A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

Saturday, April 12, 2014




Listening to music one has never heard before makes the music new. If it happens that the composers of that music were born in the 17th century that does not change our perception. My violinist friend,Marc Destrubé, who performs such music, has often told me that playing it is no different from performing new music of this century and music of the last, something he also specializes in. To him it’s as exciting. As a listener I agree.

In a world where anybody with a computer can write and “publish” and anybody with a camera is a photographer you can add to this rampant trend towards amateurism the idea that anybody can be a journalist and practice criticism. Perhaps the easiest way to call that the emperor is indeed not wearing any clothes is to the posted pictures of food in social media. Food photographers in a recent past were well paid and did a marvelous job of not making food look like a dog’s breakfast.

Musicians, particularly those who use period instruments of the 16th, 17th and 18th century, are the exception to the rule. You can either read complex music, play it with consummate virtuosity or you cannot.

Our 21st century coddles in an unpainted corner of professionals, our engineers, our brain surgeons, our architects, our scientists and our musicians. Outside that unpainted corner is where we (or at least this present scribbler) live and abide while looking in with a question mark of total ignorance and confusion, sort of like seeing those “nasty” Masons of old shake hands. And to make it all worse is this knowledge that “they” know and do something we will never understand. I could use that modern contemporary word, “whatever” and move on and watch a movie on Netflix.

Or I could (and I did) attend a baroque concert presented by this city’s splendid Early Music Vancouver. Last night I not only was witness to The Vocal Concerto -17 Century Cantatas for Bass from a centre first row seat but I also had an unusual glimpse of the machinations of the evening by almost stepping into that unpainted corner with the true professionals of our day.

 For reasons I cannot yet reveal I was allowed access back stage during yesterdays rehearsal ( they started at 5:30, finished at 7 and then played at 8), after surprisingly wearing wonderful elegant clothing, applying makeup, just the women, of course.

I was back stage to photograph the hand (not hands but one hand) of violinist (and Artistic Director of the Portland Baroque Orchestra) Monica Huggett, bass soloist Harry van der Kamp, and guest artist, chitarrone player (can one say chitarronist or use the English and French term for this lofty instrument, Theorbo?), Stephen Stubbs.

But during the interval between the rehearsal and the performance I managed to take some snaps of the violas da gamba (called viols by the connoisseurs) the violone (a sort of baroque version of the modern string bass) and that lofty (it is over 6 ft in height) chitarrone with my Fuji X-E1 (a digital and modern equivalent of an Amati violin in my amateur opinion).

Being back stage made it possible for this mortal (me) to witness the communication (sometimes quite ordinary) among the musicians, gods in my book, who came in, unpacked their instruments and sat down to play. The banter between them as they practiced and stopped and started again was nice to hear and see. Their smiles, proof that what they do is pleasant, made it all seem like they were a family from my seat in the still empty Vancouver Playhouse. The musicians were happy to be in a real theatre and commented on the excellent acoustics. They reveled at being able to come in from both sides of the stage. This was something they could not do in the crowded halls and churches of the previous 6 concerts in the tour. 


These musicians, true artists can be difficult. I noticed how my friend, former bass singer, theorbist and lutenist,  Ray Nurse, who was in charge of tuning Early Music Vancouver’s compact, Quebec-made baroque organ, winced every time Jillon Stoppel Dupree would move the organ and then move it again. I have now learned that perhaps the fussiest instruments of an orchestra which at one time I thought to be the harp we can now include that compact baroque organ.

Now remember, these musicians are not necessarily difficult, their baroque string instruments usually are strung with gut. Gut is sensitive to temperature and humidity. In baroque concerts there is a lot of tuning between pieces. 

The crux of the programming was to show us that composers (in this case they included only German and Austrian) before Bach which until recently were all but forgotten or unknown were surprisingly fantastic. I use that word because music of the 17th century (Bach was born in 1685 so is a composer of the 18th) has often been called that because of its virtuosity and exploration into sounds and methods of playing not practiced before.

The list of composers (my musical grandmother from Seville would have called them “ilustres desconocidos” or illustrious unknowns) included Samuel Scheidt (1587 - 1653), Johan Michael Nicolai (1629 -1685), Heinrich Ignaz Franz Biber von Bibern (1644 -1704), Dietrich Buxtehude (c.1637/39 – 1707), Romanus Weichleing (1652 – 1706) and Johan Christoph Bach (1642-1703) who was J.S. Bach’s uncle, a man our Bach deeply admired.

While listening to the concert I subtracted the year of birth from death of these composers, 66, 56, 60, 69, and 61 and figured that at 71 I am in borrowed time but as I am not a musician I have more years of being able to look into that painted corner with the help of my ears.

My ears told me that Dutch bassist Harry van der Kamp has a voice I have never heard like before. His talking voice (coming out from a handsome and slim man who wore a dark suite, a starched white shirt and a very red tie) was similar to my friend Ray Nurse’s. I made a comment to Nurse who immediately said, “If I had a voice like that I would be lot richer.” 


Van der Kamp’s reading (as in interpretation) on Dietrich Buxtehude’s Ich bin eine Bluze zu Saron (Song of Salomon 2:1-3) was profound, emotional and if I happened to have spoken German I would have said his diction was perfect. I expected in my ignorance that a bass singer would sound almost unpleasant but this was not the case and van der Kamp’s command of an unusually high upper register is what makes him unique.

Van der Kamp had a musical “mano a mano” with violinist Hugget. They stood side by side  (with a small continue ensemble of three in the background) in Biber’s Nisi Dominus aedificaverit domum (Psalm 127) which he sang in Latin.  And in Bach’s uncle’s Wie bist du denn, o Gott, in Zorn auf mich entbrannt, in German again van der Kamp proved why it is Bach admired his uncle.


