Tage Alter Musik – Almanach 2017

trian schwanthaler trompetenconsort with a powerfull line-up of eight trumpets, two chalumeaux, trombone, organ and tim- pani. Their programme, Musica Maestosa da camera – trummet ist ein herrlich in- strument , started with a procession from so- mewhere in the bowels of the old Town Hall into the reichssaal. Cleverly using the space, trumpeters were positioned around the hall, and up on the small rear gallery, for a wide range of courtly and more intimate chamber music. one unusual piece was the Presenta- tion of a Musical Sea Battle by Ferdinand Donninger, here given with the spoken sto- ryline. as well as many little-known compo- sers, we also heard mozart’s curious Diverti- mento in D (K. 188) for five clarino trum- pets, two chalumeaux and timpani. as a bit of a palate-cleanser we also heard the Ca- pricciose by pasquina nicely played by mar- tina Schobesberger on the chamber organ. The second (4pm) afternoon concert (in the gold-drizzled Baroque alten Kapelle) was Weg zur Himmelsburg , a programme of early Bach cantatas given by the ensemble alia Mens fromLille, France. They started with the melancholy Sinfonia to Weinen, Klagen, Sor- gen, Zagen (BWV 12), composed in 1714 lea- ding to the slow tread of the descending bass line of the opening section. The first aria in- troduced the distinctive sound of the oboe of Laura Duthuillé and bassoon played by inga maria Klaucke, with later distinctive contri- butions on recorder from inga and Julien martin. all three cantatas had unusual struc- tures, Weinen, Klagen, Sorgen, Zagen having four arias in a rowwith only one short recita- tive, Gleich wie der Regen und Schnee vom Himmel fällt with nearly all recitatives divided between tenor, bass, and choir, and the Actus tragicus: Gottes Zeit ist die allerbeste Zeit with its distinctive pause on the words Herr Jesu, komm! at the end of the extended opening se- quence. With the four soloists (maïlys de Vil- loutreys , pascal Bertin , Jeffrey Thompson , and etienne Bazola) acting as the choir, the clarity of Bach’s intertwining lines were crystal clear, as was the solo singing. The main Sunday evening concert was a re- turn visit to regensburg by the British group, solomon’s knot Baroque collec- tive and an outstanding performance of Handel’s Messiah in the 1747 Dublin ver- sion, as reconstructed by John Butt (Trinity Church). Their distinctive style of presenta- tion was apparent from the start. There was no formal entry of the musicians: the orchestra were already on stage tuning up and the singers were sitting in the front row, informally dressed. There was no con- ductor, and the eight singers sang from me- mory throughout. Director Jonathan sells was one of the singers, but you would be hard-pressed to realise that he was direc- tor, so subtle was his contribution. They have a very personal and emotionally strong take on the music, each singing directly to the au- dience, breaking through the theatrical fourth wall in a way that draws us into the unfolding story. amongst the eight singers, standout performances came from sopra- nos Zoë Brookshaw and Laura oldfield (the latter demonstrating excellent professiona- lism in managing to sing superbly despite suffering severe food poisoning), mezzo Kate Symonds-Joy, tenor Thomas Herford, and Jonathan Sells bass. i was far less con- vinced by the countertenor, whose over- blown vibrato added an unpleasently ner- vous edge to his voice, and caused havoc with intonation. The audience reception was one of the most enthusiastic of the entire fes- tival, and deservedly so. The late night concert in the Schottenkirche was given by cappella Mariana from pra- gue, under the title Praga Magna: Music in Prague during the reign of emperor Ru- andrewbensonwilson.org 9 Renate Steinmann (Mitte), Konzertmeisterin des Zürcher Barockorchesters und Kolleginnen in St. Emmeram Fotos: Hanno Meier