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Newcomer Shines in Early Music Series

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Newcomer Shines in Early Music Series Pro Musico provides o greot disploy of tolent BY MARY SOLOMON showed off the singers to perfec- nied him. It was one of the many performances since then. The l Post and Couier Rersiewer tion. This was followed by a ditty highlights of this program. Madrigal Singers are ba-sed at the called "Fine Knacks for Ladies." The singers performed "Ach El- College of Charleston. Included in The Charleston Pro Musica, to- From the late Renaissance and slein" as an a cappella number in the group are Julia Harlow. harp- gether with the College of early Baroque came "Divisions German. They sing with those sichord; Davis. cello: Geronimo Charleston Madrigal Singers, put Upon a Ground," which was a great flutey sounds so necessary Oyenard, violin: He1-wood, together an outstanding program theme and variations piece of for this music style. recorders, whistles: and SallY on the Early Music great beauty played expertly by Two dances and "Pastime with Frysingers, recorders. The addi- RIUIIW Series Satuiday af- the violin, cello and guitar. Good Company," the latter writ- tion of percussionist Mallon ternoon at the First From 17th century folklore ten by King Henry VIII, brought brought both auditory and visible Presbyterian Church. came "The Wraggle Taggle Gyp- the program to a close. They pro- interest to this exciting program. The singers, sounding like a sies." It was an interesting minor duced long applause from their The ensemble performs again cathedral choir, opened the pro- key song with the musicians jam- excited audience. on.Monday afternoon. TheY re- gram with "Alle Psallite," a 13th ming between verses sung by the Rosenberg directs Pro Musica. ceived well-deserved, prolonged century motet that was beautiful- Madrigal Singers. "Faronell's It was founded in 1986 and has applause for their efforts Satur- Iy sung. Following this, the wizard Ground" featured a long; deftly played more than 300 hundred day. of percussion, Danny Mallon, im- played recorder solo by David. provised a solo on the tambourine, Heywood. A Scottish song, "What and was then joined by Steve Mightie Motion," featured a Rosenberg on recorder. Rosen- melancholic tune well-sung by the berg is the multi-talented coordi- group. nator of the series and showed his A wonderful display of talent prowess on several instruments was featured in "Paul's Steeple." Saturday. The spotlight was on cellist Wade An Elizabethan English madri- Davis for this one, as guitar, harp- gal, "Now is the Month of Maying" sichord and percussion accompa- Newcomer shines in Early Music Series "Hark! How all things," was full of those into her own with the more elaborate -i€r-;.nt By MARY SOLOMON Posl and Courier Reviewer typically long phrases that Purcell was so fond the 18th-century styles. of writing. Varn received resounding applause G.F. Handel's music in the third set L::'-rg! oprano Meredith Varn teamed up with at the conclusion of this set, which also included the stage violinist Oyenard. It's liard tc' :el:e three other musicians to present an "Strike the Viol," "I attempt from Love's he's just a sophomore in college. He pia.,s r: exciting concert on Piccolo's Early sickneds" and "If music be the food of love." great sensitivity and restraint, and the inter: Music Series Monday night. Accompaniment for the first two sections of violin and voice was outstanding. All of the musicians had some tie to included harpsichord and Handel's music was decidedly more dra-m; Charleston (home base than the earlier pieces. The instrumen:al*<5 the College of ' tor the series). Varn is a recent graduate. Carol tri?;i""?,Til3ifiTs"o' EBEU![W__ provided fine support for Varn at ail ti::-er Beyer, cellist, and Robin Zemp, harpsichordist, composers from the 16th violin added a new dimension of terlu:: ;-ud are faculty members and violinist Geronimo through 18th centuries. By the second set, the color to the first two songs, "Il Mio Cr':'lei Oyenard is a student. audience no longer restrained themselves from Martoro" and "Ne Men Con L'Ombre.- The program centered around Varn's applauding each separate song. They were with The tour de force for this outstand;.lg olryi beautiful, rich, resonant soprano voice and Varn all the way. of talent was the final "Qual Farfai-::ia.* featured music from the Renaissance and By the 18th century, the dimensions and Varn is an up-and-coming voice to :t Baroque periods. characteristics of music had developed and reckoned with and she should go f ai .i: :'er Her concert was divided into three sections. matured and had become more expressiv6. The chosen field of vocal performance. The entire first part consisted of four songs by pieces became longer and more intricate, the Heavy applause, several borts anc a s:;-ui Henry Purcell, which Varn sang with sparkling accompaniment more interesting, and vocal ovation from an enthusiastic aud:=:-.:. ::ie* clarity and fine diction. passages more challenging. The earlier music in bring an encore, but those in atte::ia.