The connecting theme of tonight’s programme was stylus fantasticus: a compositional style of the baroque period, beginning in Italy in the seventeenth century, which soon became adopted widely in central Europe. It allowed composers a more liberal approach towards elements of form, less restrictive than those required by traditional dance forms such as the allemande or courante. Through this open medium, compositional and instrumental prowess could be demonstrated with musical elements, including longer melodic phrases, elaborate harmonic structures and more expressive gestures. Dieterich Buxtehude, and later Johann Sebastian Bach, explored this style extensively, drawing upon their virtuosic abilities as performers to create keyboard and instrumental works that maintained a close connection to the initial practice of improvisation.
Despite his reputation as a musician, Buxtehude was only able to publish two sets of trios during his lifetime. The three trio sonatas for two violins, viol da gamba and harpsichord were featured in the first half of tonight’s concert in Edinburgh (BuxWV 271, 269 and 266). These were matched by solo sonatas (BuxWV 263 and 273) that were more intimate in nature, but no less dramatic. The second half was comprised solely of Bach, who idolised Buxtehude as a young composer. His “Organ” Trio Sonata in C major (BWV 529) was initially part of a set written to teach his eldest son, Wilhelm Friedermann, yet these certainly sit better as instrumental trios. The work nonetheless retains many organ-like features, such as trumpet fanfares and sonorous bass lines, which present expressional and timbral potential for all performers. The prelude to Bach’s Violin Sonata in E minor (BWV 1023) was a perfect example of stylus fantasticus and its improvised, toccata style. A final trio sonata (BWV 1039) closed the concert and provided a rousing finisher.
All of tonight’s musicians perform regularly as part of the highly acclaimed Dunedin Consort, but this was their first performance as the Wolgestzete Melodyen ensemble. Violinists Huw Edwards and Kristin Deeken are well matched and both were strong players, evidently enjoying the diplomatic part writing for both violins. Edwards took the lead for much of the concert, including the solo violin sonatas. Contrast would have been welcome if Deeken had taken the lead for a solo sonata, but tonight she seemed perfectly satisfied, and more than able, as a second violin. The viol da gamba was played by Jonathan Manson. He proved a flexible player, able to hold independent lines within trio sonata textures and providing an attentive supporting role as basso continuo. All three of the string players jostled as both composers pitted each of the players in playful rivalries and contrapuntal dogfights. Jan Waterfield performed on the attractively decorated Goermann/Taskin double-manual harpsichord loaned by the University of Edinburgh’s historical instrument collection. Performing with sensitivity, her continuo playing was light and colourful, avoiding thick and heavy textures which could have weighed down the ensemble’s pulse.
Characteristic of Buxtehude’s trios are the short contrasting movements that shift between tempos, characters and musical styles. Wolgestzete Melodyen were definite in their tempos and seamlessly moved between the dramatic natures of each section. This conviction showed the ensemble had a great sense for the overall formal shape of each sonata. Compound time gigues had a sense of propulsion, and allegros were controlled and unhastened. Largos and slower movements had more sense of space, particularly in the Bach where there was more inward emotion and more weighting upon harmonic dissonances. Melodic lines were passed between musicians, demonstrating each player’s understanding of their own contribution to the texture and an awareness of principal lines. Even whilst the leading violinists occasionally accompanied with long sustained notes, a background presence still emulated from within the sound, bringing both contrapuntal and musical sense to such sparse writing. These subtle intricacies were highlights of the performance, engaging the audience and introducing challenging, yet well-crafted works. It was a promising debut for Wolgestzete Melodyen, and hopefully they will continue to showcase underappreciated works.
The fifth performance of the Georgian Concert Society season took place on 6th February 2016 at St. Andrew’s and St. George’s West, Edinburgh.