This reviews a concert by The Academy of Ancient Music, directed by Bojan Čičić
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18 November
This is a review of a concert given by The Academy of Ancient Music, under the direction of violinist Bojan Čičić, at West Road Concert Hall, Cambridge, on Wednesday 18 November at 7.30 p.m.
The concert was being recorded by the BBC for later transmission on Radio 3 (@BBCRadio3) (on Monday 23 November : available to listen to for 30 days), so we had Martin Handley on the stage at West Road Concert Hall (@WestRoadCH), Cambridge, introducing the items, and sometimes stopping to interview Bojan Čičić (@BojanCicic), who was leading The Academy of Ancient Music (@AAMorchestra), about features of the programme that he had devised for the concert*, which made for a fascinating element of the evening**
From seven minutes in at : https://t.co/aNFFQY34uR https://t.co/ENZRXSMLS4— THE AGENT APSLEY (@THEAGENTAPSLEY) November 21, 2015Today on @BBCInTune @AAMorchestra's Bojan Čičić & Elizabeth Kenny chat & perform live ahead of 'Angels and Saints': https://t.co/s823rxJbrQ— RDMR (@RDMR1) November 16, 2015Programme
1. Vivaldi (1678–1741) ~ Concerto for Violin in F Major
2. Vejanovskỷ (1633-1693) ~ Sonata in D Major
3. Vejanovskỷ ~ Sonata in C Major
4. Vivaldi ~ Sonata in E Flat Major
5. Leclair (1697-1764) ~ Concerto for Violin and Strings in D Major
6. Manfredini (1684-1762) ~ Concerto in C Major
7. Biber (1644-1704) ~ Passacaglia for unaccompanied violin
8. Vivaldi ~ Concerto for Violin in E Major
9. Vivaldi ~ Concerto for Violin in D Major
1 Antonio Vivaldi ~ Concerto for Violin in F Major Per la solennita di San Lorenzo
1. Largo – Andante molto
2. Largo
3. Allegro non molto
The rather sombre mood of the opening Largo broadened into a tutti section with the Andante molto, full of graciousness. It became immediately clear that Bojan Čičić’s immense technical facility was being employed for purposes of expressiveness, and, as ever with AAM, it was a pleasure to hear a clear bass-line from Judith Evans. The solo writing had Čičić giving a skittering effect on violin, as well performing fast passages (not for the only time in the evening), with a smaller group of players.
The Largo felt very triste, and almost looked inward as some of Bach’s fugal writing for solo instruments can feel to do : the sadness was soulfully placed and centred, without sentimentalism. Vivaldi gave the violin some bird-like passages (another of the programme’s recurring themes), before the other instruments came in and, with the organ (Alastair Ross), drew to a close.
The closing Allegro non molto began with variant forms, a bit like a round, of a falling motif, and then, when Čičić came to make an explicit statement of the material, there were more bird-like bars heard, and one came to appreciate how cellist Joseph Crouch was often operating in a block with David Miller (on theorbo) and Judith Evans (on bass). A highly virtuoso run for Čičić exemplified his phrasing, and his control of pace and energy, as the concerto was nearing its end, with a singing line for the soloist, where he came in and out of prominence.
2 / 3 Pavel Josef Vejanovskỷ ~ Sonata in D Major Sancti spiritus and C Major Paschalis
We had been directed to Giovanni Gabrieli by our programme-notes, and there was a definite feel of ‘courtliness’ in this music, whose open-soundedness was also reminiscent of that of Claudio Monteverdi : almost necessarily, because of the purpose for which these Sonatas had been written, they were oriented to the celebratory, and always had the effect of the ensemble in mind.
4 Vivaldi ~ Sonata in E Flat Major Santo sepolcro
1. Largo molto
2. Allegro ma poco
Returning to Vivaldi, the Largo molto gave us an accreting group of players, and, as it took shape, did it remind somewhat of his Opus 8 (Il cimento dell’armonia e dell’inventione***), Concerto No. 4 in F minor, ‘L'inverno’, RV 297 ? There was a simplicity of line, but it was held steady and supported by Čičić’s direction, and the movement came down to a very quiet end. The Allegro ma poco, in nature a fugue, was characterized by Vivaldi’s use of repeated notes, and the piece seemed to appeal on the general level of emotion more than directly musically. It also put one in mind a little of the fugal writing (from the Kyrie eleison)of Mozart’s Requiem Mass in D Minor, K. 626 (incomplete from 1791).
5 Jean-Marie Leclair ~ Concerto for Violin and Strings in D Major, Opus 7, No. 2
1. Adagio – Allegro ma non troppo
2. Adagio
3. Allegro
The Concerto began with a clear statement of its material, here using the organ to build up its effect. Nonetheless, it felt that Leclair was initially holding much back, despite contributions made by the theorbo and notes from the organ. Later, a sense of warmth and inclusiveness had emerged in the writing of the Allegro ma non troppo, although there were still little moments of harmonic tension.
Čičić was provided with some lively playing, especially when we had reduced to the four violins, and Leclair next gave those strings some paired entries, before we heard him rising through the keys. In a solo section, we had the clear sense that this player was serving the music, and not himself, and the complex nature of the writing makes one wonder who the original violinist was (and wish to find out what is thought).
The relatively short Adagio, with its clock-effect, felt as though it owed to Vivaldi’s Opus 8 (please see above), whichever of that Concerto, or Concerto No. 3 in F Major, ‘L'autunno’, RV 293, it may be. The concluding Allegro gave the impression of the soloist building virtuosity with the other instrumentalists, and there was a sort of keening, with a bird-like quality, in the cadenzas : there was the clear idea that Leclair envisaged the soloist shining with this writing, and one could also appreciate the attack that Miller (theorbo) and Crouch (cello) brought to their playing. With the developing bird-tones (which seemed most like a cuckoo ?), Leclair showed us his sense of humour – which was rather silly, but still funny (as Python can be), and the AAM did it very well.
