Yes, I’m appallingly late. (I recently lost my job. You’d think that means lots more time to post, right? You didn’t figure in depression, eh?)
Sinfonia in C Major for strings and basso continuo, from “L’Olimpiade”, RV 725 [I’m not making this up, you know] – Allegro, Andante, Allegro – Antonio Vivaldi (1678–1741)
Concerto grosso in G major, Op. 6 n.1, HWV 319 – A tempo giusto, Allegro, Adagio, Allegro, Allegro – George Frideric Handel – (1685–1759)
Concerto in G major for strings and basso continuo, Op. VII, No. 4 – Allegro, Largo, Allegro – Tomaso Albinoni (1671–1751)
… and so on, and so on, and so on, I could list them all but it wouldn’t mean a thing to most (or all) of you.
Suffice it to say that this was very well played baroque music ^^^see dates, above, by a world-class musical group. For free. In NYC. Am I lucky, or what?
In addition to the pieces listed above, there was music by Benedetto Marcello (1686–1739) and Francesco Geminiani (1687–1762).
In the first piece, all of the players were standing (except the cellists and harpsichordist). It sounded very similar to the other 500+ Vivaldi compositions I’ve heard. The second, Handel, was fuller and more refined. There was a very familiar (to me) movement followed by an attacca into an impressive finale.
The third work, by Tomaso Albinoni, was bright and pleasant, followed by a calmer section with some nice filigree from both the violin and continuo (in this case, harpsichord doubled by the cello). It then went back to brisk, but not quite off to the races.
The fourth piece, Vivaldi again, had a second movement that had an interesting opening featuring the lute and then unison/octave strings, a plaintive violin solo with a mini-cadenza, finishing with a dancelike movement in a full but almost sedate way. Even with all of that going on, it was not one of my favorites of the evening.
The first movement of the Marcello was very similar to the Vivaldi pieces, though the second movement was rather lightweight by comparison. The next real Vivaldi piece had an interesting second movement, spearheaded by solo cello. This was followed by a cello solo with lute accompaniment that was rather lengthy. The third movement also featured solo cello in a rondo style. [Strange note here; I was admonished by a concertgoer to not start my applause so quickly at the end of a work. Um, this is not my first time at the rodeo. If the audience needs a bit of prompting, I’m going to applaud. There was no conductor here, who might have given a visual cue.]
The seventh work, by Gemignani, had twelve movements. I will not even begin to name all twelve. Suffice it to say that there were interesting and varied techniques (within the constraints of the baroque era), many based on themes and variations.
The final Vivaldi piece had virtuosic soprano recorder playing, though in a very unorthodox style. The soloist was bent over; she was upright; she was playing from side to side; it was very distracting. I normally don’t critique or comment on physical performances, but this went beyond what I’ve normally seen. Am I limited in my viewing? I don’t think so. She was also a member of the string section (second violin) when she was not the soprano recorder soloist, so she was obviously a very talented musician on more than one front. Which does not surprise me.
All in all, a very interesting and successful concert performed by a world-renowned group. For free. In NYC. I’m a lucky (unemployed) guy. Let’s hope part of that changes.
ConcertMeister
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