sensitive execution. You must, then, imagine my surprise when, from the very first notes, of the Prélude, the piece tugged at my heartstrings.
It was immediately apparent that Redhead is a fine young violinist. Her training as a modern violinist is still readily apparent. She spent a lot of time and effort acquiring the forceful tone so prized by the modern violinist, and she finds it difficult to set it aside in favour of the delicacy that suits the baroque instrument. But no one can deny her technical assurance and intelligent musicianship.
The Couperin was accompanied only by harpsichord. Clark, a much more experienced period instrument performer, showed herself to be a poised and alert accompanist.
After the heart-tugging Prélude, the highlights of the Couperin were a tastefully touching Sarabande and a slightly subdued, and consequently beautifully tender, Gigue. The concluding Menuet en trio was graceful in a robust sort of way.
Next up was the Sonata for Violin and Obligato Harpsichord in b minor, BWV 1014, one of the six great sonatas that Bach wrote for this combination. One of the first sonatas ever written for an equal partnership between keyboard and violin, the work requires strong contributions from both players. Both Redhead and Clark rose to the occasion. I thought that the slow movements were particularly successful. The opening adagio was nicely atmospheric, while the andante was sensitive. Here Clark led the way with relaxed playing that probed the depths of Bach's great composition.
The first half of the programme concluded with Haydn's Trio in g minor, Hoboken XV:I. This is one of the works that H.C. Robbins Landon, the great Haydn scholar, places among Haydn's early trios. Consequently, a performance with harpsichord rather than fortepiano is completely appropriate. Indeed, Clark's clear, detailed performance showed that this is idiomatic harpsichord music.
The opening Moderato was perhaps a little too emphatic, but then this is a work in g minor, a particularly tragic key in the hands of both Haydn and Mozart. (Think of Mozart's 40th Symphony.) The Menuet was nicely edgy and the concluding Presto, bright and fresh.
Redhead and Clark were joined for this piece by Ross. I had a good look at his cello and, as far as I could tell, both the instrument and bow were completely modern. Still, Ross provided a reasonable facsimile of baroque cello playing, eschewing unstylish embellishment.
Mozart's Sonata in e minor, K. 304 was up immediately after the interval. Unlike the earlier Bach sonata, this is primarily a keyboard sonata with violin accompaniment, so Clark had to do the heavy lifting here. She rose to the occasion with some deft playing, affecting and elegiac. Although usually performed on fortepiano, I thought that it worked well on harpsichord, as does a great deal of Mozart's early music. The violin was sometimes a little too forward, I thought, particularly when the keyboard part was being to stylishly rendered.
The performance concluded with three short pieces by a young Montreal- and Toronto- based pianist and composer, Njo Kong Kie. Regular readers of MiV will know that I am not enthusiastic about a lot of new music, but I was unexpectedly charmed by Kie's works. We were told that the compositions had been workshopped at the Banff Centre last January to March and the careful rehearsal was evident. The works were given well-prepared and committed performances by all three performers.
The first piece, Lost Dreams, revealed a minimalist influence on Kie's work. The result was pleasingly hypnotic. Here the use of harpsichord seemed appropriate, as the keyboard part reminded me of a baroque ground base. Toujours was a more plaintive piece, and ends with the keyboard playing alone a section that I found deeply evocative of the sentiments suggested by work's title. The final composition, Parle moi, is a short whimsical piece with a hint of klezmer about it. Kie is definitely an interesting and accessible young composer with real promise.
Les Amusements de la Chambre is definitely an ensemble to watch. The pre-concert publicity advertised Les Amusement de la Chambre as "One of Canada's most innovative young early music ensembles." Hyperbole? Perhaps not, I am inclined to say after this pleasing performance.
I cannot forbear to add that both Redhead and Clark are recipients of scholarships from the Early Music Society of the Islands. I am pleased that EMSI has assisted, if only slightly, in supporting the development of two promising local performers of early music.
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