* * * * *
6 Francesco Onofrio Manfredini ~ Concerto in C Major Pastorale per in Santissimo Natale, Op. 3, No. 12
1. Pastorale : Largo
2. Largo
3. Allegro
It is well worth giving this Concerto Grosso an airing, as it is usually eclipsed by that of Corelli, whereas it is more reflective, and trying other things. (Apparently, if larger forces had been available, Čičić had been contemplating Locatelli’s version of such ‘Christmas Concerti’.) The first two movements, which seem to help make us ready for the relative exuberance of the third, both ended with quiet gestures / cadences on theorbo from Miller, and Ross (on organ) and Evans (double-bass) both underpinned the ‘suspensiveness’ of the central Largo.
Marked Allegro, the closing movement signals that apparent exuberance in yet more bird-like calls, before the very fine writing for violin takes us into flourishes and arabesques. The piece ends thoughtfully, and we might be reminded that the first Sunday in Advent this year is at the end of November.
7 Heinrich Ignaz Franz von Biber ~ Passacaglia for unaccompanied violin (which concludes ‘The Mystery Sonatas’, for Violin and Continuo)
In tackling this demanding Passacaglia, which impressed those members of the audience at West Road who were not already thoroughly impressed, Čičić brought out its liltingly rhythmical character, underneath its expansively developing form : now as a completely solo performer, his playing occupies the air, and speaks to us through its violinistic excellence, rather than to claim (or exert) power.
In conversation with Handley, he said how the Passacaglia is unusual for the time, being amongst the earliest writing that we have for solo violin, and, in this as in playing the piece, one was aware of Čičić’s keen, but unassuming knowledge and understanding of music from this period. (Inevitably, as one had listened, one thought also of the Bach Sonatas and Partitas, and forwards in time to Paganini’s 24 Caprices for Solo Violin.)
8 Vivaldi ~ Concerto for Violin in E Major Il riposo
1. Allegro
2. Adagio
3. Allegro
From the start of the Allegro, there was a patent oddness in the muted string-sound that Vivaldi requires, especially in the section when we were without the recognizable trio of instruments (cello, theorbo, and double-bass), with the impression of ‘thinness’ / ‘wateriness’ being appropriately otherworldly, if the repose does echo a status of being written for the feast of the nativity : meaning and expression were always foremost.
The mood of tranquillity continued with the lovely ambience of the Adagio, a musical feeling of suspension, to which David Miller’s quiet plucking of the theorbo added. The Allegro had a distinct chirpiness about it (perhaps on account of the narrative in the gospel according to Luke ?), as well as a reflective side, and a violin passage seemed to bring in what felt like very good-natured rejoicing (at the virgin birth ?). Yet there was also a passage of suspension in the playing of the familiar trio, keeping us off, until ready, for the quiet close.
9 Vivaldi ~ Concerto for Violin in D Major S. lingua di S. Antonio di Padova
By the time of this final work in the concert****, one was fully aware both of how tight the ensemble was, and, from the Allegro's first cadenza, how much Bojan Čičić was enjoying playing*****, as well as directing AAM (@AAMorchestra), by gesture and by nod. The communication between the instrumentalists was clear, with taut, attentive first and second violins (respectively, with Čičić, Rebecca Livermore, and William Thorp and Iwona Muszynska), as well as the very familiar face of Jane Rogers, on viola, on the other side of the chamber-organ. The second cadenza showed Čičić continuing to have a good time with this Concerto, which felt not only natural, but spontaneous and alive.
The scene was being set, in the second movement (marked Grave), for the conclusion of the work, but it had its own poise and grace, and Čičić was no less impressive for that, both as director and violinist : in the Allegro, he showed great confidence and assurance in establishing a forceful pace and beat for its opening, and then turning to the kindred material for the solo part.
AAM showed that it was really together under his direction, and with his excitingly taking choices for clarity and for the nature of the work’s expressiveness. As has been said, it was clear that the audience would have gladly heard more from this director and orchestra, but it was not to be on this occasion.
As is usually possible at West Road (@WestRoadCH) – as is also true of York Early Music Festival / National Centre of Early Music (@yorkearlymusic) or at King’s College Chapel (@ConcertsatKings) – a chance to congratulate Bojan Čičić on his playing and leadership, and to express the hope that the exposure, here and on Radio 3, might bring greater recognition for him as a soloist (though he did point out that we are talking about the world of baroque violin, of course).
End-notes
* The first of four performances, the others being at Milton Court Concert Hall, London, on 20 November, at Dorset County Museum, Dorchester, on 25 November, and at Hall for Cornwall, Truro, on 26 November.
** It was also interesting to see how the emphasis and even some of the information differed between Handley’s presentation and the content of the AAM programme-notes (which, unusually, also did not provide RV numbers (for the works by Vivaldi)).
*** It is a great shame that more attention is not given to all twelve Concertos in the set.
**** There was ample enthusiasm for an encore, but maybe none had been prepared, or some of the AAM players needed to get away ?
***** In its real sense, where ‘to enjoy’ and ‘to rejoice’ have common origins – not the more vacuous sense in which, most often when being served something, one is nowadays seemingly unceasingly enjoined to ‘enjoy [it]’. [It seems that, in some places (such as http://english.stackexchange.com/questions/181698/why-does-enjoy-almost-not-have-a-causative-sense), some are still discussing such matters as what words mean – and why.]
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
