It has been a season of musical birthdays in Princeton, and the Dryden Ensemble added to the mix with two concerts celebrating Bach’s 329th birthday this past weekend. Sunday afternoon’s venue in the Dryden Ensemble’s Trinity Church, Solebury home (the concert was also performed the night before in Princeton Seminary’s Miller Chapel) proved to be both an intimate chamber performance space and equally as musically appropriate a site for the ensemble as its Princeton base.
The four members of the Dryden Ensemble — violinist Vita Wallace, viola da gamba player Lisa Terry, oboist Jane McKinley, and harpsichordist Webb Wiggins — clearly found Trinity Church a space in which it was easy to communicate, and all four of their instruments spoke well in the sanctuary. Sunday afternoon’s concert, dedicated to the memory of long-time Dryden supporter Mardi Considine, principally featured music of J.S. Bach, as well as that of his son and a predecessor.
The Dryden Ensemble explored two works of Bach originally composed for organ and transcribed for chamber string and wind ensemble. The players of the Dryden themselves transcribed BWV 525, originally an organ sonata in E-flat, to feature oboe d’amore and violin, accompanied by viola da gamba and harpsichord and retitled Trio in D Major. The Baroque oboe d’amore is not as rich and mellifluous as its modern counterpart, but Ms. McKinley was able to achieve both a smooth melody in the second movement and clean rapid lines in the closing passages. Ms. Wallace provided a crisp second voice in this instrumental dialog, and all four players maintained Bach’s intricacy within complex Baroque counterpoint.
Bach was preceded in history by Dietrich Buxtehude, primarily known for his keyboard works, but also a big fan of the viola da gamba. Gamba player Lisa Terry capitalized on the great musical variety found in Buxtehude’s instrumental sonatas, in this case Sonata in G minor for violin and viola da gamba. Crisply accompanied by Mr. Wiggins, Ms. Terry and violinist Ms. Wallace sustained both the rhythmic drive of the fast movements and the sensitive lines of the slower sections. In the penultimate Grave, Ms. Terry especially showed that she had complete control over the entire range of her instrument.
Mr. Wiggins introduced a new member of his keyboard family to the Dryden’s audiences this past weekend in a harpsichord built by William Dowd on the model of early 18th-century German builder Michael Mietke. Mr. Wiggins’ new harpsichord was a large instrument with a particularly rich lower register and capable of producing a substantial sound for what one thinks of from a Baroque instrument. Interpolated into Sunday’s program was a keyboard suite of Buxtehude, featuring Mr. Wiggins showing off the William Down harpsichord. As two voices chased each other on the keyboard in one of the quicker movements, the upper register of the harpsichord showed a well-rounded sound. Mr. Wiggins ably handled the challenge of the very fast lines, and was more than successful in finding sensitivity and lyricism in an instrument primarily heard accompanying or in continuo style.
In the closing work of the program, Bach’s Sonata in D Major for Viola da Gamba and Harpsichord, Mr. Wiggins’ quick right hand matched the elegance of the melodic lines drawn out by Ms. Terry. Throughout this work, repeating sequences were exactly timed, and as the two instruments traded roles in a question-and-answer dialog, Mr. Wiggins and Ms. Terry seemed to enjoy the musical repartee.