The Background
Ensemble Chaconne, who have been playing together since 1985, are flutist Peter H. Bloom, Carol Lewis on viola da gamba, Olav Chris Henriksen on lute, and English guitar. The European Masters in the 18th Century London program was a bouquet of delightful music; most composers were not Londoners or even English, but their presence in person or through sheet music enriched the London music scene. The opening movement was Handel’s Flute Sonata in A minor. Lewis played the main bass part, and a 13-part baroque Henriksen lute was part of the continuo package. The ensemble members sang masterpieces by Handel and Vivaldi, favorites of the English aristocracy in the first half of the 18th century, as well as works by other great European composers who settled in London in the second half of the century: J.C. Bach, Carl Friedrich Abel, Johann Christian Fischer, Felice de Giardini, and Rudolf Straube. The general performance showed an amazing understanding of the era’s music and excellent teamwork.
Impressions
Vivaldi’s Concerto in D minor is generally known to baroque music lovers. In this performance, Bloom took over the second part of the violin and Henriksen the first part of the violin and lute combined. Lewis’s bass line was a great addition and a separate independent part. The lute part of Gottfried Finger’s Second Sonata in D major was played with fire and abundance. The bass line includes plenty of divisions that take the high parts straight from the frets to the simple fretboard of the viola, along with a demanding double stop. John Stanley’s Sonata in E minor gave Bloom a lot of reckless melodies and a minute, which he performed at a delightfully fast pace.
After an intermission, the musicians returned with four short pieces, including an English guitar instead of a lute. The melody “When the Sable Night” by English tenor Thomas Linley Sr. was played by Bloom. In The Sweetest Bard by Ignatius Sancho, there is a feeling of a country dance, very similar to the famous Lillibullero. Presto by Ann Ford did an interesting solo for an original Henriksen guitar, with a machine head tuned using a clock key. Contrasting in its depth and complexity was “Che ciaseun per te sospiri” by J.K. Bach. Henriksen played “Fantasy for English Guitar” by Rudolf Straube in C major and “Allegro and Trio” by Felice De Giardini. Both of these pieces were in the home key of the guitar and used tuning very effectively. Lewis performed two Carl Friedrich Abel solos, an arpeggio, and a fugue. In the final, Bloom and Henriksen, on the lute, together with Lewis, performed Johann Christian Fischer’s Sonata IX in D minor.
Response
The performance is very well structured for the correct perception of the audience. Perhaps the most powerful reaction was caused by the performance of the part on the lute since it gave the necessary and correct tempo. The main part of the program was the performance of the Sonata in E minor, as it was played at a surprisingly fast pace. After the intermission, some listeners may have lost interest, as the second part of the performance featured quieter melodies. However, the public’s general impression seems to be at a very high level. The final chord of Johann Christian Fischer’s Sonata IX in D minor was the right end to the performance, and the audience kept their full attention on this moment.
The premiere of Ensemble Chaconne Performance of European Masters took place in the USA, Nebraska, in 2012 at the Sheldon Museum of Art. The printed program of the performance helped to understand the program’s plan and course from the very beginning. A printed program is needed to form an immediate reaction to the first impression to write a critical analysis. Since one can predict what will happen next in advance, one can compare the already heard performance and its new interpretation. This comparison allows for making a clear first impression of listening to parts.
The performance was more likely to be planned as a success throughout the program. The masters have played together for more than several decades, and the program has been thought out to the smallest detail. Despite the lack of a wide public outcry, the performance can be considered a success. Classical music connoisseurs appreciate the coherence of the trio’s work and the conveyed atmosphere of 18th Century London. In addition, the performance introduces the American audience to an instrument that is not too familiar to them, such as the English guitar. The performance cannot be called a standard repertoire, as it introduces the viewer to non-traditional instruments. However, the work of the masters of the 18th Century is conveyed very accurately and harmoniously; one can hardly call the performance a new sound in modern processing. The main task was rather not to give the compositions a new sound but to reflect the mood of London in the 18th century. Ensemble Chaconne Performance of European Masters was understood and well-received due to the right atmosphere, well-designed program, and brilliant performance.