(Dr Bridget
Rennie-Salonen)
One of the most enjoyable Baroque 2000
concerts I have attended. (Review by Keith Millar)
The Baroque 2000 concert at the Mariannhill
Monastery last Sunday offered something a little away of the norm, in that it
featured works which were composed just before or just after what is regarded
as the “Golden Baroque” period. This period coincides with the life span of
Johan Sebastian Bach, 1685 to 1750.
It was an enchanting concert full of
surprises (quite literally in one case) and exhilarating music.
To get things underway the ensemble, which
included Dr Bridget Rennie-Salonen on flute and the KZNPO’s Stephane Pechoux on
percussion, gave a refreshing performance of Johann Heinrich Schmelzer’s (1623
– 1680) Fechtschule (Fencing school)
Schmelzer was an Austrian composer and
virtuoso violinist who served at the Hapsburg Court where he became close
friends with his patron, Emperor Leopold 1. The emperor even raised Schmelzer
to the ranks of nobility. Fechtschule
(Fencing school) is a ballet suite that evokes the dance-like movements of
fencing and combat, while the final aria Bader,
is a salute to the barber-surgeon who arrives at the end of battle to stitch
the wounded.
The second, and main, work on the programme
was Carl Philipp Emanuel Bach’s (1714 – 1788) Flute Concerto in D Minor Wq.22
which featured Dr Bridget Rennie-Salonen as soloist on the flute.
CPE Bach was the fifth child of Johan
Sebastian and, by some way, the musically most successful of all his many
children.
A brilliant keyboardist, he was an
influential figure in the early days of the Classical era. During his lifetime,
and for some time after, his success overshadowed that of his father. However,
his reputation waned during the 19th century as musicians re-discovered the
music of his father.
The Flute Concert in D Minor, one of five
written by CPE Bach, is in three movements.
The first movement (Allegro) is bright and
cheerful and moves along at a fair lick. But it is the slow second movement (Un
poco andante) which is the standout. It is an exquisite piece of music played
with sensitivity and passion by the ensemble. Languid, tender, affectionate and
moving, it is enough to bring tears of joy to the eyes.
The final movement (Allegro di molto) is
filled with blazing fireworks and gave flautist Rennie-Salonen plenty of
opportunity to show off her not inconsiderable virtuosic skills.
Rounding off this excellent concert was
Joseph Hayden’s (1732–1809) popular Symphony No.94 G Major, nicknamed Surprise.
The surprise happens in the second movement
when the soft and gentle flow of the music is interrupted by a startling loud
chord accompanied by a loud bash on a drum. This was accompanied by startled
reactions from the ensemble (and the audience) and alarmed voices from off-stage.
The ensemble played up this charming
movement beautifully with percussionist Stephan Pechoux sneaking on from the
wings like a cartoon baddie every time a crash on his drum was required.
The fun did not stop when later in the work,
concertmaster Ralitza Macheva entered into a tongue-in-cheek discussion with
the other musicians about whether they should play in a major or minor key.
These amusing antics in no way detracted
from the musicians’ brilliant performance of this work, and for that matter of
the entire concert. The Baroque 2000 ensemble were unquestionably at the top of
their game.
They were rewarded with an extended
standing ovation for what I think was one of the most enjoyable Baroque 2000
concerts I have attended.
The next Baroque 2000 concert will be held
at the Mariannhill Monastery Church on June 2 and will feature Vivaldi’s
Concerto Per Molti Instrumenti (Concerto with many instruments).
For more information contact Michel
Schneuwly on 031 312 5539 or 082 303 5241 or email sursouth@iafrica.com – Keith
Millar
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