Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Wednesday, June 3, 2020
Froberger, Complete Fantasias and Canzonas, Terence Charlston
Vivaldi was born in 1678, Handel and Bach in 1685, Rameau in 1683. We general consumers of classical music tend to know later Baroque masters more than earlier ones. This in part explains why Froberger (born in 1616) is not exactly a household name. True too is that the music we hear on this album does not proclaim itself as bold expression as much as the music of later Baroque masters did. Instead there is workmanship of a fine-hewed sort, of a quality that is best experienced cumulatively rather than climactically. And it is true in this that the music must be listened to with repetitive persistence, all the better to be able to gauge it more fully.
This is very contrapuntal and one might characterize the music as tightly knit and phrased in a longer, wider sense more than going for a pinpointed thematic brilliance. It thrives in how all works together in the long term, with the themes more like a long meandering river than the spectacular thematic highlights we might sometimes expect from a Bach or Handel. It is not that the themes are without distinction, but they are geared to make the overall contrapuntal matrix the main thrust. For that the music is masterful, lucid in its heightening of the "structures of the long run" (to borrow a phrase from anthropologist Marshall Sahlins).
In the end this is a carefully detailed reading of some gems from 1649, music that maintains high levels of contrapuntal brilliance as it gives an uncompromising vision of intimate chamber soundings some thirty years before the births of Handel and Bach. It is music any thorough explorer of Early Music should be happy to immerse self in. Good one! Take a listen.
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