Jane Gower, Lars Ulrik Mortensen, and John Holloway
10/19/2012 First Lutheran Church, Palo Alto, CA
Buchner: Sonata Op.4 No.8 violin, dulcian, and bass continuo
Froberger: Toccata II for harpsichord
Rosenmueller: Sonata in D minor for violin, dulcian, and bass continuo
Boedecker: Sonata sopra la Monica for dulcian and bass continuo
Biber: Passacaglia for solo violin
Schmelzer: Sonata in G for violin, dulcian, and bass continuo
Castello: Sonata for violin, dulcian, and bass continuo (Libro II No.7)
Uccellini: Sonata detta La luciminia contenta for violin and bass continuo
Salaverde: Canzona V for dulcian, and bass continuo
Fontana: Sonata No.9 for violin, dulcian, and bass continuo
Michelangelo Rossi: Toccata Settima
Castello: Sonata for violin, dulcian, and bass continuo (Libro II No.8)
John Holloway, violin
Jane Gower, dulcian
Lars Ulrik Mortensen, harpsichord
十月和十一月，剛好一堆古樂的音樂會聚在一塊兒。雖然大飽「耳」福，但也使得concert review格文趕不上進度。這天音樂會為古樂界的元老小提琴家John Holloway以及近幾年的大鍵琴搭檔Lars Ulrik Mortensen和最新的成員Jane Gower帶來的表演。和大約一週前的Bruce Dickey音樂會相同，他們演奏的音樂都是屬於早期的巴洛克音樂。更巧合的是，這天的曲目裡有兩首(Uccellini和Rossi)和之前那場是同樣的，正好給了我比較的機會。
John Holloway多年前來過灣區擔任Philharmonia Baroque的客席指揮。當時雖然有他的獨奏，但有樂團合奏，所以這次才是真正聽他室內樂情形下的獨奏。Holloway是早期英國派古樂運動的重要功臣之一，使得許多不為人知的音樂得以重見天日。在我早期接觸古樂時，他的許多錄音曾讓我愛不釋手。但如同Pinnock，Hogwood，以及Standage等傳統英式古樂詮釋風格，以今天二十一世紀的古樂角度來說，已經算有點保守，或者更貼切的形容，為太「禮貌」。
事隔多年來聽他的的現場表演風格會不會有所不同，不過整體上跟錄音給人的感覺沒有差很多。他的技巧自然是不在話下，所以讓人感覺再困難的音樂到他手上都變得輕而易舉。只是他的表演鮮少會有戲劇性或激情的呈現。我的感覺是，他的演奏理念較像是讓音符自己說話，而演奏家只是個靈媒罷了。對於好的作曲家如Bach，Biber，或是Buxtehude，音樂本身就有股力吸引力，但如果是平庸些的作曲家，那演奏出的音樂也同樣流於平庸。這和Goebel跟Biondi，扮演推波助瀾，能化腐朽為神奇的角色有所不同。
上半場的曲目都是德國的作曲家，而三人合奏的曲子，應該以Rosenmueller的那首最喜歡。其餘三首則是讓每一位音樂獨秀的時刻。Froberger的觸技曲當中，Mortensen的演出充滿熱情，跟上次他來灣區客席指揮Philharmonia Baroque是一樣的。仔細聽他的獨奏，我很喜歡他帶給音樂的能量，不過他對於樂句的修飾我仍有點不同的意見就是了。Boedecker的那首奏鳴曲，則是聽Jane Gower在dulcian(某方來說，算是巴洛克低音管的前身)的精湛技巧。在trio sonata以高音部主導前，許多早期巴洛克音樂都有重要的低音聲部。Boedecker這首就是最好的例子。只可惜，我並沒特別喜歡dulcian獨奏的聲音。一來，它的音色比bassoon略為刺耳些，二來不像提琴樂器，低音管樂的音容易糊在一起。而Biber的小提琴獨奏Passacaglia則是我熟悉再也不過的一首。Holloway的演奏中肯，而音樂本身的優美自然就會散發出來。
下半場換成義大利的作曲家，除了Salaverde這位西班牙人。就音樂本身，早期義大利巴洛克音樂讓我感到比較有棱有角，不過有些不規則也是驚喜之所在。如同一週前的Bruce Dickey音樂會，我對於Castello的兩首奏鳴曲的喜愛遠大過Fontana的那首，因為完全反映在作曲家Castello本身音樂和創意上。Uccellini的小提琴奏鳴曲，之前才聽Blumenstock表演過，她的詮釋比Holloway更為大膽和強勁，不過Holloway和Mortensen在某個段落的節奏上有做出明顯變化，也算是個有趣的驚喜。只是大體上，Holloway的拉法仍屬於平淡風，而我的偏好已經越來越偏向重口味了～～
而Mortensen和Gower下半場的表演，和上半場的感覺類似。 Mortensen向來神情激動，不過也反應在音樂上，和Holloway的溫文儒雅是個很大的反差。
所以簡單地說，這場音樂會對我的價值在於演奏的曲目本身。光是能聽到這些早期巴洛克音樂，就很滿足了。隔了多年再次聽到Holloway大師的演奏，對我的魅力雖然已不如從前，但卻仍然是難得機會，而且Holloway讓我對於古樂產生的喜愛，我是決不會忘記的…
Lars Ulrik Mortensen, Jane Gower, and John Holloway
The October and November calendar has been packed with too many early music events, that I have been having a good time attending but not so much fun writing these concert after-thoughts, since I'm pretty far behind on them.....
