The English Concert / Kristian Bezuidenhout (harpischord, above)
The Virtuous Wife (before 1694): Overture (1:45 on the broadcast link below)
The Fairy Queen (1692): Hornpipe (4:38)
The Virtuous Wife (before 1694) – First Act Tune (5:41)
The Indian Queen (1695): Rondeau (8:41)
Chacony in G minor (c1678) (10:21)
Pièces de clavecin, Book 1: Allemande (publ. 1702) (17:33)
de La Guerre (1665-1729)
Violin Sonata in D minor (publ. 1707) (20:46 – 35:45)
Sonata in A minor, TWV 43:a 5 (unknown date) (39:43 – 48:47)
Trio Sonata in G major Op.5/4 (publ. 1739) (50:02 – end)
Cadogan Hall, Monday 5 August 2019
Reviewed by Ben Hogwood
You can listen to this Prom on BBC Sounds here
This was a really interesting hour of music from the English Concert and director / harpsichordist Kristian Bezuidenhout, and it was all the more refreshing for a willingness to look beyond the more conventional repertoire you might have expected as part of the Proms’ look at 800 years of music in the Cadogan Hall chamber concerts this year.
Petroc Trelawny, always a consummate professional when introducing at the venue, gave helpful context behind the works chosen, and explained how each was looking to emulate the French style that was so fashionable thanks to the tastes and influence of Louis XIV, the ‘Sun King’.
First up was Henry Purcell, who was of course a popular figure and well enough established in England – but the choices here were not conventional. The Virtuous Wife, a comedy for the stage (beginning at 1:45 on the broadcast link), is just one example of many works Purcell wrote for the theatre in England. In this performance the overture was perhaps a touch too virtuous to begin with, though by the time the music broke at 2:43 a natural tempo and phrasing had been reached. The Fairy Queen’s Hornpipe (4:38) was vigorous, with a satisfying twang to the theorbo strings of William Carter.
The First Act Tune (5:41) was pensive but nicely phrased, showing off Purcell’s rich chromatic spectrum, and was followed by a graceful Rondeau, dancing slowly but elegantly (8:41), before the Chacony (10:21), one of his most famous instrumental pieces that we often hear today for string orchestra. It is a powerful set of variations over a ‘ground’ (a pre-set bass and chord progression) that gathers in intensity.
Next we had solo harpsichord, Bezuidenhout showing off his instincts in an improvisatory Allemande by the French composer Louis Marchand (17:33), with some expansive harmonic twists. That was followed by a dazzling Violin Sonata no.1 in D minor by Élisabeth Jacquet de La Guerre (20:46). Written in 1707 as part of a set dedicated to Louis XIV, it was deftly handled here by Tuomo Suni, with its six short movements marked as Prelude (20:46), Presto (23:20), Adagio (25:18), Presto-Adagio (26:00), Aria (29:53) and Presto (33:36). The Presto-Adagio showed not just only Suni’s clear tone, without vibrato, but the punchy ‘continuo’ accompaniment from Bezuidenhout and viola da gamba player Piroska Baranyay. A similarly crunchy sound inhabits the final Presto, after a graceful Aria.
Telemann’s enormous output can sometimes mask his achievements as a composer, and the Sonata in A minor – little known, it seems – showed itself to be an accomplished and dramatic piece, ‘praising the instrumental texture’ as Bezuidenhout explained. Bolstered by the double bass of Christine Sticher, the English Concert (above) really benefited from the extra depth to their sound, meaning a Trio Sonata had seven people on the platform managing the three parts!
The short suite made references to Poland, France and Italy in a Grave (39:43), Allegro – Adagio (40:32), Allegro (44:10), Largo e staccato (45:43) and final Allegro (46:15). The stylish performance had a rustic feel in the faster movements, with an earthy snap to the staccatos of the fourth and a brilliant cut and thrust to the final Allegro.
Finally Handel, and a brightly voiced Trio Sonata in G major Op.5/4, the kind of which he would surely have played with friends in his Brook Street flat in London. This performance played the piece in a different order to the norm, beginning with the ‘second’ movement, marked A tempo ordinario (50:02), which had an enjoyably full texture from the seven instruments, and then moving onto the ‘first’, an Allegro (53:55), where the violins took a more prominent role. An elegant Minuet (56:04) followed, then a Passacaille (58:02), with increasingly elaborate lines spun over a recurring bass line – which itself became enjoyably coarse.
An enlightening hour of music, then, which you are encouraged to enjoy on the link above.
The playlist below replicates the concert in available recordings, and includes the Gigue movement of the Handel which appears to have been omitted from the original concert:
Meanwhile to enjoy the many and varied delights of Purcell’s complete Theatre Music, the below recording from Christopher Hogwood and the Academy of Ancient Music will bring much pleasure: