Presented by Musica Viva
City Recital Hall
Monday 11 November
The program began with only the continuo ensemble playing on stage: Kenneth Weiss (harpsichord), Giangiacomo Pinardi (a short-necked archlute) and Marco Testori (cello). The violinist and leader of Musica Alchemica, Lina Tur Bonet entered playing from the back of the hall, slowly moving towards the stage, at first creating a ghostly sound. This was the first movement (preludium) of Biber’s first Mystery Sonata (The Annuniciation). From the second movement she was on stage directing her ensemble and her effortless virtuosity became apparent. Although difficult music, this sonata is not to be compared with the tenth sonata (The Crucifixion), played at the end of the first half, in which the violin is in scordatura (meaning that it is tuned in a non-standard scheme to make special effects possible). Few violinists attempt such music but its difficulties were overcome with ease by Lina Tur Bonet. Between the two Biber sonatas were two other sonatas for violin and basso continuo, one by Cima and one by Schmelzer, with well-judged variation in the texture of the baso continuo. Kenneth Weiss also played a solo passacaglia by Georg Muffat with enough flexibility to allow the music to breathe.
The second half of the concert began and ended with solo sonatas (they usually did not count the continuo in those days) by Biber’s contemporary, Corelli. The violinist ornamented freely, as was usual in Corelli’s time, and did with consummate ease.
Marco Testori played a cello sonata by Telemann with polished expertise, leaving only the harpsichord and the archlute to play the continuo. Giangiacomo Pinardi played a toccata by Piccinini with sensitive control of dynamics and mood, ending in near silence. A quirky Imitazione del liuto by Westhoff followed, in which the plucked violin was supported by a real lute. Corelli’s La Folia variations (for the whole ensemble) was intended as the final work, and a more appropriate ending could not be imagined. However an encore was loudly demanded, which turned out to be a fandango ‘from my country – Spain’ as Lina Tur Bonet proudly announced. Only two criticisms can be offered: the quiet voicing of the harpsichord did not allow it to carry well through the rest of the basso continuo; and the program notes gave almost no information about the instruments used.
Marco Testori played a cello sonata by Telemann with polished expertise, leaving only the harpsichord and the archlute to play the continuo. Giangiacomo Pinardi played a toccata by Piccinini with sensitive control of dynamics and mood, ending in near silence. A quirky Imitazione del liuto by Westhoff followed, in which the plucked violin was supported by a real lute. Corelli’s La Folia variations (for the whole ensemble) was intended as the final work, and a more appropriate ending could not be imagined. However an encore was loudly demanded, which turned out to be a fandango ‘from my country – Spain’ as Lina Tur Bonet proudly announced. Only two criticisms can be offered: the quiet voicing of the harpsichord did not allow it to carry well through the rest of the basso continuo; and the program notes gave almost no information about the instruments used.
– Elizabeth and Charles Barton.