Early music devotees in Austin must be in blithe spirits these days. Thanks to co-sponsors La Follia and the Texas Early Music Project, no fewer than 12 performances ranging from late Medieval to the 18th century are being staged as part of the Austin Winter Early Music Festival.
Last Saturday's event at First English Lutheran Church, featuring a trio of guest artists from Houston and Amsterdam, gave a bold sampling of the whimsy, sullenness, drama and musical audacity that often characterize the Baroque.
Harpsichordist Richard Egarr, the newly appointed conductor of the Amsterdam Baroque Orchestra, was an imposing presence. In his continuo role, his richly ornamented, thickly textured playing at times drew too much attention away from his compatriots' solo work.
His flamboyant solo style in works by Frescobaldi and Rossi, velvety and technically flawless, focused on the drama, chromaticism, harsh dissonances, and twists and turns of harmony that surface frequently in this music.
Soprano Patti Spain, an astute Baroque stylist with purity and conviction in her voice, sang her best in the plaintive songs of Purcell and Monteverdi. The latter's "Lamento d'Arianna" was especially moving, despite the absence of translations in the program notes.
Biber's "Crucifixion" Sonata was violinist Mimi Mitchell's showpiece. This virtuosic tour de force met with a few stumbles and intonation problems at the beginning, but flaws were quickly overcome, then entirely forgotten, with the brilliant flourish at the work's end.
The festival continues with Medieval and Renaissance wind music by Piffaro on Sunday Call 371-0099 for details.
Michael Huebner
Austin American-Statesman
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