-:: rs The concluding number from this section, this set was well done, but Varn really came. have liked to hear more from this :-:r:": =e *tgd*.fiiljl;LTgtir-' ll C of C orchestra {ers program worrh I rring JONES r,o^ Page IE floor in a rake raint to atrract at- his hands (oneor which o *.op*o lltfS:il'ff.1i'r11o"J:lT;:ffttto'' - tention, but I hated it when she by a violin, the other by a bow). He "Rosamunde"). people actually attended those lifted her leg and provided every- conducts by subtle twiits and turns It's alwayi fascinating to hear 'Bohemes," ald how mary actu- one onstage a look straight up hbr and nods, 6y instinctive body lan- whdt tale;ted youngsters are do ally enjoyed the experience. Did dress. Puccini thought a tantitiz- guage plus i set of highly eipres- ing, and this wh a proglarn they thrill to the tunes glimpse qr! lne ry- ing of her ankle would be iiveiv'es. woiUr nearing. Theie were a few mance? Did they weep helplessly sufficient, and Puccini was right, Bell ind the orchestra played two familiar faeei in the orchesha. all through Mimi's d,r'-ing mo- This was another of ihose 'Bol violin concertos, one by Bich, an- CSO professionals fillllg in the melts? Did they doze.impatiently hemes" that turned the fun-loving other by Haydn, with style'and weak spots, but I'd still iali it a an-d k-TP leeking at their watch- Musetta into a street whore, andl pure tone. After interrirission, studenf effort. There were the ex- es? Will they go to alother opera couldn't have liked it less. there was a novelty: Schubert's pected struggles on the harder-to- the fint chance they get, or will Sean Anderson was ar efficient "Death and the Maidin" quartet as ilay instrumlnts, and enough our- they stay home and watch sit- Schaunard, Ricardo Herrera a arranged for string orchestra by bt-tune moments to remind one coms? good-sounding Colline forced to Gustav Mahler. It is always intei- that these were college musiciars. It's easy to see why "La Bo- sing his aria so far upstage he esting to hear one great iompos- not professional ones. Siill, the heme" is so popular. The story is could hardly be seen or heard at er's interpretation of another, and playing was good enough to give about real people at the brink of all. Ari Pelto condueted the ' this is more interesting than most. pleasuie in the music, and I felt adulthood. It is impossible to re- slimmeddown, revised orchestra- Bell and company played it for all privileged to be there. A viotinist main untouched by these high- tion, favoring slow tempi and a the drama Mahler put into the named Geronimo Oyenard played spirited youngsters and their nonenergetic style. work. Tbue, he tended to fuss over the Mozart concerto (K. 216) with ^ I struggles to find love and create Not an inspiring evening, but not phrases, and his favorite device of style and musicianship. The audi- '^\r art. I must have heard Puccini's a boring one either. As to "B+ suddenly dropping to a pianissimo torium, by the way, was nearly O masterpiece several thousand heme" Seing pioaucea so often, and then swell'ing"into a fortissimo filled bi ieopte wiro cleariy n-ere \\- times, in produetions from huge operas don't gef produced by pub- grew a bit tiresome, at least to well beyond their college days. r- to nonexistent, with great singers lic opinion. They get produced be- these ears. Bui there's no question And they all seemed to be having n and with people who could barely cause someone in authority likes that he and the orchestra were a tovely time. reduce me to tears. I like to think Usually it's a leading conductor level. Barring some catastrophe, windy, a gumbo-and-crosswords it never will. or an influential director. Next, Bell's future seems certain to be a sort of day. Nevertheless, I went At the Charleston Concert Asso- the board of directors decides if great one. to the concert at the Cathedral of \ ' ciation's "La Boheme" at Gail- the company can pay for the At Footlighh Theatre, the cur- St. Luke and St. Paul. The y lard, it was hard to tell what the show. The proc€ss works for the- rent show is "Stepping Out," a Charleston Symphony Orchestra : public thought. The house looked ater of any kind. British comedy about nine up-in- was there, and so were the i sold-out, and the audience was The Charleston Concert Associa- years ladies and one pathological- Charleston Symphony Chamber Y silent, attentive and generous tion also brought in the town's fa- ly shy gentleman who, for reasons Singers, and so was conductor - with applause, especially direeted vorite fiddler, Joshua Bell, to eon- I never figured out, are taking a Bundit Ungrangsee.
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