Baroque violin music

Press, 28 June 1983, Page 8

Baroque violin music

“Music for Baroque Violin” with Bronwen Pugh (baroque violin), Robert Petre (harpsichord), and Rhona Lever (viola da gamba), presented by the Early Music Society at the St Albans Methodist Church, June 27, 8.15 p.m. Reviewed by Philip Norman. The quality of the Early Music Society programmes seems to be ever on the increase. Each year brings a better standard of performance, a better considered programme, and a fresher approach to the music of the ancients. Part of the reason for the general increase in skills is that early music exponents are forever buzzing off to some part of. inner Europe to master some newly rediscovered technique on any number of long-neglected instruments. It is this ferment, this excitement of rediscovery that is bringing life and vitality to the Early Music Society programmes. Two such Baroque globetrotters, now based in Wellington, are Bronwen Pugh violin) and Robert

Petre (harpsichord). With the assistance of the indefatigable Rhona Lever (viola da gamba), this threesome last evening closely scrutinized five works from the eighteenth century French and German repertoire. Their attention to detail, their concern for the spirit of the times, and their general technical excellence made for a most satisfying recital. J. S. Bach’s “Sonata for violin and continue in G major” opened the programme with good impact. From the onset, the trio struck a happy balance and worked well as an ensembled unit. The opening Adia gio was especially memorable for the spacious phrasings and savoured ornamentation by Bronwen Pugh. Handel’s "Suite No. 5 in E major” for solo harpsichord was cleanly and intelligently delivered by Robert Petre. In his subtle alterations of pace, his gentle stressing of notes through elongation, and his clearly inscribed phrases, he brought

a remarkable variety of expression to the suite. J. S. Bach’s “Sonata for violin and harpsichord No. 6 in G major” was perhaps the least successful work of the evening. Occasional inconsistencies of pitch in the violin and less precise rhythmic articulation (particularly in the tricky closing Allegro) brought marginal losses of momentum and intensity. These were quickly forgotten in the face of the quality playing in the closing two items. These were “Sonate Septieme a violin, G minor” by the little-known J-F Rebel, and “Septieme Nouveau Concert in G minor” by Couperin. The slower movements of these two works were the most satisfying, where Bronwen Pugh was able to give the broad tone of her violin full flight. The brisk Fuguette of the Couperin though, had lots of punch and precision, and presented Rhona Lever ample opportunity to demonstrate the remarkable agility she has developed on her instSfinent. '