Rezonance’s fall season opener is an autumnal harvest of high Baroque delights including works by Vivaldi, Handel, Telemann, C.P.E. Bach, and J.S. Bach. In addition, we are particularly excited to be joined for multiple works by oboist Ruth Denton (Cor Unum Ensemble, Tafelmusik). Though this program features mainstay composers of the Baroque tradition, we continue to find distinctive ways of presenting these works. In this program we will feature many works that were originally for a different instrumentation, but have later been arranged or transcribed in some way. It can be fascinating to see how the transcriptions and arrangements change how we hear this music, often bringing new meanings to it.
The Sinfonia (opening movement) of Bach’s Cantata no. 156 features the oboe, and Ruth Denton has made an arrangement of this lovely piece as a chamber work for oboe and cello. Hear the piece as originally composed: https://youtu.be/vE2O_yfgtBU?t=212
JS Bach himself transcribed music regularly for his own study and performance. One of these pieces was the Oboe Concerto in D minor (S D935) by Venetian composer Alessandro Marcello (once thought to be by Vivaldi.) David Podgorski will give us the emotional centre of this piece, the second movement. Hear the piece as originally composed: https://youtu.be/drFcH_WwK7Y
Another highly unusual arrangement is the Sonata for Solo Flute in A minor by Bach’s son, Carl Philipp Emanuel. Our colleague Benjamin Stein has arranged it for oboe, violin, and cello, and we will share the haunting first movement with you. Hear the piece as originally composed: https://youtu.be/RpRJhhHI0E8
It is fascinating to see how the arrangements change the way we hear this music, and bring new meaning to it. In addition, the program features two of Vivaldi’s energetic concerti for strings, and a dramatic trio sonata by Handel.
The concert culminates in a rare performance of Bach’s dynamic Concerto for Oboe, Violin and Orchestra in C minor (BWV 1060). Special guest oboist Ruth Denton joins Rezan Onen-Lapointe as soloists in this testament to Bach’s gift for musical dialogue - the somewhat faster outer movements often feature an arresting call-response between soloists and ensemble, while a gorgeous interweaving of melodic content between the two soloists is central to the slower middle movement. This piece, along with the entire program, is not to be missed!
Sunday, October 27, 2pm
St Barnabas: 361 Danforth Ave