Harmonious Blacksmith presents “The Genius of Henry Purcell”
Where: Christ Church Capitol Hill, 620 G St. SE
When: 8 p.m. Saturday; pre-concert talk at 7:30 p.m.
Info: $20, $15 for seniors; 410-997-1342; harmoniousblacksmith.com
Many are surprised to learn that the improvisational element intrinsic to jazz performance had a precursor in the music of the Baroque period, and most especially through the 17th-century compositions of Henry Purcell.
Harmonious Blacksmith, a group of musicians bringing Baroque music to life via the sound from their period instruments, will offer a tribute to “The Genius of Henry Purcell” Saturday at Christ Church Capitol Hill.
“Purcell’s style of music is always a bit quirky, it takes little diversions and harmonies you don’t expect,” Joe Gascho, founding member and leader of the group, said. “Hearing our concerts really gives you the chance to experience spontaneous music making.”
The music makers are Gascho on the harpsichord, co-founder Justin Godoy and Heloise Degrugillier playing recorders and William Simms on the lute as well as the guitar and another stringed instrument, the theorbo. Finally Emily Walhout will perform on the viola da gamba.
Gascho refers to the “genius” of Purcell because, like Mozart, he was a prodigy of a different era. Also, like Mozart, Purcell died young after an incredible output of music. In addition to his instrumentals, he was also known for his songs, taking popular poetry of the day and adding music. Gascho noted that the program they will present will include both.
“We begin with an upbeat piece, everyone playing together,” Gascho continued. “Then there are the songs about love.”
Songs in Purcell’s day were often titled by the first several words of the piece. Therefore, it is not uncommon to encounter titles such as “She loves and she confesses, too” and “The fatal hour; Oh let me weep!”
The soloist for the evening’s program is Yulia Van Doren.
“Purcell is a master of ‘word painting’ [and] he really brings texts to life through his melodies and harmonies,” she said. “I have to dig into the language to find my own personal connection to the character of each song to find the way I want to bring [it] to life.”
Like the musicians, Van Doren loves the improvisational aspect of Baroque music where melody and baselines are written on the page for myriad interpretations.
“It’s up to the performer to take the music and run with it,” she said.
