Tag Archives: Chaconne

An Outstanding Brandenburg 2

Portland Bach Festival
Episcopal Church of St. Mary
June 18, 2017
by Christopher Hyde

Like Oscar Wilde, I have very simple tastes: I am always satisfied with the best. Such as the Portland Bach Festival’s performance of the Bach Brandenburg Concerto No. 2 at St. Mary’s Church on Sunday.

I was brought up on that and the No. 5, on what I now realize was a bad recording (better than nothing), and have never missed an opportunity to hear it once again. Sunday’s rendition by the festival orchestra under Lewis Kaplan, with soloists John Theissen, piccolo trumpet, Emi Ferguson, flute, John Ferrillo, oboe and Renée Jolles, violin, was quite simply the best I have heard.

It also flirted with danger, setting a rapid tempo in the first movement that only the most experienced of soloists could maintain accurately. Thiessen was phenomenal in his melodic and unstrained negotiation of a score that gives most trumpet players nightmares.

A little clarino goes a long way, and Bach wisely omitted the part in the second movement, providing room for some limpid and graceful work by the remaining trio, led by Ferguson, whose attitude reminds me of the musicians on Greek vases. She can also hold her own with the piccolo trumpet; some passages in unison almost made the timbres of the two instruments sound the same.

The third movement echoed the virtuosity of the first, but more so, ending in a standing ovation by an overflow crowd. (Other music lovers could watch and hear the program gratis on a large TV screen outside.) Inside the church, the acoustics were remarkable, every instrument in the concerto clearly identifiable.

The evening began with the Bach Cello Suite in C Major, BWV 1009, in an outstanding performance by Paul Dwyer, making the most of the contrast between open and stopped strings, as Bach intended. The contrasts also emphasized the sonic distinction of the baroque cello on which he was playing.

The evening ended with a fine performance of the cantata “Herz und Mund und Tat und Leben,” BWV 147, with Festival Choir-in-Residence, the Oratorio Chorale, and soloists Jolle Greenleaf soprano, Jay Carter, countertenor, Steven Caldicott Wilson tenor, and David McFerrin, baritone.

This seems Maine’s year of the countertenor, with effective use of the high male voice in Negro spirituals, a Gluck opera and now a cantata. It is a welcome addition, but it was matched by the clarity and enchanting inflections of Greenleaf in the soprano aria “Bereite dir, Jesu…”

Of course, what most of he audience was waiting for was the chorus and orchestra in “Jesu , joy of man’s desiring.” They were not disappointed, and showed their appreciation with the longest standing ovation I have seen at St. Mary’s.

There’s more to come this week. See the schedule on www.portlandbachfestival.org. and hope that there are still a few seats available.

I was unable to hear Kaplan last week in the famous Bach Chaconne, so I played Brahms’ piano transcription for the left hand (which Kaplan recommended over the better-known Busoni). It was lovely, and pretty authentic, but my left hand almost fell off after the final bar.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

Portland Bach Festival Coming Soon

Portland Bach Festival
June 19-24, Portland, Maine
by Christopher Hyde

The new Portland Bach Festival, (June 19-24) featuring internationally known artists, the Oratorio Chorale, St. Mary Schola, period instruments, a Bach and beer party at Ocean Gateway, and the Maine premier of a Bach concerto for three violins, is coming up soon, and ticket sales are brisk, according to festival artistic director Lewis Kaplan. Since the venues are intimate—St. Mary’s Church in Falmouth, and St. Luke’s in Portland— it would be advisable to purchase them soon.

The festival is the brainchild of Kaplan and Emily Isaacson, director of the Oratorio Chorale. Kaplan, a prominent violinist and teacher (at Juilliard), recently resigned as artistic director of the acclaimed Bowdoin International Music Festival, which he co-founded over 40 years ago.

While there is always interest in Bach, regarded by many as the pre-eminent composer of all time, the festival also fills in a (relatively) empty time slot, between the regular concert season and the beginning of summer music festivals throughout the state.

Kaplan believes that it will be well attended by local audiences, and also serve as an incentive to music lovers to visit the state. “Concerts in the round, with period instruments, will give audiences an authentic experience of Bach. I’ve played in concerts around he world, and I want people attending these in Maine to feel that the musicians are playing just for them.”

As for the premiere of the Bach Concerto for Three Violins, here is what violinist Ariadne Daskalakis, who will be playing the work, wrote to me about it:

“It is surmised that Bach originally composed a Concerto for 3 Violins in D Major (sometime around 1716 – in which case we would have a 300th year anniversary!) which he then transcribed for 3 harpsichords. (It was a common practice to transcribe pieces for different instruments and to reuse material as necessary.) In the meantime only the autograph of the version for 3 harpsichords survived – known today as the Concerto for 3 Harpsichords in C Major BWV 1064. Various scholars have used that piece to reconstruct the version for 3 violins – now known as the Concerto for 3 Violins in D Major BWV 1064R. At the Portland Bach Festival in June we will perform a reconstruction of this piece by the German musician Sebastian Gottschick (who happens to be my husband). The music is all original Bach, and the score has been reconstructed with the intention of capturing all the voices in a manner suitable for the instrumentation.
It is a substantial 3 movement work. The 2 outer movements are quite festive and the slow middle movement is plaintive and lyrical. The 3 solo violins have significant individual roles throughout the piece, and sometimes they play together as a group within the ensemble.”

The concerto will be played at the final concert of the festival, at St. Mary’s Church, on June 24. The program also includes my favorite Brandenburg Concerto, Number 5, with its glorious harpsichord part, to be played by Arthur Haas on a harpsichord by R.G. Regier of Freeport.

Other highlights, in chronological order, include the Cello Suite No. 6, played by the award-winning cellist Beiliang Zhu, on a baroque five-string cello, the Trio Sonata for Flute, Violin, and Continuo in C Minor from “A Musical Offering” – BWV 1079 and the famous Chaconne from the Partita for Violin in D Minor – BWV 1004, played by Kaplan.

Chorale works will include the Cantata, “Wachet Auf” – BWV 140, and the Cantata, “Der Herr denket an uns” – BWV 196, sung by the Oratorio Chorale, and the Motet, “Singet Dem Herrn”­­ – BWV 225, by St. Mary Schola,

Each concert will be preceded by a half-hour exposition of the music, free and open to the public. Children’s events are also free and will include a special concert and an instrument-making workshop.

A complete schedule and information about the artists is at www.portlandbachfestival.org.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.