Date: Friday, March 6, 2009.
Held Euskalduna (Bilbao).
Context: Second session Musika-Music Festival 2009.
Programs and interpreters: Concerto no. 16: Eduardo Egüez (lute suites of Johann Sebastian Bach), Concerto no. 14: Ricercar Consort and soloists - Philippe Pierlot (works of Johann Christoph and Johann Sebastian Bach), Concerto no. 15: Pierre Hantai (harpsichord works of Johann Sebastian Bach).
The festival rather crazy -Musika-Music Marathon, held annually in Bilbao, is a true spectacle, look where you look.
This year the festival was devoted entirely to the genius of Eisenach and brought together a series of concerts, artists, fans, record sales ... (We'll have time in a back entrance, to discuss these and other matters) under the flashy name, and cartel-de Bach is Back!
As happened in 2006-when the marathon was aimed at European Baroque-a server would not miss the appointment and showed up there to witness the not inconsiderable figure of 14 concerts, spread over on Friday afternoon and Saturday and Sunday full. Successive entries
go realizing the other days, but the concern here, I will make three dates for Friday afternoon.
The first concert I witnessed was the one offered in the renamed room-Weimar, for practical purposes-in lutenist Argentine Eduardo Egüez . This offered us an integrated program by pathways cello suites of Johann Sebastian Bach (1685-1750), a baroque lute under quite common among players of plucked, because the quality and beauty of these suites make them especially appealing also to have a willingness to adapt in such instruments, in particular, the suites BWV 1007 and 1009, in an arrangement made by the same Egüez.
The pieces are very famous and little or no at this point we discover them, but if you note is the magnificent array of Egüez, totally faithful to the original score and demonstrating the universality of Bach. Looking at the program, one wonders whether, having, as is, as good literature to read specific Bach on the lute, it is necessary to adapt parts for cello, but to begin to hear what this did to her lute, all doubts disappeared. The total clean lines, the beautiful sound, dramatic counterpoint ... all that was there, but he was also performed with most of the details, the finest of tastes and the most obvious of illusions. Egüez touched by his honesty, the fact of pure music, performed by a single musician, to an expectant public, is something that has never lost, "his tenderness, his brilliance, his technique, your enjoyment ... -All this despite being sick and taking some time to cough, massaging his aching neck ...- A spectacular show, pure.
The concert started at 18:30, well, at the end of the concert there was no time for entertainment, as scheduled at 19:30 the following morning.
This time we went to the room Köthen, where we expected a concert starring Katharine Fugue (soprano), Carlos Mena (high), Julian Prégardien (tenor), Stephan MacLeod (bass) and Ricercar Consort, directed by Philippe Pierlot.
The program, entitled "Bach De Profundis" was composed of two Bach cantatas, namely Aus der Tiefen Rufe Ich, Herr, zu dir BWV 131 and Todesbanden Christ lag in BWV 4 , two of the most celebrated cantatas of genius. But as an appetizer, if something as absolutely great to be called such, was offered sorry "Wie bist du denn, or Gott" of Johann Christoph Bach (1642-1703), signed a wonderful piece by a composer truly amazing, unfortunately overshadowed by the shadow alargadísima the family genius. Stephan MacLeod, one of the best voices that happened that weekend, there offered us a full version absolutely masterful and moving of this lament, backed by the precious François Fernandez baroque violin, the viola da gamba and the continuum of Ricercar Consort -it should be noted that they have devoted a recent recording parts XVII Germany, with MacLeod's protagonist, from which I extracted the beautiful version of regret that provide more down.
The program, entitled "Bach De Profundis" was composed of two Bach cantatas, namely Aus der Tiefen Rufe Ich, Herr, zu dir BWV 131 and Todesbanden Christ lag in BWV 4 , two of the most celebrated cantatas of genius. But as an appetizer, if something as absolutely great to be called such, was offered sorry "Wie bist du denn, or Gott" of Johann Christoph Bach (1642-1703), signed a wonderful piece by a composer truly amazing, unfortunately overshadowed by the shadow alargadísima the family genius. Stephan MacLeod, one of the best voices that happened that weekend, there offered us a full version absolutely masterful and moving of this lament, backed by the precious François Fernandez baroque violin, the viola da gamba and the continuum of Ricercar Consort -it should be noted that they have devoted a recent recording parts XVII Germany, with MacLeod's protagonist, from which I extracted the beautiful version of regret that provide more down.
After this real delicate, came the highlight, though was so fascinated with what he had just experienced, he did not think nothing could overcome, "the two cantatas of Bach. Works of art, the succession of choruses, arias, duets, recitatives and choral was a non-stop, a master class in how to create, how to address the music in all its facets so always sublime. Ricercar version, following the theories OVVP , was well balanced, crisp on the precise lines and counterpoints. Despite not being a believer and defender server these theories, this interpretation I quite surprised by the favorable outcome. The vocal soloists gave a good level, but had everything. Fugue was correct, but without fanfare and was the biggest go unnoticed. Mena, who "played at home," was as solid as ever, technically flawless, powerful in their sound and beautiful tember. The young tenor-just 24 years, "Julien Prégardien know if he is the son of the great tenor Christoph Prégardien, although several of your vital data could suggest, was quite good, with a very nice ring, well positioned, rather small in volume , but with exquisite taste. The low Switzerland, Stephan MacLeod, who with his own intervention in the lament could have covered their quota by that day, was, again, fascinating. Well in the bass, but very well the middle-sharp, with that ring so moving and singing that line so elegant. Undoubtedly, next to Mena, the highlight of the evening. The instrumental apparatus, supported by accurate Santos Fernandes and baroque violins, played to perfection with its mandate, except for some mess in Baroque oboist, who later recovered. Strong and colorful parts safe and sound high and low, with a splendid and varied bass.
To end the first day, we went to the third-evening concerts held in the same room Köthen and start time at 21 hours and performed por el excelente, aunque en exceso sobrado, Pierre Hantaï. Se nos ofrecieron los Pequeños preludios para Wilhelm Friedemann Bach BWV 924-932 y las Suite inglesa nº. 2, en la menor BWV 807. Todo en Hantaï es ampuloso, recargado, "divino"... Para empezar, su concierto se retrasó más de media hora -ante las continuas e iracundas quejas de los espectadores. Pero eso no es todo, sino que el francés tiene la costumbre de hacer esperar al público cuando todo está listo, es decir, desde que las luces se apagan, se ilumina el clave -modelo absolutamente precioso, por cierto- y todo está en silencio, pueden pasar cinco minutos hasta que tiene el detalle de "honrarnos con su presencia". Todo esto se termina pasando por high when one begins to hear but not see him, since his behavior is still completely contrived. He was very, very well in the suite, but made some mistakes in small preludes-double notes, wrong notes, inexcusable for someone of his class. However, as I say, the interpretation of the glorious raunchy suite with a spectacular fingering, very safe, showing a very elegant and detailed Bach.
In short, a very good qualifying time, with absolutely memorable moments (that I regret!, Several times and Hantaï Egüez) and that was a good omen for what was to come.
PS If anyone would like more information about the programs, templates instrumental ... only on request.
Johann Christoph Bach (1642-1703). sorry "Wie bist du denn, or Gott" .
Album: De Profundis.
Stephan MacLeod & Ricercar Consort - Philippe Pierlot.
Mirare 2008.
Johann Sebastian Bach (1685-1750). Sarabande, Suite BWV 1007.
Album: Suites for theorbo. Pascal
Monteilhet.
Virgin Classics (Virgin Veritas x2) 200-2005
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