I sometimes get mad at myself for being contrary. Like tonight, for example, as I contemplate my disappointment with the opening night of Tafelmusik’s French Baroque Christmas programme after having spent years wishing for something more than all-Messiah all the time in the lead up to a Toronto Christmas.
- Classical Music 101: What Does A Conductor Do? - June 17, 2019
- Classical Music 101 | What Does Period Instrument Mean? - May 6, 2019
- CLASSICAL MUSIC 101 | What Does It Mean To Be In Tune? - April 23, 2019
The non-Messiah programme on offer this week to Sunday is by French composer Marc-Antonie Charpentier (1643-1704). The first half of the evening belongs to a setting of the Nativity story. The second half showcases a Mass setting for eight voices (divided into two choirs) and split orchestra.
First, I need to be clear that both the period-instrument Tafelmusik orchestra and the Tafelmusik Chamber Choir are up to their usual high standard.
The orchestra, augmented by visiting viola da gamba master Susie Napper, sounded at once sweet and muscular. The choir, which also supplies eight solo voices in an ongoing shuffle of singers along the back of the stage throughout the evening, is crisp and balanced.
The music itself is inventive, and Taurins shaped it into compelling phrases on Wednesday night.
But the problem was that these are simply not Charpentier’s finest compositional moments. He was a prolific writer of sacred music — and there are many great settings that now get performed and recorded, especially those he wrote while director music at the Church of St Louis in Paris, late in his career.
Both pieces on Tafelmusik’s programme bogged down a few times. The harmonies and counterpoints, as beautiful and intricate as they were, also became repetitive. My brain started searching for interesting keys in which the music could have modulated.
The weirdest moment, musically speaking, came during the Nativity cantata, in an instrumental passage that depicts the sleeping shepherds. Their breathing and quiet snoring is expressed in gently dissonant noises on the stringed instruments, nicely guided by Taurins.
But all the interesting and nice moments — and there were many — did not add up to a gripping musical night with Tafelmusik orchestra and choir.
I hate to admit it, but we might have to wait for Messiah for that.
For more information on this week’s remaining concerts, click here.
John Terauds
- Classical Music 101: What Does A Conductor Do? - June 17, 2019
- Classical Music 101 | What Does Period Instrument Mean? - May 6, 2019
- CLASSICAL MUSIC 101 | What Does It Mean To Be In Tune? - April 23, 2019
