In the 50s I used to watch cowboy tenors Jorge Negrete and Pedro Infante play tough cookies in Mexican westerns. They were as tough as John Wayne ever was but in order to prove their manhood they rarely resorted to fists or guns. They grabbed their guitars and extemporaneously insulted each other with on the spot lyrics. It would seem that conflict was resolved in a more peaceful manner south of the American border. I remembered these films tonight at a concert of virtuoso string concertos from 18th century Italy.
A tune that came from Europe’s past (some indicate it came from Portugal) which was the story of a mad or bewitched woman became a melody, called La Follia and sometimes La Folia or plain folia. It was borrowed and appropriated by Lully, Corelli, Geminiani, Vivaldi and even an amateur English violinist, John Playford. Playford published violin music in the 17th century which featured a composition, Faronell's Division on a Ground which is a dead ringer for La Follia. I wrote about La Folia here
Tonight I heard a live version, Vivaldi’s Sonata in D minor, Op. 1 no. 12 “La Follia” for the first time. It was so good that somehow it induced a nose bleed and I had to use very quiet nasal suction to keep it in check!
The group that performed it at St Jude’s Catholic Church, Saint Jude’s Pro Musica, was founded by harpsichordist/organist Michael Jarvis with help from baroque violinist friend Paul Luchkow (photograph, top left). Angela Malmberg also played the violin with Glenys Webster on the viola. A serious Curtis Scheschuk played and carried his large violon hither and thither, while Natalie Mackie did double duty and double time (in that La Follia!) with her viola da gamba.
But Saint Jude’s Pro Musica had a surprise in store in guest violinist Julia Wedman (Tafelmusik, I Furiosi, etc). Not by luck but by complete intention my friend Graham Walker and I sat down in the front row, left. This put us four feet from the guest violinist and when Paul Luchkow soloed Pietro Nardini’s (1722-1793) Violin Concerto VI in F major, Op.1, No. 6.
Violinist Julia Wedman, short, slim and very well shaped appeared in a teal, tiered, dress and a little black top. Paul Luchkow described it as being “mermaidish”. She had a short bleach blonde Joan of Arc cut and little black flat shoes. I don’t usually describe what a musician wears but here it is most important. When Wedman played she reminded me of a cobra emerging from basket. At the same time she was all passion, fun (she smiled often) and her technique, flawless to this amateur, seemed to come from total confidence in her abilities.
The first movement, Largo, of the first piece by Tomasso Albinoni’s (1671-1751) Sonata II in C major from Sinfonie a 5 in C major, Op.2, No. 2 (remember her violin was a mere four feet away) had me holding back tears knowing I had no handkerchief (and how was I to know that blood would follow?).
It escapes me why the majority coming to an intimate concert in a smallish church would not want to sit where we were sitting. I could hear Wedman’s violin here, and then I could hear the response from Luchkow’s violin there. This music is best appreciated as a small contest, a give an take between musicians who are standing. They are almost in an in your face presence. I feel that I am not just a spectator but part of the electricity.
While I can enjoy and did enjoy some weeks ago the Vancouver Philharmonic Orchestra’s extra loud (the way I like it!) version of Shostakovich’s Symphony No.5 there are times when I don’t want to listen to musicians in unison. This is why I also love baroque music. And I love to listen to the quiet notes of a violin. Tonight I could even hear extra quiet but very clear secondary undertones from both Wedman and Luchkow.
Vivaldi’s La Follia almost topped that Albinoni for me. It had Wedman on the left in her dress (that dress!) and Paul Luchkow in smart tails on the right. Between these dueling violinists were harpsichordist Jarvis (with his trademark candy red eyglasses) and viola da gambist Natalie Mackie (the former viola da gambist Nan Mackie I might add). It was a killer virtuoso performance by all four. At one point Mackie and Jarvis were going so fast that I prayed they had not forgotten to apply some extra Mitchum.
From my point of view Wedman won the dueling violins performance. But to be fair let me add the following:
Paul Luchkow told me, “From the moment I saw Wedman’s dress I knew I didn’t have a chance.”
Michael Jarvis explained, “Vivaldi wrote the music so that the violin on the left would win.” And he insisted by repeating, “It was in the music.”
All in all it was an evening to savour and remember and to savour again and remember that I live in Vancouver and that few cities anywhere have such depth of talent.
I would like to point out that all these musicians (alas Julia Wedman is packing her dress and flying back to Toronto) are playing music from XVII & XVIII century France on Friday, May 29 and Saturday May 30 at 8pm at Academie Duello, 422 Richards Street (at Hastings), Second Floor. The performance will be followed by a Theatre De L’Arbre Perche staged production of Moliere’s one-act comedy, “Sganarelle, or the Imaginary Cuckhold” (in English). For more info go here
I have "borrowed" the image of Julia Wedman you see here from I Furiosi's website. I cannot credit the photographer as the photographer is not mentioned.