A week after the Bruce Dickey concert, I was treated to another early Baroque concert, this time by the trio of John Holloway, Lars Ulrik Mortensen, and Jane Gower. Many of the same composers from the earlier concert were also featured here. Not only that, but two of the same identical pieces (the Uccellini and the Rossi) were played here as well.
I've heard John Holloway play live a few years ago when he guest conducted the Philharmonia Baroque, much like Lars Ulrik Mortensen recently. This time I was able to hear them both play in a chamber setting, meaning I could hear them play in a greater detail.
Holloway represents an important figure in the early music movements of the latter half of the 20th century. In my younger days of exposure to early music, I have been one those who have been touched by his playing, such as his set of Biber's Mystery Sonatas. Holloway's playing and recordings have that trademark smooth, sweet, and warm sound, which I couldn't get enough then. Today, his playing sounds a bit on the polite side for me, and some of his recordings do not age as well as the more fiery and articulated playing of the other styles.
Overall his live performance was not too much different from his recordings, meaning generally he didn't do anything that was too daring or push the envelope. His articulation and use of dynamics are generally plainer and more subtle. He's an artist who I would characterize as "letting the music do that talking," where his role as a musician is more a "medium". In cases of Bach, Biber, and Buxtehude, where the music is written by composers of A-caliber, this generally works well. When it comes to works of lesser quality though, his recordings may come out as just that.... mediocre. In the case of someone like Letzbor or Biondi who can actively engage the music and make wonders out of something seemingly ordinary, that is not what Holloway does.
And so for the first half of German composers, the standout piece in the ensemble playing for me was the Rosenmueller. Although Schmelzer being the more household name in early music, I actually find Rosenmueller's music more adventurous. The Schmelzer and Buchner pieces were like passing notes for me. The remaining pieces of the first half were solo appearances for each member. Jane Gower on the dulcian would tackle Boedecker's sonata, which is also featured in a recording by the Rare Fruits Council. In that recording, Kraemer's bright violin sound tends to overshadows the true star - the bass instrument. Here, Mortensen's harpsichord plays the treble melody so that you can hear the recurring theme just fine but not forget to witness Gower's amazing prowess. Admittedly, I am not a fan of the instrument that much, one for the sound being a little harsh, the other being that being in the bass range, makes it harder to appreciate the phrasing as well as say the violin or flute.
Mortensen's Froberger toccata was a familiar piece for me, and as expected, Mortensen plays with much excitement and energy. It's something I greatly admire in an early musician. The only thing I had minor reservations about was his choice of phrasing and articulation, which I thought would add even more liveliness to. Overall though, it was quite satisfying.
And then the famous Biber Passacaglia, which I've heard countless times played by Holloway himself. There were no real surprises here, just a solid performance. The music did the talking here, which was more than enough.
The second half featured Italian composers (except Salaverde, who is Spanish). Generally, the earlier Italian composers' music give me a greater sense of irregularity. Sometimes its surprises are of delight, but sometimes I like the softer edges of the German style. As in the Bruce Dickey concert, Castello's music was a clear winner over Fontana, which was tame in comparison. This is a true testament to Castello's inventiveness and musical ideas.
And then the Uccellini. To Holloway's credit, he and Mortensen made a radical tempo change during the middle of the piece, which was fun and refreshing to experience. However, I still preferred Blumenstock's more feisty approach over Holloway in general. My impression of Gower and Mortensen's solo pieces from the first half carried through the second half as well. Rossi's toccata, now played on harpsichord, had a much different feel to it played on the organ. They both work effectively.
The bottom line is, a night of early Baroque repertoire is always welcoming for me. Maybe Holloway does not mesmerize me as much as he used to, I'm still constantly reminded of how I owe my great appreciation of early music because of him.
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