Italian Recreation by Antoine Watteau
Dear friends and readers,
Last night The Folger Consort, put on a truly enjoyable concert of 18th century music appropriate for the winter season, “The Season Bids Us.” It consisted of four pictorial (in the 19th century way of music) Four Seasons (Scherzi Armonici sopra le Quattro Stagioni dell’Anno) by an early 18th century French composer variously called Antonio or Mr Antonio at the time. The Folger gave his name as Giovanni Antonio Guido; born 1675, from Genoa, studied violin in Naples from 1683; was employed at the city’s Conservatory, paid as a copyist, a violinist in the Royal Chapel and moved to Paris in 1702. There he became successful enough to end the head of the Duke of Orleans’s musical establishment. He was painted by Watteau.
Antonio by Watteau
The four movements of Four Seasons, each have subheadings which suggests a story, and the Folger Consort group printed four French poems (with facing English translations) which correspond to the changes of story line in the music. You can follow along from mood descriptions of the season, to events occurring in the natural world among animals and people (including a fierce hunt where the poor stag is destroyed no matter how hard he tries to escape).
The consort used to consist just of four older (white) men; it’s now about 10-12 people, some young, women, African American. The older men are still playing their harpsichords, recorders, older violins, cellos, and period instruments I can’t name; the new people have older instruments too, but also modern violins, cellos, horns.
For this concert and I can see those coming next year each time a “star” instrument performer is hired. This time it was the stunningly good Julien Chauvin. He can play that instrument wildly and it becomes alive with feeling. They also had a soprano with a beautiful voice, Rosa Lamoreaux. Between the first two seasons she sung carols using the Christian mythic story by Marc-Antoine Charpentier, a French composer active in Paris in the middle to later 17th century.
Born in 1643, Charpentier’s father was a scribe, and he spent time studying in Italy under the composer, Carissimi. He too ended patronized by the French aristocracy, given an apartment by Marie of Lorraine in the Hotel de Guise. As wikipedia says, “prolific, versatile,” he is said to have “produced compositions of the highest quality” in many genres, among these oratorios, motets — and Christmas pastorals. He is best known for music composed for Moliere’s plays and company of actors. He kept his autographs and they are now in the Bibliotheque National so his work is known. He was music director at a Gothic style chapel Sainte-Chapelle for six years where he is said to be buried, but there is no marker. The program notes quoted him from near the end of his life:
I was a musician, considered good by the good ones, scorned as ignorant by the ignorant … since those who scorned me were more numerous than those who lauded me, music became to me a small honor and a heavy burden. and just as at my birth I took nothing into this world, I took nothing from it at my death.
The consort matched traditional carol words to some of his melodies, with deft dance rhythms, folk tunes. The songs are playful; one ruefully feels sorry for the apparently cuckolded Joseph. Another is universal in spirit about the new year. Some of the translations were very Baroque in imagery and feel; others influenced by William Cowper-style verse:
From Spring: there was a shepherd and shepherdess song:
The Shepherds by Watteau
The air sets fire to itself: Phoebus in his brilliant course
Has already met Leo in wrath.
Zephyr disappears, the burning countryside
Leaves no birds to sing excepts the cuckoos …
The stag, horrified, sees no escape.
He flies, attempting in vain to escape death.
His power leaves him, he cries of his defeat,
He surrenders to the conquerors who deny him mercy
The season of freezing fog saddens Nature,
The weakened sun escapes before our eyes
To the animals, the soil offers in place of grass
Only snow and icicles that are found in every place.
You can find read the program and all the songs on line here:
The whole thing was done so unprentiously, without pomposity, people coming in, setting themselves up, playing and singing, and taking a few bows after that I wish my one on-line YouTube about it didn’t have the bit too much hype (or ad stuff here and assertions about this ritual time) but since I am not good at describing muisc, you do see the group, hear a bit of it, the soprano and the main violinist:
Pericles is still on at the Folger theater and the audience was probably too large for the Folger Theater, so it was held in a church across the street, the American Lutheran Church of the Reformation. The main nave is beautiful: simple, very Renaissance in the use of wood decoration, the forms across the ceiling reminded me of women’s headdresses. Four Christmas tree with white lights, wreaths without any ornaments.
Most of the time Jim and I did not go to the consort because (he said rightly) they were dull about 10 years ago or so, the four men just using religiously the instruments of the time, sticking to the way a song might have been done. Once in a while though they would break out. I remember seeing a delightful rendition in the small Folger theater itself of Milton’s apparently stern Comus: it’s a play meant to be done in an aristocratic house by children. For that they did hire actors, and had extra more modern instruments — after all it was mid-17th century, 100 years after the “official” Renaissance.
I see coming up in spring, “Playing with Fire,” a consort similarly inventingly combining different kinds of instruments and players: made up of fanstasias, dances and and tunes from Shakespeare’s plays; and in late Spring, Shakespeare and Purcell; music from the Fairy Queen and surely other works will include Dido’s song, “Rememember me but forget my fate,” and settings of Shakespeare by Purcell.
My neighbor-friend, Sybille, was with me. She is also a widow, her husband also taken by the cancer epidemic (in his case a devouring pancreatic cancer). Downstairs they had had mulled wine and various sweetbreads. We’d had some, and since she brought her car, it was an easy drive home. I would not have gone but for her.
I was much moved because this is the first time since Jim died I found myself having the kind of theater and music experience Jim used to find out for us regularly. I came home near tears and write this morning to record this renewal of dear memories through an experience. Also to tell of what this Consort has now become.
Rachel Ruysch (1664-1750, Netherlands — to represent the later 17th century)