NOSKY’S BAROQUE BAND
Aisslinn Nosky, Director & Violin Soloist. Steve Marquardt, Trumpet Soloist
GIUSEPPE TORELLI (1658–1709)
Trumpet Concerto in D, Roger 188, (after 1702)
I. Allegro, II. Adagio, III. Allegro
ARCANGELO CORELLI (1653–1713)
Concerto Grosso, Op 6 Number 10, (1688)
I. Preludio: Largo, II. Allemanda: Allegro, III. Adagio, IV. Corrente: Vivace, V. Giga: Presto, VI. Minuetto: Vivace
G. TORELLI
Violin Concerto in e minor, Op 8 No. 9, (1709)
I. Allegro, II. Largo, III. Allegro e solo, IV. Largo, V. Allegro
GEORG PHILIPP TELEMANN (1681–1767)
Burlesque de Quixotte Suite, TWV 55:G10, (1761)
I. Ouverture, II. Le réveil de Quichotte, III. Son attaque des moulins à vent, IV. Ses soupirs amoureux après la Princesse Dulcinée, V. Sanche Panse berné, VI. Le galope de Rosinante, VII. Celui d'ane de Sanche, VIII. Le couché de Quichotte
JOHANN SEBASTIAN BACH (1685–1750)
Violin Concerto, BWV 1052r, (1730)
I. Allegro, II. Adagio, III. Allegro
G. P. TELEMANN
Concerto for trumpet & strings, TWV 53:D5, (after 1702)
I. Vivace, II. Adagio, III. Allegro
To everything there is a season. And, alas, every season must come to an end. This was the last concert of the 121st season of the Naumburg Orchestral Concerts. I will be back next year. The first movement of the Torelli trumpet concerto was jaunty and very bright. The second was calm, yet full, and scored for strings and harpsichord only, and it did have a brief quick middle section. There was no discernable break before the third movement when the trumpet rejoined and headed for a brisk ending. A note on the trumpet—it was valveless, and slightly longer than most trumpets that I'm used to seeing.
The first movement of the Corelli (and all of the movements were like brief vignettes) was sedate. The second was definitely dance-like, energetic but not too much so, while the third took us back to calm. The fourth was brightly brisk and the fifth was bright and pleasant. The sixth was easily identified as a dance movement.
After retuning, we revisited Torelli, this time for a violin concerto. Its first movement had all of the strings playing and then we reached the soloist. The second had the same style of opening before getting to the soloist again. It was gentle and pleasant and eased (attacca) into the third which was brisk in a slightly subdued way. The fourth was a moment of calm, while the fifth was quite close to off to the races—fleet but not frantic, though darn close!
The opening movement of the Telemann was a nice way of setting the tone and included a quick second section that segued into the calm second movement. The third was a definite attack on the windmills and was the one of the few (to my ears) thematically related movements. The fourth was gentle and lovely, while the fifth was muscular, befitting the program, and humorous as well. The sixth was a dance-like gallop. The seventh was very quick and pretty much blurred into the final movement.
After intermission, we caught up with Bach. This was originally a keyboard concerto transcribed for violin. There was a lot of that type of thing going on in Bach's time. The first movement was indeed allegro but with a bit of a somber/dark heft and included a mini-cadenza in the middle and then again at the end. The second was very serious with just a touch of lugubrious, while the third was bright, brisk, and full.
The second Telemann offering, a concerto for trumpet and strings, opened with a calm vivace. As in the first trumpet concerto, the second movement was only strings and harpsichord. The third had an assertive return of the trumpet though it still took a back seat at times.
This was a really wonderful concert and, as I said earlier, I'm already looking forward to the new season.
