Janie likes a bit of sax. So a quartet of saxophonists playing Italian Baroque at the Wigmore hall seemed right up our street.
At the time of writing, I have had a more recent sax quartet experience – click here – having retained only a vague memory of having seen a sax quartet before. This Copenhagen Saxophone Quartet experience was it.
Judging from their website activities page – click here – this appearance at the Wigmore Hall might have been the end of the story for this troupe, even if at the time of booking it might have seemed like a big break near their beginning.
The concert does have an instant encore listing, though, which I am delighted to link here, although (at the time of writing) I am the only person to confess to having been at the concert. I think there were quite a few of us in, but perhaps not the packed Saturday night the Wig and the quartet might have hoped for.
Which is all a shame, as they were rather good, as was their interesting choice of music. I remember them describing their instruments and the pieces they were playing rather well.
I seem to recall that the baroque pieces did more for us than the modern ones. I also recall feeling that saxophone might not be the ideal instrument for baroque music – all sentiments that returned to me when I saw the Ferio Quartet at SJSS in December 2016 – click here.
An unusual mixture of the vaguely familiar and less familiar Italian Baroque and its aftermath. The list of composers reads like an Italian restaurant menu or perhaps the lyrics of Mambo Italiano.
Fabio Biondi is a bit of a showman, I seem to recall, which is not necessarily the style that floats Janie’s boat, but it seems almost compulsory to perform Vivaldi that way these days. Although these particular Vivaldi concertos are not the best known ones, there’s always something fairly familiar about the Vivaldi concerto sound. No bad thing.
The second half of the concert was more subdued and in many ways more interesting, as I’m not sure I’d ever heard any Sammartini, Nardini or Brioschi before. Well worth a listen, but nothing so wow that I’m desperate for a recording or rushing back for more in the concert hall.
There’s no Wigmore Hall stub for this concert – those start from January 2012, but there is an Instant Encore entry, click here, so far I am the only person to confess to having attended this concert. Not even the Orchestra…
Joking apart, it was a very good concert, just one of those low key Sunday night at the Wigmore Hall affairs.
There is a good preview of this concert in The Cardinall’s Musick’s newsletter of February 2008 – click here. Apparently this concert was their first appearance at The Wig for quite a while. If I recall correctly, we had seen them before at St John’s Smith Square.
They really are a superb early music outfit. Andrew Carwood tries hard to explain the context of the work – perhaps he over-explains at times for our taste, but the music always sounds divine and the scholarship that underpins their work is evident for all to hear.
This type of concert is always a wonderful way to end the working week and I’m sure this occasion was no exception.
This is exactly what we heard – lovely.
We bought three CDs of The Cardinall’s Musick delivering their wonderful stuff. While I’m not 100% sure that we bought them on this occasion, I have a strong hunch that I did:
This concert was sponsored by the Tabor Foundation, so Janie and I went along and hoity-toitied with Michael and Doreen Tabor, plus Angela Broad and I think Catriona Oliphant was also there that evening.
Better yet, read the Classical Source Piece – click the picture
I’m not sure why we feel this way, but we sense something a little cliquey and clinical about the Academy of Ancient Music – perhaps it is the corporate-style branding.
The music of course is beautiful. Not quite sure why I chose this particular serving of fairly standard baroque concert fare, especially on an inconvenient Wednesday night for Janie. I think I might have been itching to hear the BWV1042 violin concerto live and wondering about Locatelli.
We were supposed to see someone else. Was it Paco Pena? Juan Martin? Yet another well-known guitarist?
Anyway, we weren’t supposed to see Tom Kerstens.
Had we known his relative quality, we’d have accepted the offer of our money back rather than persevered with a Sunday evening concert substitute. But we thought, heck, give the fellow a try. Oh dear.
Still, we’d had a corker of a month in the theatre and music department until this point. Here’s the programme (yes, really) – let’s draw a veil.
At the end of a stressy week, what could be better than an evening of jazz at Thw Wigmore Hall?
And what a stressy week it had been – with the deal to sell most of the business to Aon/McLagan Partners due to complete that week but actually not completed until the following week.
In truth, I don’t remember all that much about this concert other than the joy of sitting and letting a very accomplished jazz trio weave their magic for me.
I couldn’t find a vid of exactly the three who played our night, but two out of three ain’t bad:
While below is a subsequent extract from Portrait Of A Woman including vocals:
Janie (Daisy) and I weren’t there for the tense ending of that match either. But we were nearby – there in spirit if not in body.
We had been eagerly following the match all day.
But that day was also the birthday of Daisy’s mother, The Duchess of Castlebar. I had bought tickets for the three of us to see a Bach concert at the Wigmore Hall for that evening.
Janie had quite recently acquired a taste for chamber concert halls and baroque music, perhaps a year or two earlier. The Duchess tended to prefer large scale concerts of the Proms variety; we mostly booked those for her. But the Proms don’t get going until a bit later in the summer and it was the 250th anniversary of Bach’s death that year. So Bach at The Wig it was to be.
Anyway, that afternoon the Lord’s Test Match was beautifully poised and/but for reasons I cannot recall – had there been a lot of overnight rain? – the day’s play had been delayed and was playing out until quite late.
The Duchess is an avid follower of the cricket as well as a music aficionado. We called her to let her know that we were on the way to collect her. We could all listen to the ending of the cricket match together on the car radio on our way to The Wig.
As we drove to the Duchess’s residence, England wickets fell and the match seemed to be drifting in The West Indies direction. Daisy and I anticipated a dark mood and we were not disappointed.
Thrown it away, they’ve thrown it away…
…said The Duchess. We set off for Marylebone (the southern end thereof).
The Duchess explained to us, as she had several times before, that Denis (Compton), Ted (Dexter), Colin (Cowdrey) Ken (Barrington), Geoffrey (Boycott) and players of that ilk – whom she had met together with her late husband in the good old days- would not have thrown it away like this.
We arrived at The Wigmore Hall. England hadn’t lost a wicket for a while. Was it possible that they could snatch victory from the very jaws of defeat?
Daisy parked up – it was a warm sunny evening so we sat in the car with the roof open and the car radio on, listening to the denouement of the cricket match.
The Duchess Of Castlebar
Try to imagine the scene, dear reader, as it must have looked to passing tourists who understand little or nothing about cricket. A distinguished-looking septuagenarian with her family sitting in a car leaping around in their seats, oohing and aahing every 45 seconds or so as the commentator spoke.
Then, those same seemingly dignified folk whooping for joy for a while, before sealing up the car and entering the Wigmore Hall. Tourists: meet the English.
Basically it was an organ recital of JS Bach works by Jennifer Bate. When you click that preceding link you get some eye candy as well as the organist in question, as Jennifer Bate shares her name with a subsequent Miss England and sporting WAG.
Click the pic to read about the organist Jennifer Bate
It was a fine concert of mostly well-known Bach organ works. An example of one of the pieces (Bach after Vivaldi as it happens) can be seen and heard below.
A slightly sad coda to this Ogblog piece was the discovery that Jennifer Bate died in March 2020, just a few weeks before I wrote this piece.
Here’s another video of her playing one of the pieces we heard that night; Concerto in C BWV 595 (Ernst arr. Bach).
