The Great Hall, University of Lancaster, Bailrigg, Lancaster
Wednesday 16 March 2005

An outstanding success
with much promise for an exciting future

"Tune all your voices and instruments play'
The Music Department at Lancaster University has benefited from a recent capital grant of some £20,000 from central funds for the purchase of a ‘chest', or set, of Baroque instruments. Modern reproductions of course, and the strings (violins, viola, cellos), along with two each of the notoriously difficult-to-play oboes and (wooden) flutes not only look different from their contemporary forms, but they sound different too.

This is not just because of their distinctive shapes and sizes; it's also down to the way they're played. Think phrasing, articulation, ‘diction' or ‘accent', if you like. And this is why I think that the money will be a great and enjoyable investment.

Among the staff of the Music Department are several ‘early music' (Renaissance, Baroque and Classical) experts, who are determined to train students not just in the playing techniques of the instruments, but in performance style and practice too.

"All the instruments of joy …'
Some of the instruments arrived only weeks ago, I gather, so there hasn't been much time to familiarise or practise. Despite that setback, the first two items of this concert were a celebration and an initiation of the new assets.

The proceedings started with a selection from the Tafelmusik (‘Table-music', or suppertime ditties) of 1733 by Georg Philipp Telemann (1681 – 1767), which featured the flutes and strings with harpsichord continuo. The two extended movements were stylishly conducted by undergraduate Colin Johnstone. His feel for the texture and drive of the music was sure, and the tempi nicely judged.

The first half of the concert finished with the Sinfonia Concertante, K364 by WA Mozart (1756 - 1791). This work, thought to date from Salzburg in 1779, is lavishly scored for solo violin and viola, with a full wood, brass and string ripieno. Music Lecturer Ed Venn's clear, unfussy and assured beat took the 20-plus members of the Chamber Orchestra stylishly through the diverse emotions and texture of this complex work.

"… That skilful numbers can employ'
The playing of the two young soloists, Peter Fairholme and Tom Dickinson (violin and viola respectively) was alert, intelligent and, quite simply, of an unusually high technical standard. They will both be an asset to any professional orchestra that snaps them up – not least because they played in the Early Music Group too. Versatile is the new black, to paraphrase Private Eye.

Well, during the interval I noticed it was almost 9pm, and we were only half way through the programme. I was told many years ago that no concert should exceed an hour and a half's worth of music (unless it's Wagner or Mahler). Feeling comfortably ravished, I felt I could not really face Britten (particularly) and Beethoven after such an excellent first half with Telemann, Purcell and Mozart.

There was in fact enough material for two full concerts, and the ‘culture clash', particularly after a frantic dash back from Yorkshire, would have been too much for this critic.

"No common festival …'
‘Er, what Purcell?' you may well ask. I save discussing this for last because Come Ye Sons of Art by Henry Purcell (1659 – 1695) was the most exciting and impassioned performance of ‘early music' I have heard in a very long time.

Come Ye Sons of Art is one of Purcell's finest and last-known pieces, and was written as a celebratory Birthday Ode for Queen Mary II (as in William and Mary) for a performance at court on 30 April 1694.

"Thus nature rejoicing'
Scored for choir, a range of solo singers, string band with added brass and wood, the version performed on this occasion was a recent reconstruction of the original by the Music Department's Purcell expert, Rebecca Herissone. The twenty or so performers were directed from the harpsichord (just as Purcell, Bach and Handel would have done) by Adam Greig.

His elegant, polished control evinced some wonderfully stylish and sensitive singing from the excellent soloists (the different accents in Sound the Trumpet were a joy) as well as some finely-articulated playing from the band.

Every note was beautifully poised, every word clearly audible, every nuance of Purcell's sensuous scoring and melodic writing clearly communicated. The ornamentation was excellent – like spice, never too much or too little – and totally right for the period - clearly the result of much research, and thorough rehearsal too.

"Cheerful and harmonious lays'
As one who has conducted Purcell, Monteverdi and Handel, I must admit to envying Greig's assured competence, style and total commitment to the music and its performance. He smiled a lot (quite right too), and the band and even the singers seemed to pick up on the sheer fun of the occasion. He can direct The (rather staid) King's Consort tomorrow as far as this critic is concerned.

"With innocent revels to welcome the day'
So the future of music at Lancaster University is not only well assured with the new investment in the instruments; they also have the resources to teach the people to play them – and to play them very well indeed. If this launch of authentic Baroque in the Music Department at Lancaster is anything to go by, audiences can look forward to an exciting series of concerts in coming years.

My ‘wish list' would feature chamber music from Byrd and his like; the large madrigals, smaller sacred works and the ravishing opera of Monteverdi; cantatas by Bach; some early Handel (definitely not Messiah, please) and – dare I suggest – even Mozart too? Go on – you know it sounds better than the Berlin Phil!

Keep a watchful eye open for these young people as they move into the Baroque. They are the professionals of the future, and an asset to our cultural calendar at the present time.

The headings in the text are from Purcell's Come Ye Sons of Art

Copyright © 21 March 2005 Michael Nunn
Photo by John Burkinshaw

Postscript:
The University's contribution as a ‘centre of excellence' in the world of music is the proverbial ‘light under a bushel'. Denis McCaldin, Professor Emeritus of Music at the University, presented a timely talk on Palm Sunday (20 March) on BBC Radio 4 about the "Seven Last Words' of Jesus from the Cross.

He was talking to the contemporary Scottish composer James MacMillan about the latter's own setting of the Words. They also explored music for Holy Week and Easter over the centuries from plainsong, Haydn and the French Romantics to present-day notions of music, meditation and mysticism.

As well as the respected Lancaster International Concert Series, you should also keep an eye open for the concerts and other activities that the University Music Society gets up to, though I have yet to get to one of their gigs.