March 10, 1986 |
Handel's glorious setting of John Milton's "L'Allegro ed il Penseroso" sumptuously was presented on Friday at Royce Hall, UCLA, by the Philharmonia Baroque Orchestra under the direction of Nicholas McGegan. The Bay Area-based ensemble of period instruments has in the four years of its existence achieved a degree of cohesiveness and interpretive strength that allows favorable comparison with the three or four top "authentic" Baroque bands in Europe.
September 15, 1999
William Christie's Paris-based baroque ensemble, Les Arts Florissants, has announced it will perform Jean-Baptiste Lully's "Le bourgeois gentilhomme" in addition to Purcell's "King Arthur" at 8 p.m. Nov. 16 at Santa Ana High School, 520 W. Walnut St. The program marks the Southern California debut of the French ensemble and also closes the Philharmonic Society's "Eclectic Orange Festival," which opens Oct.
November 15, 1988 |
Nicholas McGegan and his Philharmonia Baroque Orchestra, who paid their annual visit to Ambassador Auditorium Sunday afternoon, tend to become addictive. Not only for playing as well as they do, but for the manner in which they play well: with bracingly clean lightness of sonority and a darting, bouncing rhythmic vitality founded on the belief that all Baroque instrumental music has its origin in the dance.
June 9, 1987 |
The Corona del Mar Baroque Festival is 7 this year--relatively mature as such things go, yet still a relaxed, chipper sort of affair. Sunday evening the festival began with an organ concert at St. Michael and All Angels Church. Stanford-based Robert Bates, a specialist in French Baroque music, exhumed a short, minor work for organ and orchestra by Charpentier for the festival. Judging from his spoken introduction, the effort was solely for the sake of novelty.
February 11, 1999 |
When Baroque-period instrumental groups resurfaced several decades ago, they announced themselves in harsh, grating, inexact tones, which were part of their claim for authenticity. The music wasn't supposed to sound smooth-edged and pleasant, and it often didn't. San Francisco-based Philharmonia Baroque Orchestra, founded in 1981, fortunately, is not one of those kinds of bands. It plays with pearly tones and revels in subtle orchestral colors.
January 21, 1997 |
The latest concert of the Los Angeles Master Chorale--Sunday night at the Dorothy Chandler Pavilion--was just about as routine as celebrations come. The Master Chorale is a well-oiled machine these days under Paul Salamunovich--it never sings badly. But under the workaday leadership of guest conductor David Hayes, artistic director of the Philadelphia Singers, the chorale could only do so much with a lengthy Baroque agenda dedicated to festive music.
July 20, 1998 |
The whole point of the period-instrument movement is, of course, to get as close as possible to the sound of the appointed historical era--be it Medieval, Baroque or Classical. But these are different times. We must have our music outdoors in summer, played next to freeways.
April 9, 1992 |
Why do musicians play music? "To have people come and listen," said Mariko Frankl, 60, of Yorba Linda. To that end, she started the Harmonia Baroque Players in 1984. "Originally, I just wanted to play baroque chamber music," she said. But soon the group was performing at libraries and colleges for little or no admission. "That way we can reach a lot of people who can't afford expensive concerts. We have people come with children who would not otherwise be exposed."
March 18, 1996 |
Vivaldi would probably have loved it: Jazz clarinetist Eddie Daniels playing the violin solo passages in "The Four Seasons" with the Los Angeles Chamber Orchestra. Just the sort of adaptation that the Baroque master (who composed 500 or so concertos, and who wasn't adverse to occasionally modifying the same work for different instruments) might have done himself.