Guide Brandenburg Concerto No. 5

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That year, Bach visited Dresden for a keyboard showdown with the French virtuoso Louis Marchand - the two greatest players of the age were slated to meet mano a mano in a musical heavyweight title bout.

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The "haughty" Marchand sneaked away at the last minute, leaving Dresden at the crack of dawn by "special coach," and Bach won the day. Among the high points of Bach's Dresden visit were his performances with the violinist who led the city's orchestra, Jean-Baptiste Volumier, and the orchestra's flutist, Pierre-Gabriel Buffardin. Dirksen argues that the trio likely played the Fifth Brandenburg together at these performances.

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The music itself easily bears the weight of this assertion. Bach started with a combination of solo instruments - a flute, violin, and keyboard - popular in chamber music at the time. Chamber music is what we find in the concerto's slow movement, the affettuoso a direction to the performers to play tenderly, with feeling.

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Johann Sebastian Bach: Brandenburg Concerto No. 5

Splendid musicianship, rousing choruses, and the sublime voices of the soloists turned grief into joy and sorrow into triumph. What a thrill to hear those punchy, syncopated brass lines accompanying some really polished and vibrant singing. There was a miraculous blend of tone and balance throughout. The effortless virtuosity and stylistic homogeneity of the combined forces in the chapel's stone sanctity, allowed Bach's music to sing out with infectious, exhilarating enthusiasm.

Bach: Brandenburg Concerto No.5, third movement

The Bachs [J. B and C. E] could not have been better served, not to mention two English Renaissances, as well as our own time. It went beyond mere intelligent programming and committed performance, enriched by a deep sense of the mutual nourishment of music and faith. If it has flaws, they are like those that distinguish a fine emerald from the perfect clarity of a fake The more than vocalists displayed clean tone, excellent pitch and blend, and kept good tempo even in the most stressful numbers…outstanding, energetic and crisp.

The orchestra was a collection of top freelancers from around the Eastern Seaboard including several from Washington… baritone Dashon Burton, was the standout. He has a clarion instrument that projects well throughout his range…a splendid dramatic performance.

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Greg Funfgeld has trained his singers to articulate words crisply, dance lightly when the music must move and blend elegantly. Charles Daniels stands out as a poetic and powerful Evangelist, William Sharp as a warmly inflected Jesus and Julia Doyle as a shining champion of the soprano arias. The hauntingly beautiful voices of Taylor and Zsigovics—she in her festival debut—melted together like two precious metals, hers of bell-like clarity, his a more complex alchemy, with a sheen like liquid mercury. The conductor, orchestra, soloists, and chorus are eminently capable of the nuances of the rich harmonic texts …spirited and vivacious…It is not likely to get any better than this on this side of the Atlantic.

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