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First Unitarian Church
June 9, 2013
To the best of my knowledge, this afternoon's ESKM concert featured two firsts. I believe that this was the first time a period instrument ensemble has appeared in the 26-year history of the series. I am certain that it is the first time a work by Sebastian Bondinus (or Sebastiano Bondio, as he sometimes styled himself) has been programmed by ESKM or another Island presenter.
Little is known of Bodinus. He was born in about 1700 in Saxe-Gotha. In 1718 he became part of the musical establishment of Margrave Carl III Wilhelm of Baden-Durlach in Karlsruhe. He left the Margrave's service a few times, but he always came back and was appointed concertmaster in 1728. He published symphonies and concerti, but appears to have been best known as a composer of chamber music in the late baroque style. He published solo and trio sonatas and, a little unusually for the time, quartets, one of which featured on this programme. Everyone familiar with his music seems to think highly of it.
Having heard one of his quartets, I can say that I am impressed by what I have heard. (A few recordings of his music are available and I think that I will order one.) The Sonata in D Major heard this afternoon was no doubt chosen because it is scored for the instruments available to the VBP on this occasion: flute, violin, horn and b.c. The piece begins with a movement marked Adagio, ma un poco. The "ma un poco" was taken to heart, as the movement unfolded at a brisk pace. The music immediately impressed as bright and sunny, suitable for a bright and sunny June day. The ensuing Andante, e non adagio, in a minor key, was merely a hazy cloud briefly obscuring the sun before the exuberant concluding Allegro.
The performance featured an excellent balance between the instruments. Prior to the second half of the concert, Clark played a fanfare to demonstrate how loud a natural horn can sound and one can only admire his capacity to play in a manner that does not overwhelm a baroque flute. Everyone else also played well. Redai is quite new to the harpsichord, but gave a creditable account of herself. The realisation of the continuo part was, perhaps, just a little boxy.
Next up was a much more familiar piece, a chamber Concerto in F Major for Flute, Violin, Bassoon and b.c. (Note to presenters: please, for the benefit of reviewers, if no one else, include catalogue numbers in concert programmes.) The bassoon gives this piece its novelty and Russell rose to the occasion with a lovely performance. The quick outer movements were lots of fun, but the middle movement (Largo) was given a strikingly elegant reading. The bassoon enters by itself, before being joined by the flute for a time. The flute leaves off and the bassoon continues on - all very understated, but effective.
Another familiar face appeared next, in the form of a Concerto in F Major for Flute, Horn and b.c. by Telemann The opening Allegro moderato was followed by a Loure for flute and continuo in which Stratkaukaus's playing was as delightful as usual. In the concluding Tempo di Menueto the horn was almost delicate as Clark again displayed remarkable control of dynamics.
The first half of the concert concluded with a Sonata for Violin, Bassoon and b.c. by Johan Heinrich Schmeltzer. (I suspect that it is actually a sonata for violin, dulcian and b.c., but it is possible that Schmeltzer composed for the newly invented bassoon. Again the absence of catalogue numbers made it a bit hard for me to check.) This piece was a bit of an outlier in this programme. It was composed much earlier and has much more in common with Italian sonatas of the early seventeenth century than it does with German compositions of the high baroque. Meyer and Russell did a good job of capturing the feeling of improvisation appropriate to this repertoire. Schmeltzer was a great virtuoso on the violin and this piece presents some technical challenges, but Meyer made it look easy.
The second half of the concert began with another chamber concerto (this one for violin, horn and b.c.) by Telemann, as delightful as the first. The sunshiny music and playing kept on coming.
But then it was time for a change of pace: the Sonata in b minor for Flute and Obbligato harpsichord by J.S. Bach. From the first notes of the opening Andante, it was obvious that we had entered a whole new world of sound. Bach's profundity and imagination were effectively showcased. Stratkauskas's playing was assured and full of character. Redai, playing from a through-composed score, was a poised and effective full partner in the performance.
The concert ended with a Sonata in F for Flute, Violin, Horn and b.c. by Johann Fasch. Once again we were back in the world of boisterous jollity, which is a good place to be on a sunny Sunday afternoon.
It has been a few years since I last attended an EKSM event, and I was reminded on this occasion of why the series has flourished for so long and become an Island institution. For the price of a ticket, one gets a good concert in a hall with excellent acoustics in a bucolic setting. The pleasant drive in the country is no extra charge. I will be back soon, especially if the series includes more performances of music on period instruments.
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