The concert's title, The Prince and the Pauper, was so named by director Kah-Ming Ng because the two instruments used, the viol and the violin, were seen to have different positions in the social hierarchy of the baroque period.The viol was played largely in aristocratic circles, whereas the violin was considered a ‘professional’ instrument of the lower classes.
The concert was held in Exeter College Chapel, which did lend itself to such an event, with its beautiful stained glass windows dating from 1859 and the air holding a faint hint of incense, wood and stone.
The audience, approximately 70 people and a broad range of ages, took their place in the pews. A bell sounded eight o’clock and the candles were lit. The harpsichord was opened, revealing a beautiful scene on the lid, and somewhere off stage some strings warmed up, and even that sounded tuneful.
Then our three musicians for the evening made their appearance. Kah-Ming Ng, the director of the group, was on harpsichord. Kate Conway was on the viola da gamma, and Persephone Gibbs was on the baroque violin.
The evening consisted of eight pieces of music with a 15-minute interval.
Kah-Ming Ng gave a brief introduction before each performance, telling us something about each composer's life. He also threw in some interesting anecdotes, such as the fact that Georg Philipp Telemann was godfather to Bach’s second son. My only criticism was that sometimes he spoke too quietly to be heard.
All the musicians were totally involved with each other. They looked to one another for clues and timing. It was a very intimate performance and they all worked incredibly hard. After each performance the band re-tuned their instruments. We were told that this was because the violin and the viol used gut strings, which need constant refinement.
So the evening began with work from composer Dieterich Buxtehude. He created the first musical classes not affiliated to church or state. Both women played energetically and it was a lively beginning. Next we moved to Austria with composer Johann Heinrich Schmelzer. His work seemed more epic to me. Then on to Italian composer Alessandro Stradella, whose work was full of drama with an undercurrent of broodiness. Then Jean-Philippe Rameau, who had a career change in his middle years. He was a French composer who wrote pieces for the violin and the harpsichord. Here the harpsichord came into its own in the first part of the piece, sounding wonderfully light and frothy.
After the interval we had composer Dietrich Becker. I thought the piece had a dreary start, but then came a dreamy melody that reminded me of hot, summer days.
Next came the only female composer, Elisabeth Jacquet de la Guerre, who was a child prodigy at the age of five. Her patron was King Louis XIV. Although her piece wasn’t a favourite of mine (for me, there was no comprehensive melody), I could almost imagine I was at King Louis’ court.
The seventh piece was by composer Marin Marais. This piece was played by the harpsichord and the viola da gamba only. Kate Conway played with great expression, but I found I missed the violin and without it I thought the music sounded much more experimental. The evening ended with works from composer Georg Philipp Telemann, which provided a very lively performance from the violinist.
As the windows darkened with the fading daylight, the chapel took on a cosy atmosphere. The harpsichord, played enthusiastically, with great theatrical emphasis, was enjoyable to watch. The viol, played with great accomplishment, was slightly disadvantaged by being seated to one side, not visible to all. But for me, it was the violinist who was compelling to watch. Persephone Gibbs gave a mesmerising performance. The notes were crystal clean and she held centre stage with ease.
My favourite piece was by the French composer, Jean-Philippe Rameau. His Piéces de Clavecin had me swaying along and anticipating what was to come, with a melody that repeated.
All in all an enjoyable and educational event. If you are looking for an evening of sweet civility, give this a go.