The Cincinnati Early Music Festival, 2014. The word “doozy” comes to mind. Also “humdinger.” In the spirit of “Was it awesome or what?” I
submit the following FAQs:
Was this the first or
second early music festival? This is
the first year we were organized in advance.
In 2013 we promoted a collection of found objects. (The fact that so many early music events
were happening in the city in February 2013 was already a startling indication
of how much the early music scene was taking off.) So we’ll call this the 2nd Annual,
and look fondly back on our fledgling days.
What are the numbers? We held seventeen events, in twelve locations
around town. Some 320 performers
performed. And over 1500 people silenced
their phones and listened. My favorite
number from that list? The 320
performers. This includes local high
school and university chorists, possibly being exposed to early music for the
first time; young, wide-eyed enthusiasts just starting to think that early
music may play a huge role in their future; internationally recognized
professionals who have devoted their lives to the music; experienced veterans
of the early music rediscovery of the 1970s.
Everyone has a part to play.
Did I hear a viola da
gamba in there somewhere? If you had
gone to every single event this month, you would have heard pardessus de viole,
treble viol, tenor, six-string bass, seven-string bass, great dooble bass, and
violone. And as a bonus, a viol ancestor:
vielle. Essentially the entire
viol family, all performed by local Cincinnati musicians. Think about the
worlds of possibility this opens up for the Cincinnati early music community.
What about other
instrument families? We also heard
lute, archlute, theorbo, and viola da mano (which I am told is a lute/guitar
hybrid). We heard quite a range of
recorders, and apparently the possibility of recorders in the city was underrepresented
this year. Let’s get the recorder family
up and out! We heard at least half a
dozen early keyboardists playing harpsichords and period organs. We heard Renaissance guitar and Baroque
guitar, brass and an oboe d’amore, a 200-year-old cello, and large string
ensembles. Think of the things we can do
with so much talent and ability all around us!
Who were the
participating ensembles and organizations?
Where do I start? The Catacoustic Consort, of course. Ubi Caritas.
Cincinnati Bach Ensemble.
Cincinnati Camerata. Cincinnati
Chamber Opera. Cantantes Camarae. Cantigium.
Harmonia Sacra. Noyse
Merchants. Consort in the Egg. Cincinnati Viol Consort. The Knox Choir. CCM Early Music Lab. Cathedral Choir of St. Peter in Chains. Collegium Cincinnati. Edgecliff Vocal Ensemble. Cincinnati Hills Christian Academy Encore
Choir. Xavier University Concert Choir. And then there are all the ad hoc groups that
came together to perform one special program of music. They’re everywhere!
What were some memorable
moments?
--The Cincinnati Bach Ensemble performed Vivaldi’s La Notte flute concerto, with Randy
Bowman on flute. It starts with a slow
movement (wha…?), goes on to a later movement that has no movement but is essentially
shifting chord progressions, and contains the most impossibly long trills for
the soloist—I was reaching under my pew for an oxygen mask, and I was just
listening! Well done, Randy!
--The Knox Choir from Knox Presbyterian performed Saul, Saul, was verfolgst du mich, by
Heinrich SchΓΌtz,
an electrifying piece with the voices of the choir crying out the name of Saul
over and over—again, so modern-sounding, and so compelling. I’d love to hear that one again.
--Elizabeth Motter performing Kapsberger’s Arpeggiata on Baroque harp with
Annalisa, a piece that makes everyone put down what they’re doing and
attend.
--Jory Vinikour explaining why Rameau is the most important
overlooked composer of the Baroque, and then explaining it again at the
keyboard.
--Scot Buzza explaining why Galuppi is one of the most
important overlooked composers of the Baroque, and then explaining it again
from the podium.
--Bill Willits, lute, and Melisa Bonetti, mezzo, performing
the gorgeous Isabel by Luys de
Narvaez, and Scotty McEvoy reading a translation of the lyrics.
--Cantigium’s performance of El Grillo by Josquin. If you
think eight people can’t sound like a chorus of crickets, you clearly missed
this concert.
--The incredible Luigi Rossi piece, Un ferito cavaliero, performed by Catacoustic Consort and Meg
Bragle. The cavaliero of the title is
the messenger who brings news of the death of King Gustavus Adolphus; the
song is about neither of these two men, but of the remarkable queen who must make
sense of it all. The singer pleaded, thundered, wept, and finally whispered—I’ve
never heard anything quite like it.
--The mass choir sing of Hieronymus Praetorius’ Jubilate Deo. I was vibrating at the end, and couldn’t tell
if it was my ears ringing, or the cathedral itself.
--La Musica, personified by Alexandra Kassouf, painting
tears on the faces of the whole cast of L’Orfeo,
and then the cast making us believe they were real.
--The generally heedless revelry of Cantantes Camarae,
pitching their way through “He That Will an Alehouse Keepe,” “Ale and Tobacco,”
and “Toss the Pot.” English pubs in the
early 17th century must have been way fun.
Who is Sam Chan? He
sight-read and goat-trilled his way through Classical Revolution, fooled
everyone as the disguised Apollo in the opera, and led plainchant in the choral
concert. Who was that masked man?
If you were writing a
Passion for all women, would you make Jesus an alto? Heck, yes:
altos sit deepest inside the harmonies, and that’s exactly where Jesus
would be. Anna Little may be technically
a mezzo, but it sounded like an alto part to me.
Will I always have to
silence my phone at early music events?
Yes.
Is that it? No more early music? No! This is not just a foul weather
pastime--these groups and others perform year round. Catacoustic’s got an amazing concert coming
up April 26. Rumor has it that Cantigium
may have a repeat of the Medieval concert in late March (yes, please.) Even
Cincinnati Opera is doing a Baroque opera this summer! Keep
your eyes peeled, join Cincinnati Early Music Project group on Facebook, and
keep the excitement going!
