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Consorting With Dandrieu – The Boston Musical Intelligencer – Lyric Say

It begins in routine trend, with violin traces rising, coiling round one another, then coming to relaxation on icy dissonances. However this passage from a trio sonata by Jean-François Dandrieu includes greater than an bizarre outing for Le Consort. The younger musicians of this celebrated French ensemble have made the music of this almost forgotten Baroque composer the main focus of quite a few performances and recordings ever since they started taking part in collectively in 2016. And even once they enterprise into music by Vivaldi, Reali, Corelli, and Bach—as they did of their native debut by way of the Boston Early Music Competition on Friday night time—Dandrieu stays an emblem of their distinctive imaginative and prescient of the trio sonata style. Such music, their efficiency on the First Congregational Church in Cambridge prompt, affords as a lot exuberance as intimacy.

Billed as “A Journey Through Baroque Europe,” Le Consort’s program delivered a bracing mixture of virtuosity and lyrical splendor by way of a glowing ensemble mix. Violinists Sophie de Bardonnèche and Augusta McKay Lodge (the latter substituting throughout Théotime Langlois de Swarte’s transient paternity go away from the group) wove phrases collectively in colourful complement, like mixing pink and silver. Cellist Hanna Salzenstein and harpsichordist Justin Taylor provided a strong continuo that was felt as a lot as heard.

However even with that daring strategy, the actions of Dandrieu’s Trio Sonata in G Minor, Op. 1, No. 3 shimmered like effective silk. The Grave and Adagio lingered affectingly, their harmonies seeming to glow at a distance. The musicians dug in furiously for the Allegro and concluding Giga, the place the playfulness even carried into the silence that adopted its sudden concluding prospers.

In contrast, a Grave from Giovanni Battista Reali’s Violin Sonata, Op. 2, No. 1 delivered ever-sweetening melody, sensitively performed by De Bardonnèche and Lodge. Even just a few passages of Reali’s in any other case brazen La Folia, Op. 1, No. 12 took on the lyrical turns of an operatic aria. However Le Consort’s roar invigorated simply as a lot as its whisper, and the short variations of this acquainted harmonic development coursed with live-wire depth.

Jean-Philippe Rameau’s Gavotte et ses doubles turned the highlight onto harpsichordist Taylor, who dispatched every variation with a mixture of improvisatory freedom and nearly hard-rock zest. However his keyboard contact was light with out dropping focus, and the climactic factors of this music felt as pure as pleasant banter—pointed the place acceptable with out resorting to power.

The musicians created the identical impact with Arcangelo Corelli’s Trio Sonata in C Main, Op. 4, No. 1. To make certain, the austerity and introspection typically related to this composer’s music got here off with the correct quantity of weight. However Le Consort tore by way of the short actions with sudden fireplace and delicacy.

Purcell’s Sonata VI in 4 Components in G Minor traversed a good wider vary of feelings. The musicians constructed its tensions steadily, the music all of the whereas teeming with restive angst. The opening floor sounded pressing even within the faintest gestures; the following variations every burned like a hearth slowly rising uncontrolled. The musicians’ inclination to maintain to a strict tempo meant that modifications in concord resounded with outright power. They approached Nicola Matteis’s transient Sarabanda Amorosa, which preceded the Purcell, by doing the other. There, beneficiant rubatos enabled the traces to circulation with ease, without delay tender and song-like.

Sonatas by J.S. Bach and Vivaldi bookended this system with shocking levity. Bach’s Trio Sonata in G Main generated as a lot solace as vigor. His Andante, a transcription of a bit by Alessandro Marcello, answered by tipping into the chic.

Vivaldi’s Trio Sonata in G Minor, Op. No. 1 danced in all the proper locations. The gradual actions established a comfortable framework out from which the Allemande and Gavotta might lilt and galop. The latter’s pizzicatos, particularly, bounded gracefully. The “Folia” from Vivaldi’s Trio Sonata in D Minor, Op. 1, No. 1 additionally witnessed Le Consort tossing off phrases with seismic zeal. After the rapturous applause, they reprised the Gavotta as an encore. Right here and all through the night, the musicians revealed any and all musical spectacles. However they’d a world of enjoyable simply in taking part in. And the enjoyment they delivered made the music sound recent and thrilling, regardless of how acquainted.

Aaron Keebaugh’s work has been featured in The Musical Occasions, Corymbus, The Classical Evaluation, Early Music America, BBC Radio 3, and the Arts Fuse, for which he writes commonly about classical music. A musicologist, Aaron teaches at North Shore Neighborhood School in Danvers and Lynn.

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