A review
by Valerie Giles
Special to The Citizen
Turning an ordinary winter Sunday afternoon into a blissful idyll, the Prince George Symphony Orchestra served up a veritable feast of Baroque Christmas favourites.
Simon Cole, the orchestra's principal clarinet player, stepped into the role of guest conductor and had some fun rounding out the performance with stories from centuries-old experiences surrounding creation of this music.
The music cascaded from one familiar piece into another, delighting the audience. Mouret's Rondeau; Bach's Cantata, Suite No. 3 and his especially wonderful Sheep May Safely Graze, the music evoked a generalized sense of well being and serenity.
The lyrically beautiful sound of the harpsichord was featured with flutes and bassoon in Bach's Trio Sonata in G. In introducing this part, Conductor Cole sketched some of the political and social events affecting Bach's career. Prince George Symphony audiences have become accustomed to such "peeks into the past" from conductors and continue to appreciate being provided such context.
Flautists Ariane Nelles and Don Bond provided an appropriate pairing of sound with the harpsichord for an authentic sense of music from the Middle Ages.
For those who favour Baroque music, the five movements of Bach's Suite No. 3 help define this style's popularity. From the inspiring and hopeful sound of the familiar Overture, the piece moves into the slow-paced Air which is uplifting as prayer. Purposeful rhythms in the third movement give the sense of moving towards a destination giving way to the Gavotte's dramatic notes and repetitive patterns allowing listeners to anticipate the tempo changes. As with so much symphonic work, the final movement assumes a sense of grand occasion - the kind associated with stately processions.
The audience settled back after intermission to hear Les Folies D'espagne which Marais wrote in 30 short movements. Performed with bassoon, harpsichord, and oboe the piece is unusual because of the truncated stop-and-start playing. Having each movement announced by the players allowed the short phrases to act as descriptive titles.
Handel's Water Music as well as Bach's Jesu, Joy of Man's Desiring and My Heart Ever Faithful remain perennial favourites. The sound rose like prayer in a mood-elevating way that literally soothes the soul.
And then came introduction of Pachelbel's Canon in D Major. A polyphonic piece with such pleasing baseline repeats, many hear the word "Alleluia" repeated over and over. The conductor admitted that the sound resonates with people and acknowledged its enduring popularity.
At concert's end, all the Christmas favourites were played in Bach style. Simon Cole put forward the notion "If Bach were alive today, what would his music sound like?" Beautiful orchestral renditions filled the hall. To finish, Mouret's Rondeau was repeated bringing the concert back to the feeling of its appealing start.
This experience can only be surpassed by, as an example, visits to German castles or Austrian palaces. There, audiences can assemble in the very rooms where the works were performed in their day. Musicians sometimes perform in period costume, using the old instruments.
The next PGSO performance, "At Home For The Holidays" happens at 7:30 p.m. Saturday at Vanier Hall featuring soprano Veera Khare Asher. She will perform selections from Handel's Messiah with the Bel Canto Choir.
