T he late-night BEMF program last night was organized around themes from Ovid’s ‘Metamorphoses’:- Louis Couperin - Prelude & Passacaille in C major (Bauyn m.s.)
- Francois Couperin - La Regente ou la Minerve; L'Atalante; Les Silvains
- Girolamo Frescobaldi - Cento Partite sopra Passacagli
- Baldassare Galuppi - Sonata in E minor, Op. 2, No. 3
- Dieterich Buxtehude - Praeludium in G minor (BuxWV 163)
- Johann K.F. Fischer - Passacaglia in D minor (Suite ‘Urania’)
- J.S. Bach - Prelude, Fuga & Allegro in E-flat major (BWV 998)
I n keeping with the theme of Ovid’s rhetoric, Buxtehude’s Praeludia embody architectural structures that are parallel to the ‘Dispositio’ in the Classics, basically a forensic method or form for conducting oratory: (1) ‘Exordium’, the orator capturing his audience, (2) ‘Narratio’, the orator presenting salient facts of the case, (3) ‘Confirmatio’, the orator explaining evidence and logical proofs, and (4) ‘Peroratio’, the orator passionately expressing the logical conclusions that are justified by steps (1) through (3).
I n harpsichord rhetoric as in spoken oration, the orator/composer/harpsichordist has the latitude to insert a ‘Digressio’ here and there. An extra ‘Exordio’ or a ‘Peroratio may optionally be inserted to reinforce a point here and there as well.
I n Buxtehude’s Praeludium in G minor, a wild, improvisatory, mind-blowing ‘stylus phantasticus’ prevails—not only in the ‘Exordium’ but elsewhere—and this is what can really make audience members gasp, emotionally caught-up as they are in the thing.
O ur minds were thoroughly convinced by objective forensic and evidentiary harpsichord arguments, but hearing and seeing the emotional ‘finish’ is what captures our hearts’ imagination! Guglielmi’s account of the Buxtehude ‘Peroratio’ was given in an all-out, athletic toccata style, more like a winning jockey-and-racehorse than the closing statements of a dramatic, rhetoric-genius trial lawyer.
T he whole peformance was gorgeous and elicited a prompt standing ovation at the end from the large, appreciative midnight BEMF audience.
B onus vignette: It was beautiful to see Guglielmi pat his harpsichord on the right-hand "cheek" of its body, on the wood to the right of the keyboard following a couple of these very difficult pieces, as if to thank it for its performance. The gesture resembled nothing so much as that of a jockey, patting the horse after winning a big stakes race. Or a human master petting the much-loved dog or other companion animal.
T he 2-manual instrument by William Dowd, on loan from James Nicolson, is one based on a Ruckers Franco-Flemish design of 1628 and it bears this inscription on its lid: “Saltatur me canente ... ubi melos, nec ibi mali” which I believe means something like: “Dance as I sing ... ever sweet, never sour.” Or was it ‘canum’ instead of ‘canente'’? ... “Turn me tummy-up like a beloved pet dog ... always well-behaved, never bad.”
L uca Guglielmi was born in Turin in 1977, where he studied music and humanities. He studied Composition with Alessandro Ruo Rui, and Choral Music and Choral Conducting with Sergio Pasteris at the Conservatory "G. Verdi" of Turin. In 1999 he was chosen to participate in the Extraordinary Course in Conducting under the direction of Carlo Maria Giulini at the Fiesole Music School. He has served as harpsichordist and organist with the Orchestra Sinfonica Nazionale di Torino. His study of the harpsichord has been diverse, with Patrizia Marisaldi among others and most recently under Ton Koopman. He studied organ with Vittorio Bonotto, piano accompaniment (including lieder) with Eros Cassardo. When he was 20 he was invited by Jordi Savall to join his ensembles Hesperion XX (now XXI). Guglielmi teaches harpsichord, organ and orchestra at courses at Urbino, Pamparato, San Feliu de Guixols (Catalonia) e Barbaste (France).
L ast night’s 11:15 p.m. recital in the atmospheric sanctuary of Boston’s Emmanuel Episcopal Church was financially supported by Ruth M. McKay and Don Campbell. Bravo!
- Luca Guglielmi website
- Luca Guglielmi compositions
- Archbold L. Style and structure in the praeludia of Dietrich Buxtehude. UMI/PhD Dissertation, 1985.
- Collins P. Stylus Phantasticus And Free Keyboard Music Of The North German Baroque. Ashgate, 2008.
- Snyder K. Dieterich Buxtehude: Organist in Lubeck. 2e. Eastman/Univ Rochester, 2007.
- Rhetoric page at Wikipedia
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