We All Want to Change the World
CD: Rebel — Corellisante: Sonatas for Two Violins & Basso Continuo by Corelli & Telemann
I'll confess I'm being dragged kicking and screaming into the Brave New World. Cell phone? Don't have one. Text messaging? No. Wearing flip-flops to work? Only if I get a job as a lifeguard (not likely, with my 30 SPF habit).
But this I like: . Now there's some societal upheaval I can support.
But my personal rebellion happens to be against the 21st century, and in that spirit I went to a killer early music concert Saturday night. The venue: the Church of the Epiphany (Hey, pre-Civil War is about as old as the architecture gets around here). The group: the Peabody Renaissance Ensemble, which of course I mentioned in last week's blog.
In that rather intimate setting, an appreciative audience gathered to get seriously caught up in the myriad moods of springtime, and in this the ensemble was more than up to the task. "O Lusty May" indeed!
Mark Cudek's appealing young singers clearly knew the meanings of those alternately saucy and melancholy texts, whatever the original language, and won the audience over with their zestful delivery. Countertenor Peter Lee was a particular standout in an ensemble of tremendous charm, humor, and enthusiasm.
But the instrumentalists took no prisoners either, and I must make special mention of Edward Greenhood, on lute and colascione, and Jacob Lodico, on recorder, crumhorn, hurdy-gurdy, and just about anything else you'd care to throw him. Amazing performances all round, and definitely an experience that will remain with me.
So whether you were in that audience Saturday night or missed the performance entirely, you owe it to yourself to bookmark .
After that particular epiphany Saturday night, I'm completely unwilling to surrender the grip on period instruments, and so this week I'll return again to the . This time the featured group is Rebel (pronounced with the accent on the second syllable, as in the violinist and composer Jean-Fery Rebel).
They play baroque music, certainly, but there is nothing stodgy about them, as violinist and group co-founder Karen Marie Marmer . With the lute, violin, harpsichord, and other period instruments, the group rescues baroque music from its bloodless and dutiful background music status and gives it immediacy.
Corellisante unites or rather alternates sonatas by Corelli and Telemann, the Italian and the German, with exhilarating results. You'll hear that Corelli style reflected in the compositions from the popular and prolific Telemann, and yet the whole experience remains bracing, and centuries-old music becomes new once more.
I'll confess I'm being dragged kicking and screaming into the Brave New World. Cell phone? Don't have one. Text messaging? No. Wearing flip-flops to work? Only if I get a job as a lifeguard (not likely, with my 30 SPF habit).But this I like: . Now there's some societal upheaval I can support.
But my personal rebellion happens to be against the 21st century, and in that spirit I went to a killer early music concert Saturday night. The venue: the Church of the Epiphany (Hey, pre-Civil War is about as old as the architecture gets around here). The group: the Peabody Renaissance Ensemble, which of course I mentioned in last week's blog.
In that rather intimate setting, an appreciative audience gathered to get seriously caught up in the myriad moods of springtime, and in this the ensemble was more than up to the task. "O Lusty May" indeed!
Mark Cudek's appealing young singers clearly knew the meanings of those alternately saucy and melancholy texts, whatever the original language, and won the audience over with their zestful delivery. Countertenor Peter Lee was a particular standout in an ensemble of tremendous charm, humor, and enthusiasm.
But the instrumentalists took no prisoners either, and I must make special mention of Edward Greenhood, on lute and colascione, and Jacob Lodico, on recorder, crumhorn, hurdy-gurdy, and just about anything else you'd care to throw him. Amazing performances all round, and definitely an experience that will remain with me.
So whether you were in that audience Saturday night or missed the performance entirely, you owe it to yourself to bookmark .
After that particular epiphany Saturday night, I'm completely unwilling to surrender the grip on period instruments, and so this week I'll return again to the . This time the featured group is Rebel (pronounced with the accent on the second syllable, as in the violinist and composer Jean-Fery Rebel).
They play baroque music, certainly, but there is nothing stodgy about them, as violinist and group co-founder Karen Marie Marmer . With the lute, violin, harpsichord, and other period instruments, the group rescues baroque music from its bloodless and dutiful background music status and gives it immediacy.
Corellisante unites or rather alternates sonatas by Corelli and Telemann, the Italian and the German, with exhilarating results. You'll hear that Corelli style reflected in the compositions from the popular and prolific Telemann, and yet the whole experience remains bracing, and centuries-old music becomes new once more.
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