The recent List dialog concerning Leopold Stokowski's adaptation of Bach
to modern symphonic resources revealed that many members are upset at the
less than authentic Stoki treatment of baroque works. I wonder how we
would have reacted to a small jazz group interpreting the spirit ofJSB's
music as realized by Boston's Handel and Hayden Society and two of the
world's premier jazz performers. I believe we missed entertaining shows
this weekend as reviewed by the Boston Globe's prinicipal jazz reviewer
which follows:
MUSIC REVIEW
Jazz/baroque concert a double delight
By Bob Blumenthal, Boston Globe Correspondent, 02/06/99
Collaborations between the Handel & Haydn Society and jazz musicians
underscore similarities that are undeniably real. Bach, after all,
wrote the book on "making the changes," and the baroque continuo does
resemble a walking bass line. Still, the musics complement each other
more than merge, and H&H shows wisdom in structuring the meetings so as
not to force the issue.
The current jazz/baroque summit features the Chick Corea/Gary Burton
duo in three minisets of Corea compositions, alternating with the
orchestra under John Finney's direction performing three concerti.
The virtuosic whirl of Burton's vibes and Corea's piano dominated
the evening; but the orchestra also carried itself well through its
intelligently chosen portion of the program.
The concert's most obvious classical/jazz connection was to be found
in Corea's harmonic language. It is decidedly 20th-century, however,
with "Brasilia" recalling Villa Lobos and "No Mystery" flashing
suggestions of Ravel. Colors of this complexity, while not to be
attempted on period instruments, rang out gloriously in the spacious
confines of Symphony Hall.
The duo's second set featured two jazz portraits, "Duende" (written
for Lee Konitz) and "Bud Powell," and some of the most expansive
playing from Burton's vibes. (A golden opportunity to quote Powell's
composition "Bud on Bach" was missed, however.) A final duo segment
emphasized Latin rhythms, with the clarity of development in "Tango
'92" contrasted nicely with the more turbulent Corea solo piano and
subsequent variations of "Rhumbata." This last piece was the most
complex of the evening, with clusters growing ever-denser and Corea
and Burton tailing each other as soloists Daniel Stepner and Judith
Eissenberg had done during J.S. Bach's Concerto for Two Violins in
D Minor.
Soloists and ensemble merged dramatically in the Bach, a piece that
Django Reinhardt had "jazzed" in the 1930s. Both violinists displayed
great passion, sweeping the orchestra along in the finale. Stepner
also drove the ensemble on Corelli's Concerto Grosso in D Major, with
violinist Julie Leven and cellist Phoebe Carrai also intently focused
in the fugue. Finney performed Handel's Concerto for Organ in F
Major on a period instrument with only one keyboard and no pedals.
The rawness it imparted to the more intricate harmonies required
getting used to, although Finney's spirited cadenzas during the
allegro movements suggested the spontaneity that improvisation
originally brought to these works.
This story ran on page G06 of the Boston Globe on 02/06/99.
© Copyright 1999 Globe Newspaper Company.
Bernard Gregoire
Hingham, MA
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