Mr. Jones & The Engines of Destruction (10/6/22)

 This Easy and Agreeable Instrument: The English Guittar

Daniel Swenberg ~ English guittar & archlute; Andrew Rutherford ~ English guittar & theorbo; Marcia Young ~ soprano & harp; Leah Nelson ~ Baroque violin

Care Luci, Lesson III for 2 Guittars; Siciliano ~ Jigg ~ Minuet – Ann Ford (1737–1824)
Lesson XV, Duet in F Major – Frederic Schumann (fl. 1750–1770)
Mr. Handel’s Water Piece – G.F. Handel (1685–1759) (Arranged Robert Bremner)
The Bush Aboon Traquair; Instructions for the Guitar by Robert Bremner, 1758
Down the Burn Davie; Calliope, Volume 1 (First Printing), 1737
Grein grews ye rshes; The Ladies Pocket Guide or the Compleatt Tutor for the Guittar by David Rutherford, c. 1756
Up We’t Eli Eli; Instructions for the Guitar by Robert Bremner
Sonata II in F Major for Guittar and Violin; Largo ~ Allegro ~ Minuet ~ Gigue – Rudolf Straub (1717–1785)
Sonata for Guittar and Violin; Allegro ~ Andante ~ Gigue – J.C. Bach (1735–1782)
Sonata for Guittar and Continuo; Sonata in C minor for Violin and Continuo – Francesco Geminiani (1687–1762)
                           A letter from Miss F__d ~ Ann Ford vs. the Earl of Jersey
Se tutti gli Alberi, from Instructions and Lessons – Ann Ford, 1761
The Slighted Lover, from The Musical Entertainer – G. Bickham,
1740 A New Ballad To An Old Tune – from A Letter from Miss F__d, 1761

Well, that was a lot to wade through, eh? This was another concert sponsored by the Gotham Early Music Scene. The English guittar is a genteel instrument. As announced from the stage, there are two ‘t’-s because the name was based on the kithara/cittera, though I could not substantiate that. It’s sometimes hard working from the spoken word. 

At any rate, I will not be commenting on each work. The guittar duets were, for the most part, slow and gentle since the instrument does not have the capabilities of a loud, strong sound, though the second section of the second duet was fuller and more intricate. 

Mr. Handel’s piece was rhythmic, with a lot of forward motion. Indeed, it felt like we were floating along. One section reminded me of a harpsichord style, i.e., I was aware of more strongly plucked strings. After the piece, it was announced that the wire strings of the English guittar are quite similar to harpsichord strings. 

The pieces with guittar and harp were also rather genteel. The harp in question was a handheld harp, not the large orchestral harp with pedals. Sometimes it was harp alone and sometimes the harpist also sang in a few sections. 

The two sonatas for guittar and violin were similar in style and included sections that were gentle and dance-like, some lively and bright, some fuller, and some with a driving rhythm. Adding the violin somehow made the guittar sound a little stronger, but that could just be a trick of the ears. 

The sonatas that included continuo added a theorbo into the mix. Do we all remember the theorbo—a lute on steroids? It’s like a regular lute but it has a very long neck so that bass sounds can be added by virtue of the longer strings. Both were similar in style (quel surprise!) and both were enjoyable. 

The last three pieces were based on, and were commentary on, a somewhat convoluted lawsuit dealing with Miss F__d being paid 800 pounds for various services rendered (or expected to be rendered). I think she won the lawsuit, but it was all too convoluted for me. 

What’s that you’re asking? The Engines of Destruction? In 1605, an architect brought the newly developed theorbo from Italy to England. At Dover, customs impounded it, afraid that it was some engine from popish lands that was being brought in to destroy the king. I’m not making this up you know! 

ConcertMeister