|
The quintessential line-up for chamber music in the classical era was the string quartet. The late baroque's equivalent was the trio sonata, two treble instruments, a bass, and a harpsichord to improvise an accompaniment, the player guided by 'figured bass', a musical shorthand outlining the harmony and fulfilling a similar function as chord symbols in today's music. All the great mid-eighteenth century composers wrote in this form. Often the two treble instruments were violins, but there are many examples for a mixture of instruments or for oboes, recorders or flutes. Johann Joachim Quantz knew a thing or two about the flute as King Frederick the Great of Prussia's private flute teacher. He wrote hundreds of pieces for the instrument typified by tonight's trio sonata in G. This work follows a familiar formula beginning with a gentle andante, followed by an imitative quick movement, an intense largo with a jolly dance to end. As in most forms of music Johann Sebastian Bach contrived to write in a more intellectual, more contrapuntal style than his contemporaries. His slow movements are much longer and more intense and there is far more motivic development in his ritornello form quick movements. As is often the case with 'old Bach' little quarter is given to the performers! Bach's equally contrapuntal aria from his 'Coffee' Cantata gives us a glimpse of fashion and taste in the 1720s…sweet coffee seems to have been preferred to even the finest wine!
Antonio Vivaldi's nine sonatas for Violoncello with Basso Continuo, published in Paris around 1740, all follow the typical 4-movement pattern of the baroque 'sonata da chiesa'. The opening largo of Sonata V, with its insistent repeated quaver figure imitated in the bass, gives way to an energetic allegro, full of wide leaps; this contrasts with a dance-like siciliano, and the work ends with a lively allegro.
Tomaso Albinoni's cantata continues the Italian theme. The perils of dallying with the sweet-talking Damon are graphically described in this dramatic cantata which has been supplied with an English text by an unknown lyricist in the mid-eighteenth century.
Henry Purcell's setting of The Blessed Virgin's Expostulation describes Mary's anxiety at the disappearance of the 12 year old Jesus during the family's annual visit to Jerusalem for the Feast of the Passover. Jesus has stayed behind in the Temple Courts to listen to and question the teachers of the Law. Mary calls out in desperation, seeking Gabriel's help, recalling how blessed she had felt when she first learned she was to bear God's child. Nahum Tate's text is based on Luke's Gospel, Ch 2, verses 42 - 51.
My Mother Bids was composed during Haydn's visit to England in 1794, the English text by Mrs. Hunter. In contrast, the setting of the Scottish air to Sensibility was commissioned by Thompson the Edinburgh publisher and entrepreneur. The text of Mozart's exquisite strophic setting of The Violet is by Goethe. In this allegorical tale the shy violet yearns to be picked by his lover and rest (even for a short while) on her breast. Alas, unseen and ignored, the flower is ultimately happy to be crushed by her shoe.
It seems likely that Joseph Haydn's London Trios were written for the occasion of a visit by the great composer, to Sir Walter Aston who had a house near London. Trio 1 demonstrates Haydn’s craftsmanship and mastery of instrumentation. The two flute parts are equal in importance, frequently crossing and sharing thematic material. The opening allegro moderato is bustling and busy with beautifully balanced phrases. Typically there are clever inversions of the theme and surprise modulations along the way. A lilting siciliana style movement follows and the trio ends in a jolly rondo.
Carl Phillip was Johann Sebastian's youngest son and a colleague of Quantz at the court of King Frederick. His music, while somewhat neglected today, was highly regarded by an up and coming generation of musicians including Haydn, Mozart and Beethoven. His expressive, melodic style contrasts sharply with his father's polyphony and although retaining the harpsichord continuo we can clearly hear an anticipation of the full classical style in his sonata for flute.
The programme ends with two of Dr. Arne's Shakespearian settings. Where the Bee Sucks was written for a revival of The Tempest in 1746 and When Daisies Pied for As You Like It in 1740.
|
