CLASSICAL REVIEW

All-Bach Program Viola da Gamba and Harpsichord St. Andrew’s Church, May 7.

By URY EPPSTEIN
May 12, 2013 21:18
Violins

violin 370. (photo credit: Wikimedia Commons)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

Arare opportunity to hear Bach’s Sonatas for viola da gamba and harpsichord, performed on the original instruments and not the more frequently heard cello, was provided by Myrna Herzog and David Shemer.

The performance was perfectly faithful to style, rendered with facility and elegance that left no trace of the works’ formidable technical demands. Melodic phrases were virtually sung on the instruments and shaped with loving care.

Be the first to know - Join our Facebook page.


The artists’ mutual attentiveness highlighted the frequent responsorial episodes, and contrapuntal textures were clear, without gliding into academic dryness, but radiating the joy of music.

Partita No. 3 for harpsichord, performed impressively by Shemer, contributed versatility to the program.

The performance would have been even more enjoyable in a venue with more listener-friendly acoustics.

These instruments’ delicate sounds, designed for an intimate Baroque salon, tend to get lost in the over-sized dimensions of this church, and their balance got blurred, resulting in a deplorable loss of transparency.

One wishes the artists and the audience a performance of these fascinating works in an acoustically more suitable hall.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys

By JTA