Volume 24 Issue 6 - March 2019

An agency of the Government of Ontario
Un organisme du gouvernement de l’Ontario
Masaaki Suzuki
composed so that a single work could be performed from both organ
lofts at the same time: Chorus and orchestra I would occupy the large
organ loft, and Chorus and orchestra II performed from the small
organ loft. In a space lacking these vehicles for spatial separation, it
will be fascinating to see how the dynamism of Bach’s score is realized
onstage in this don’t-miss performance of Tafelmusik’s 40th-anniversary
season.
OCO’s Brandenburgs
A short drive away in Oakville, the Oakville Chamber Orchestra
celebrates their 35th anniversary with a complete performance of
Bach’s Brandenburg Concertos. Regarded as some of the best orchestral
compositions of the Baroque era, this collection of six instrumental
works was presented by Bach to Christian Ludwig, Margrave
of Brandenburg-Schwedt, in 1721. While Bach took the opportunity to
revise the concerti before presenting the scores to the margrave, each
copied in his own hand rather than by a copyist, the material itself
was likely not freshly composed, but rather selected from concertos
he had composed over a number of years while at Köthen, and
possibly extending back to his employment at Weimar.
After their gifting to the margrave, the Brandenburgs had a rather
unfortunate history: because King Frederick William I of Prussia was
not a significant patron of the arts, Christian Ludwig lacked the musicians
in his Berlin ensemble to perform the concertos. The full score
was left unused in the Margrave’s library until his death in 1734,
when it was sold. The autograph manuscript of the concertos was only
rediscovered in the archives of Brandenburg in 1849 and published
in the following year. While Bach undoubtedly led performances of
the original movements as Kapellmeister at Köthen, he never heard a
performance of the Brandenburg Concertos as we now know them.
Fortunately, such opportunities are not lost on the modern concertgoer,
though it is a rare treat to be able to hear all six works in one
performance. Each concerto has a unique character and body of
soloists, the fifth concerto perhaps the most renowned for its extraordinary
harpsichord part. (It seems very likely that Bach, considered
a great organ and harpsichord virtuoso, was the harpsichord soloist
at the premiere of an earlier version in Köthen). Modern interpretations
of these pieces range from one-to-a-part chamber ensembles of
period instruments to pared-down symphony orchestras on modern
2018-2019: The Colours of Early Music
FOUR QUARTERS
OF JERUSALEM
MARCH 8 & 9 at 8pm
Guest Ensemble Rose of the Compass
Music has the power to unite. Welcome critically acclaimed
early- and world-music ensemble Rose of the Compass
as they present an extraordinary program that celebrates
the diversity of faith and musical traditions of the city
of Jerusalem. Listeners will travel through the Muslim,
Christian, Armenian, and Jewish Quarters as oud, kanun,
recorders, and chalumeau act as gateways to ancient
lands – creating a diverse soundscape while unifying
us in the hope of understanding and acceptance.
Great seats starting at $ 26! | Call 416-964-6337 or visit TorontoConsort.org
thewholenote.com March 2019 | 35