Music is always placed in time, and has a meaning that is particular to that time.
Of course when we play historical music that is especially true; the music has a context in its own time period. But playing Baroque music in the 21st century also taps into the context of our present day. I re-read Pablo Casals memoirs, Joys and Sorrows this summer and was moved by how Casals always viewed music in the context of his own time and place, including the struggles for freedom, peace and human rights.
Our season opening concert, Hearts Resounding celebrates the power of music – in this present moment – to evoke our brightest joys and tap into our deepest longings. The music I chose for this program expresses both joys and sorrows (as so much of Baroque music does!), but also our longings to connect – to connect with each other across our divides… and with something larger than ourselves.
For the musicians of Baroque Chamber Orchestra this concert was the first time we had made music together since March 1. As we rehearsed and recorded through the week, I felt there was a deep gratitude present to be able to be together again… and to have the opportunity to play music together. Of course, we were missing something very important – having an audience in the room with us. For now we will have to rely on technology to help us make that connection.
We were also missing some of our core musicians who were unable to be with us for this concert. Unable to travel at this time, violinist Cynthia Miller Freivogel will be featured in our November program Salzburg 1715, recorded in a beautiful Amsterdam church (this is a virtual concert not to be missed!). Lara Turner was also unable to be with us, but recorded a beautiful rendition of the Bach Prelude in G for Hearts Resounding.
This program is a blend of the familiar and not-so-familiar. Bach’s Air and Gavotte and the Cello Prelude in G major are familiar friends, and the Handel Passacaille and Gigue has been a signature piece for BCOC concerts over the last 15 years. The Telemann viola concerto (with Emily Bowman as soloist) is to me one of the happiest pieces in the repertoire! In the new and unfamiliar category we have a new chaconne for solo violin composed and performed by concertmaster Martin Davids, plus an Air and Variations by Michael Festing, an English contemporary of Handel.
I hope you will join us for Hearts Resounding!
This virtual concert begins at 5pm Mountain Time Oct. 18, 2020, with a live chat, and will be available on demand for one week.
Click here to register
Suggested donation $20. A link will be emailed to all who register and to subscribers shortly before the concert.
Bach, Air and Gavotte from Suite in D Major, BWV 1068
(preceded by a harpsichord prelude by Fischer)
Handel, Sinfonia in B-Flat Major, HWV 338
Davids, Chaconne for Solo Violin
Telemann, Concerto in G major for Viola, Strings and Continuo, TWV 51:G9
Bach, Prelude from Suite in G major for Solo Cello, BWV 1007
Festing, Air and Variations from Sonata in G minor for violin and continuo
Handel, Passacaille and Gigue from Terpsichore, HWV 8b