In the beginning of may presented the Ethel Smyths mighty ”Mass in D” for the first time in the concert hall’s history. But from all eras are forgotten works by both women and men. André Campras ”Messe de requiem” also belongs to the rarities.
The French barocktonsättaren served both the king and the church, but has for posterity been caught in the middle between Jean-Baptiste Lully and Jean-Philippe Rameau. The fair, from the 1720s was written to the memory of the archbishop of Paris, but is at the same time strongly colored by Campras mind for scenic music. During his time as musical director in the cathedral of Notre-Dame, he renewed audacious church music with violins.
in Grünewaldsalen got the Eric Ericson chamber Choir accompanied by the Lautten Compagney – a Berlinbaserat barockgäng with at least the same cheeky approach to innovation that Campra. Led by its concertmaster Birgit Schnurpfeil, they stood not only for fiolerna, but also for both the nerve and the drama. Not least the squeaking helveteskvalen in the Offertoire-kit.
Eric Ericson chamber Choir has not the same excellence in this repertoire. In addition, for example, Michael Axelsson the high tenor haute-contre to deal with. However, an ensemble with an international reputation should still have been able to deliver sharper solo effort.
Now it was over, Fredrik Malmberg led a vocal seen uneven performance. Albeit against a backdrop of the beautiful choir sound in the Campras intricately grouped effects. Not before the break prompted the cast to lift a suite with operakörer from ”Orpheus” and herdespelet ”Pastorelle en musique” by Georg Philipp Telemann.
started so well with the Lautten Compagney at his own hand. A wit, hopfogat Telemanncollage offered on the German music with spirit, French touch and flöjtsolon from the stands interspersed between the popular ouvertyrerna in the ”Les nations”. A colourful richness of the melodies and time signatures that made for playful living baroque’n’roll.
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