08.05.2007 Reutlinger General-Anzeiger
Virtuosic Togetherness
PFULLINGEN. History flows continuously (and therefore without any real breaks), and also in music history nothing comes suddenly. However, it is with some justification that the years around 1600 are described as some of the most important in the development of western music. And it is this “stile moderno”, a new creation of that era, to which the Capella Caesarea dedicated their evening as part of the concert series in the Klosterkirche Pfullingen.
An unusually rich musical evening, it must be said.
Rich, because early baroque instrumental music itself loves manifold expression, tempo and character, and Capella Caesarea is able to capture these mood and colour changes effluently. Apart from the individual virtuosity, it is the joint musicianship that impresses: the high art of chamber music performance. With all the solo presentations there is no single voice which separates itself from the group, stands out, exposes itself. There is precision without crudeness. And that is also because the wind section around Jennifer Harris (dulcian), Hans-Jakob Bollinger (cornet) and Peter Stelzl (sackbut) go sensitively about their work.
Superb basso continuo
More than superb: the basso continuo by Andrea C. Baur (chitarrone and baroque guitar) and Evelyn Laib (organ and virginals), both also impressing as soloists. Laib’s Toccata on the virginals: faultless. And on the chitarrone (a man high bass lute) Baur performs the lively “Canarie” by Girolamo Kapsberger with such finely tuned dynamics which do not allow for monotony.
With a sonata from Biagio Marini’s “Variata per il Violino”, Rachel Harris shows the entire musical scope of her virtuosic violin playing, and Peter Stelzl proves himself in duet with her capable of the utmost technical finesse, where Dario Castello’s demands on the trombone are certainly not modest. At the end a long applause for the ensemble of six. And once more a Canzone for the audience. (nie)