A good sized crowd had already gathered outside First (Scots) Presbyterian Church by the time I arrived for the Piccolo Spoleto debut of the New Trinity Baroque…and I was quite early! The doors were not yet open and we were told that NTB were still engaging in a last minute run through. Vivaldi, ever the teacher, would have been pleased. The doors opened and an expectant crowd filed into the sanctuary, eager for the concert to begin.
The good Dr. Rosenberg kicked the proceedings off by noting that this is the twenty-second year for Piccolo Spoleto’s Early Music Series, and then introduced our musicians. And then it was on to Vivaldi!
From the first delicate yet driving bounce of the String Concerto in C major, RV 114, a crisp wave of clarity washed over the crowd, enveloping the church with its bright, lithesome sonorities. NTB plays these (almost) ancient works on period instruments, and strives to recreate the techniques used in the time which they were written. Their diligent efforts to this end produce a sound that may be a bit quieter (and occasionally with a raw rasp invading the melodic line…heavens!) than if they played on modern instruments, but placing these works in such a context serves to more greatly highlight the emotional content of each work. When quiet, an ethereal whiff emanates as if from nowhere…daring us to see the ghost. When the volume gets amped up, its raw character strikes the heart in full force.
Predrag Gosta, NTB’s artistic director and harpsichordist introduced the Concerto for Cello, Strings and Basso continuo in D minor, RV 407 by declaring his intentions to disprove the old adage that Vivaldi wrote the same concerto four hundred different ways. The Allegro began with a quiet fire, showcasing the precision of cellist André Laurent O’Neil, deftly challenging the audience to follow this lofty awareness. Descending themes marked the Largo (e sempre piano), creating a sense of sadness and loss made all the more stark by a hollowness of tone no modern instrument could emulate. During the closing Allegro, I was astounded by the almost telepathic synchronicity between Carrie Krause and Adriane Post, our more than able violinists.
Our viola and violone (in this case, a four stringed, fretted bass) players, William Bauer and Martha Bishop respectively, left the stage, providing an even more intimate setting for the Trio Sonata in D minor “La Folia,” RV 63. After the humorous opening chords, the familiar theme emerged, allowing nary a breath as it developed. And here is where the genius of Vivaldi shines best. Those little details, a passing descent, the smallest of trills leading a new phrase, become the breath. As the work gets more frenzied (and well…crazy…), this breath morphs into a scream of affirmation. Life! Music! Is there anything else?
Before beginning the closing concerto, Mr. Gosta gently reminded the audience to save their applause until the work was completed. The audience had applauded between the movements of the cello concerto, about the only thing that marred this concert for me. And so we moved into the Concerto for Violin, Strings, and Basso continuo in E minor, RV 273. This work has only recently been found and published, and came from late in Vivaldi’s life. The Allegro non molto began with an almost paranoid theme which burst into a flight of worried frenzy; how soloist Carrie Krause masterfully navigated these heady waters without being swept away by the intensity (and speed…), I’ll never know. I’m grateful she did, however. A more staid, clockwork-like Largo followed. Its contemplative nature stood in stark contrast to what had come before. The closing Allegro combined aspects of both prior movements with a deliberate openness. Paranoia has been overcome, and there is a brightness that speaks of sober equanimity.
NTB received a much deserved standing ovation from a crowd that clearly wanted more. Unfortunately, that was not to be, but they did stick around to chat with audience members and talk about the differences between period and modern instruments. They will be performing four more concerts over the week, each focusing on different composers/schools. If today’s concert was any indication, better get tickets now!
