Baroque Testers' Reviews, Part 1
19.3.2025
Reports from the Baroque Testers – Valentine's Day Baroque Concert, February 14, 2025
1)
Peter Spissky and Anthony Marin’s introduction was excellent and set the right tone: we would hear "sparkling dances" in honor of Valentine’s Day. And indeed, dances—very much at the heart of early music. Renaissance and Baroque music, I’d say, form the missing link between folk music and the music of the elite. I wonder if everyone was aware of the pre-concert discussion, as the audience wasn’t very large.
Spissky led with strength, and the constantly shifting tempos would hardly have worked otherwise. FiBO played more tightly and dynamically than ever before—at least to my ears. They had to, as the frequent changes could have easily led to chaos. There was only some slight wavering in the middle sections of Purcell and Rebel. The continuous dance-like quality and rhythmic variation became somewhat overwhelming at times; a few more moments of respite would have been welcome. But of course, emphasizing the dance element made this tricky—there’s no room for slacking in dance music! A few "slow dances" here and there would have added balance, just as in a real ball. The entire concert had a folk music feel—both in a good way and, at times, perhaps not so good? The idea of Baroque music as mere decorative but dull wallpaper was completely shattered.
Spissky’s interludes were uniquely humorous and informative. The audience clearly enjoyed the fiery energy and dazzling rhythmic shifts—which were, in fact, essential. Otherwise, a concert of over three hours (I didn’t check the length of the intermission) would have certainly felt too long! Personally, I might have left out Roman’s rather dull dining music and some parts of Rebel. Telemann’s musical comparisons of national styles—except for the Danish—also felt somewhat tedious. Funny how hygge seems to have been a thing even back then…
The program text was both impressive and useful, and the emphasis on dance elements was particularly valuable. However, I noticed that Händel’s introduction was missing (?) even though his section was one of the concert’s highlights. Händel never fails to surprise an amateur like me—I had somehow pigeonholed him as a composer of grandiose organ music. Maybe the powdered wigs played a role in shaping that image?
2)
Report in video format in FiBO's YouTube channel
3)
"Tonight, I am hearing rare music live!" I thought as the sounds flowed into my ears. Not something I might hear again next year, but something even more fleeting. I even felt a pang of sadness—so many intriguing harmonies, only to disappear into memory the very next second. Some of the harmonic progressions were daring and free from the constraints of their time.
The rhythms, however, followed the strict style dictated by the dances. So many different courtly dances! It seems folk dance influences didn’t make it into the aristocratic salons—perhaps they only became accepted as raw material for art music centuries later. Except for Hornpipes—a bold experiment, perhaps? At times, I heard Scottish influences in Purcell’s music, and those persistent, grounded pedal points were stunning effects.
Some rhythms were incredibly fast, almost wild. I wondered: could musicians in the 17th and 18th centuries really have played such virtuosic passages? FiBO certainly can! Purcell was indeed a bold composer—one of his "hit tunes" even made an appearance in the concert. Even my husband recognized Purcell’s Rondeau.
The program featured many opera selections as well as instrumental music. I reflected on how significant sacred music was in the Baroque era, yet FiBO’s selection showcased the more secular side of things. It made me think of the taverns and halls of that time—surely people would have started dancing spontaneously to the lively Gigues! Even the occasional audience outbursts at the concert felt like they could have been part of the spirit of the era. Personally, I didn’t enjoy one particularly vocal audience member at the House of Nobility, who made the orchestra pause and react to their interjections. The early clappers quieted down after a while—it was as if they first tried to "control" the musical flow but then surrendered to the band’s rhythm.
The music had such a groove in the faster numbers that I could feel it in my body. The most infectious pieces had tambourin in their titles. Did I hear a tambourine? Yes! But I didn’t see one. My brain worked out that this rhythmic drive didn’t need percussion—the tambourine-like rustling likely came from the harpsichord and lute. The effect? Pure Baroque disco, yeah!
4)
Even the Coat of Arms Wanted to Dance
Valentine’s Day Baroque kicked off FiBO’s three-part residency at the House of Nobility with an uplifting and light-hearted atmosphere. Even the hall’s coat of arms seemed ready to leap into the joyous courtly dances—though the program also included a few more melancholic lentement moments.
Before the concert, Anthony Marin and Peter Spissky gave a relaxed and humorous presentation in the House of Nobility’s library. We even heard anecdotes about their student days, including a so-called "Baroque police" who strictly forbade certain violin techniques.
I was surprised by the concert’s variety and energy. I hadn’t expected such a diverse and lively program!
I highly recommend Baroque concerts to all curious music lovers looking to expand their experiences. The House of Nobility is also a unique and beautiful concert venue, with its coats of arms representing noble families that still exist today.
The concert opened with Henry Purcell’s Selections from Abdelazer, which was light and airy—perfectly setting the mood for an evening centered around dance music.
Next came Händel’s Selections from a Concerto Grosso, with the Air lentement standing out as a stark contrast to Purcell—slow and sorrowful.
From Georg Philipp Telemann’s suite Les Nations Anciennes et Modernes, I particularly remember the energetic Les Allemands and the exuberantly playful Les Danois Anciens et Modernes.
After intermission, we returned to Purcell’s distinct sound world, as at the beginning of the concert. His second opera selection of the night was The Fairy Queen, which might be familiar to many listeners, as it is based on A Midsummer Night’s Dream, with its fairies and surprises.
Overall, the evening offered a rich exploration of Baroque dance music and opera. Spissky’s leadership was outstanding, as were his engaging spoken interludes.
*
The next reviews will cover the "Scents of Versailles" concert on March 21.
Applications for Baroque Testers were open in late 2024.