Works from 17th and 18th century Italy and England provided on attractive diversity of styles, despite the common denominators of the period.
By URY EPPSTEINJBO
Italian and English Baroque
The Jerusalem Baroque Orchestra started its season on the right foot in a performance conducted by England's Margaret Faultless.
Works from 17th and 18th century Italy and England provided on attractive diversity of styles, despite the common denominators of the period. No fault could be found with the conductor's direction that steered clear of any academic dryness - as is often encountered in performances of this early music. She placed emphasis on vivacity and on the emotional content of the music, resulting in infectious joie de vivre and invigorating energy.
Profound sorrow was also conveyed in Locatelli's moving Violin Concerto, Arianna's Lament. In the English pieces by Locke and Purcell, the dramatic elements of this theater music were appealingly highlighted.
As a soloist, violinist Faultless displayed polished virtuosity in concertos by Locatelli and Vivaldi, insisting on appearing as prima inter pares, without becoming too ostentatious. Violinist Noam Schuss contributed remarkable attentiveness and technical capacity in Vivaldi's Double Concerto and Geminiani's Concerto Grosso.
The latter surprised with a little-known orchestral version of Corelli's popular Violin Sonata, La Folia, based on one of the period's hit songs.
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