The music that we so conveniently lump together as Baroque is actually comprised of different styles from many countries written over several centuries. Vehement and bitter academic wars were pitched over the differences—-differences which to our modern ears are often difficult to detect. But to the people of the era the styles were as blatantly distinct as say, minimalism and neo-Romanticism in modern times.
 

Friday night the Santa Fe Pro Musica Baroque Ensemble provided a rich sampling of the period entitled “Baroque Music Across Europe.” Performed on period instruments by accomplished players, the recital was as well played as it was varied in character. German, Italian and French styles were all on display, and while none of the pieces are well-known, they represent the best instrumental music from their respective countries.

The recital at St. Michael & All Angels in Albuquerque began with the Sonata No. 2 for two flutes by Wilhelm Friedemann Bach (son of Johann Sebastian). Carol Redman was joined by Charly Drobeck for the work which begins with ethereal scales. Yes, scales can sound ethereal played on period flutes which tend to have a softer timbre than the modern version. This delightful composition was full of cheery counterpoint executed by two expert players.

The tone became decidedly darker in Johann Friedrich Fasch’s Quartet in G minor for two oboes, bassoon and basso continuo (cello and harpsichord). Thomas O’Connor and Mary Ann Shore traded melodies on the oboes supported by the bassoon of Dennis Godburn creating an arresting bittersweet flavor.

Handel was the epitome of the cross-fertilization taking place during the period—-a German, living in England writing in the Italian style. Yet he created a sound which can easily be identified as “Handelian” even in his smaller works as ably demonstrated by the Trio in F for two violins and basso continuo. Stephen Redfield and Kerri Lay took the stage for this work full of characteristic melody.

There have always been melodies that for whatever reason just seem to catch everyone’s attention. La Folia was one such melody, a wild 16^th century Portuguese dance. In this tune composers saw enormous possibilities for variation and ornamentation. Corelli’s Sonata in d makes copious use of it in a series of variations, sometimes pleading and cajoling, sometimes boasting and rebellious until the final section when the cello (Chase Morrison) is given a furious whirlwind to bring the work to conclusion beneath Redfield’s dancing violin.

The showpiece of the evening came in Couperin’s Concert “Dans le goût théatral,” an Overture followed by ten dance movements. The entire ensemble participated here creating a myriad of tone colors that would have dazzled Louis XIV’s court at Versailles. The bouncy “Air Legers” were balanced neatly by the sentimental “Air Tendres,” and the entire work finished off with a vigorous “Air de Baccantes” invoking the god of wine.

This concert repeats on Sunday (6pm) at the Loretto Chapel in Santa Fe.

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