City Musick performers (from left) Paul Bevan, Richard Thomas, Richard Van Hessel, Gawain Glenton and William Lyons. (Photo courtesy of San Diego Early Music Society)
As the San Diego Symphony explored the glories of Shostakovich, I wasn’t in my usual balcony seat at downtown’s Copley Symphony Hall.
I was in a pew at La Jolla’s St. James by-the-Sea Episcopal Church, savoring the world debut of The City Musick, the London-based, vocal and instrumental ensemble that opened the San Diego Early Music Society’s 2009-2010 “International Series.”
If I could have done some fancy time traveling, like Hermione Granger in “Harry Potter,” I would have been in both places on Friday. The two concerts — one devoted to an iconic modern composer; the other, to 16th and 17th-century composers — wonderfully illustrate the variety of San Diego’s musical scene.
But because The City Musick had a one-night-only engagement here as part of its first North American tour, I chose its program titled “The Topping Tooters of the Town” over the symphony’s Shostakovich program, slated for repeats October 17 and 18.
Besides, I’m a sucker for sackbuts.
And the trombone-like, mellow-sounding sackbuts weren’t the only enticing instruments in The City Musick, the ever-so-talented five-man ensemble that consisted of William Lyons, Paul Bevan, Gawain Glenton, Richard Thomas and the Bay Area’s Richard Van Hessel (who subbed for a musician who was unable to appear).
Just seeing the instruments was a treat. There were cornetts (horns that resembled long, warped pieces of black licorice); a dulcian (a forerunner of the modern bassoon), recorders (in a range of sizes and pitches) and even the Early Music version of bagpipes.
The musicianship was outstanding. The performers showcased their mastery everywhere from Anthony Holbourne’s “The Night Watch,” a cheerfully chirpy piece for winds, to John Bernet’s “Venus’ Birds,” a rather slow and solemn song sung by Glenton, a clear-voiced tenor, and accompanied by recorders and sackbuts. Particularly beguiling were three short recorder pieces by Thomas Morley, which tickled the ear with such cohesive interplay that the three instruments sounded like one.
Though the City Musick’s members were most impressive as instrumentalists, they sang with accuracy and energy. “Hey Hoe to the Grenewoode,” Thomas Ravenscroft’s tavern tune, prompted a boisterous, a cappella performance complete with West Country burr that added authenticity.
As host and resident scholar, performer/director Lyons was erudite as well as entertaining. In the future, he might consider using a microphone, a modern convenience that would make it easier for audience members throughout the venue to hear his every word.
Nevertheless, Lyons revealed fascinating aspects of London’s old musical network, which included “Waits,” the professional band that performed at civic and ceremonial events. Speaking with a chummy familiarity that made it seem as if these performers and composers were alive today, Lyons talked about everything from theater productions to lively dances, adding “we’ll resist the temptation to reach out and grab various members of the audience.”
Listening to the commentary and the music, I felt like I was transported to Renaissance London, long before anyone dreamed of flying to England on British Airways.
Thanks to The City Musick, I did some time traveling after all.
Valerie Scher is the SDNN Arts & Entertainment editor. You can reach her at valerie.scher(at)sdnn.com; follow her on Twitter at http://www.twitter.com/vscher
Event info:
The San Diego Early Music Society’s 2009-2010 “International Series” continues November20 with Musica ad Rhenum. To find out more about that and other performances, call (619) 291-8246 or visit www.sdems.org
Tags: cornett, dulcian, Early Music, Gawain Glenton, International Series, london, London Early Music, Paul Bevan, review City Musick, Richard Thomas, Richard Van Hessel, sackbut, San Diego Early Music Society, San Diego Symphony, SDNN, Shostakovich, St. James by-the-Sea, SWRNN, Topping Tooters of the Town review, William Lyons, world debut, world premiere
