Every music concert is a unique experience for both performer and listener, even if the piece played is a classic that different composers have played thousands of times at different times. In this essay, two musicians, Michala Petri and Lars Hannibal play three different compositions (SHMF). First, it is Johann Bach’s Sonata for Flute and Basso Continuo (BWV 1033). Second, there are five John Dowland compositions, separated by intonation and pauses. Finally, Arcangelo Corelli’s “’La Folia’ Sonata for Violin Op.5 No.12” in D minor completes the half-hour concerto. Although each of the seven pieces played has a great mood and is unlike the preceding ones, even though the sound instruments are binary, the pair of musicians in the frame gives the music a unique atmosphere of medieval and dramatic sound.
The first of the compositions played by the pair of musicians is Sonate F-Dur BWV 1033, initially composed for basso continuo and flute. Petri and Hannibal performed the Sonate C Major in all four acts (“Andante – Presto,” “Allegro,” “Adagio,” and “Menuet I, II”), each with a different emotional tone. After about 11 minutes, Petri and Hannibal began playing five unrelated pieces by John Dowland: “King of Denmark’s Galliard,” “Frog Galliard,” “I saw my lady weep,” “Flow my tears,” and “Can she excuse my wrongs.” It is worth saying that each of the tunes played was also tuned to the style of the Middle Ages, and if “King of Denmark’s Galliard” had a cheerful, fairy-tale mood, then “Frog Galliard,” on the contrary, was more pensive and dreamier. One of the most exciting compositions in this excerpt is “Can she excuse my wrongs,” as it is played on contrasting sounds.
The overall meter of this tune is erratic and fluctuates between ¾ and 6/8. In the lute composition “Flow my tears mit Variationen von Jacob van Eyck” one can clearly hear the sadness associated with the drop in musical tempo: the notes here stretch from A to E, which can be heard as the wistful hopes of the lyrical character. This music was initially written for the lute to perform medieval galliard dance, and that is why scenes like this are a leitmotif throughout the play. Active listening to these excerpts leads to a positive and favorable mood, ready for storytelling.
Finally, the last twelve minutes of the concentration were devoted to “La Follia op. 5 Nr. 1” by Arcangelo Corelli. The melody was written for D Minor and is initially played for violin, but the use of flute and guitar in no way prevents the creation of a harmonious sound. In terms of style, this composition refers less to medieval motifs than the others but instead is reminiscent of classical baroque, combining extended, slow chords with fast, dynamic sounds. Thus La Follia op. 5 Nr. 1 holds the listener’s attention through this contrast. At the same time, the musical sound of the instrument is relatively uncomplicated and straightforward, although the variability of the themes allows for unique opportunities to balance the instruments.
To summarize, the recording of Michala Petri and Lars Hannibal’s concert was analyzed. Michala Petri played block flute, and Lars Hannibal accompanied her on guitar. The pair of musicians played a total of seven different pieces, divided into three segments: Bach, Dowland, and Corelli. Notably, the original pieces played were not written for flute and guitar, but that does not stop the performers from bringing their sound to the classical compositions. Of all the pieces played, I found “King of Denmark’s Galliard” the most interesting because it emanates an atmosphere of happiness and middle-aged adventure, especially in the flute version.
Work Cited
“Michala Petri & Lars Hannibal: J.S. Bach – Dowland – Corelli.” YouTube, uploaded by SHMF. 2020. Web.