Except for the Biber instrumental, I have his Five Joyful Mysteries usually called the Rosary Sonatas, and I have some Buxtehude, including his Membra Jesu Nostri,  I had never ever heard this music before. Josh Lee on viola da gamba (in a most unusual viola da gamba evening which featured three, two with 7 strings, one with 6) played solo with Stephen Stubbs’s chitarrone and I believe perhaps only the organ), Buxtehude’s Sonata in D Major for bas viol, BuxWV 268.  I had to smile at Lee's performance and when he stood up with his grin and his architect’s little round glasses I could feel the tension and the strain of my day dissipate.

Of Huggett’s playing I cannot here explain it. I am not a critic. But I can ascertain that she is a “fenómeno” one of those one-of-a-kinds like Spanish matador Manolete who was deemed a fenómeno by his Spanish fans. 

Only once have I ever had CD, Monica Huggett and Galatea'- Paul Beir Galatea, music of Biagio Marini, autographed by a performer. I did a few years ago when I attended a Monica Huggett concert at UBC’s Chapel. When I approached her I felt butterflies in my stomach. This was not Iggy Pop, or Gerry Mulligan, nor Ella Fitzgerald, in fact when you happen to (if you are lucky to be in her presence) see her you might think she is part of Elizabeth II’s very small and intimate knitting circle.

This was confirmed when I took pictures of her hand holding her violin. Her accent is not different from her queen’s. I told her, “You might not want to talk to me. You see I am an Argentine”. She stopped on her tracks (we were walking to where I had set up my light backstage) smiled at me and shook my hand. When I told her my grandfather was from Manchester she told me in a most excited way that even though she was from London she had lived in northern England.



Last night’s concert was extra special for me (and for few others, I am smug to boast) because I heard Romanus Weichlein’s Sonata  No. 3 in A minor from Encania Musices, Opus 1 (1695) twice, in the rehearsal and in the evening’s performance. This work’s second movement is a ground or chaconne. I discovered my love of grounds, which usually have a background almost like a drone of often repeating bass accompaniment in my desert island album, Corelli Violin Sonatas Opus 5, Trio Sonnerie (with Monica Huggett, naturally!) and Nigel North. Corelli’s version of an old ground, Sonata No.12 in D minor “Follia” (sometimes listed as La Folia with one l).

And that was not the only fabulous ground of the evening. Josh Lee played one. It was one of the movements of his Buxtehude Sonata.

And evening with three grounds! None nicer. 


The musicians of the Portland Baroque Orchestra with guests Harry van der Kamp, bass and Stephen Stubbs on chitarrone were:

Monica Huggett, violin
Erin Headley viola da gamba (continuo)
Carla Moore, violin
Josh Lee, tenor and bass viola da gamba
Elisabeth Reed, bass viola de gamba
Curtis Daily, violone
Jillon Stoppela Dupree, organ.





     

Previous Posts
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It Skinned My Eyes

I Could Not Prove The Years Had Feet

Juan Dahlmann

Elizabeth Blew Did Not Meet My Legs

VanDusen - That Botanical Jewel (A Zircon)



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11/8/15 - 11/15/15

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11/22/15 - 11/29/15

11/29/15 - 12/6/15

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12/13/15 - 12/20/15

12/20/15 - 12/27/15

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1/10/16 - 1/17/16

1/31/16 - 2/7/16

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4/24/16 - 5/1/16

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5/8/16 - 5/15/16

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5/22/16 - 5/29/16

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11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

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3/19/17 - 3/26/17

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4/30/17 - 5/7/17

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5/21/17 - 5/28/17

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12/17/17 - 12/24/17

12/24/17 - 12/31/17

12/31/17 - 1/7/18

1/7/18 - 1/14/18

1/14/18 - 1/21/18

1/21/18 - 1/28/18

1/28/18 - 2/4/18

2/4/18 - 2/11/18

2/11/18 - 2/18/18

2/18/18 - 2/25/18

2/25/18 - 3/4/18

3/4/18 - 3/11/18

3/11/18 - 3/18/18

3/18/18 - 3/25/18

3/25/18 - 4/1/18

4/1/18 - 4/8/18

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4/22/18 - 4/29/18

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5/20/18 - 5/27/18

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11/4/18 - 11/11/18

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12/23/18 - 12/30/18

12/30/18 - 1/6/19

1/6/19 - 1/13/19

1/13/19 - 1/20/19

1/20/19 - 1/27/19

1/27/19 - 2/3/19

2/3/19 - 2/10/19

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2/17/19 - 2/24/19

3/3/19 - 3/10/19

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3/24/19 - 3/31/19

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8/25/19 - 9/1/19

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11/17/19 - 11/24/19

11/24/19 - 12/1/19

12/1/19 - 12/8/19

12/8/19 - 12/15/19

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12/22/19 - 12/29/19

12/29/19 - 1/5/20

1/5/20 - 1/12/20

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1/19/20 - 1/26/20

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2/23/20 - 3/1/20

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10/25/20 - 11/1/20

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11/22/20 - 11/29/20

11/29/20 - 12/6/20

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12/20/20 - 12/27/20

12/27/20 - 1/3/21

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1/24/21 - 1/31/21

2/7/21 - 2/14/21

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2/21/21 - 2/28/21

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11/21/21 - 11/28/21

11/28/21 - 12/5/21

12/5/21 - 12/12/21

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12/26/21 - 1/2/22

1/2/22 - 1/9/22

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1/23/22 - 1/30/22

1/30/22 - 2/6/22

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2/20/22 - 2/27/22

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11/20/22 - 11/27/22

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12/25/22 - 1/1/23

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12/8/24 - 12/15/24