The Independent Theatre, North Sydney. Sunday June 10, 2018
The Muffat Collective is an ensemble of four period instrument specialists united by their commitment to historically informed practice of 17th and 18th century chamber music. These artists perform in a purposefully intimate manner in order to share the vitality and energy inherent in this music. The troupe consists of Rafael Font Viera and Matthew Greco (Baroque violins), Anthony Abouhamad (harpsichord) and Anton Baba (Baroque cello and viola da gamba). This particular concert included the voice of soprano Anna Sandström.
The collective is named after Georg Muffat (c.1653-1704), a composer, traveller and professor of rhetoric. It was informative to have the musicians elucidate the notions of rhetoric in music thereby developing our listening pleasure and understanding. In honouring Muffat’s desires to “make perfection in music” and indeed to promote peace among the quarrelling nations of Europe, the goal of the musicians was achieved – that of bringing together the seasoned music lover and novice to enjoy music that entertains and refreshes the spirit.
But what exactly is Sprezzatura? (pronunciation: spretzzatura) Currently associated with the world of men’s high fashion, the word was first used by Baldassare Castiglione (1478-1529) in The Book of the Courtier, a classic of Italian Renaissance literature. Castiglione’s aim was to instruct noblemen on proper manners and comportment, and part of that was cultivating an elegant style while appearing natural and unrehearsed about it, whether in dress, dance or speech. He called this “a certain nonchalance, so as to conceal design and make whatever one does or says appear to be without effort and almost without thought.” The word was given fuller definition by The Muffat Collective by likening it to a form of negligence. In effect this can be understood as: so simple in essence it naturally occurs. There is a fine synergy here between this musical form of elan and that of rhetoric – either in speech or music. Similarly to the power of the rhetoric in the famous speeches in Shakespeare’s Julius Caesar, we can equally sense the same in the arrangement of the balanced, sustained and meaningful impact in the baroque pieces presented to us at this concert.
Due homage was given to Claudio Monteverdi and lesser known works by Castello, Caccini Uccellini, Corradini and Virgiliano (after Palestrina). Here in certain pieces the line of voice was superbly supported by that in the music. However the pieces by Tarquinio Merula delighted most. His Ciaccona, (opus 12 no 20) transmitted total harmony and intercommunication among the instruments.
The passion for this music was fully on display and the introductory content was appreciated. I will certainly seek out more concerts where the musicians speak about their craft. How authentic historically inspired performance can be is open to debate as we can only rely on music scholarship and composer or performer annotations. In this day and age it may seem a prerequisite to know what psychology lurks in the minds of the performer. Should a musician let the music do the work (perhaps every music teacher lament) or imbue it with overt tangible feeling? This was in part an element of the rhetoric discourse when these pieces were composed and no doubt remains a challenge still today. After reflection I find myself more attracted to a performance style that sits within the nuance of sprezzatura.
Mark G. Nagle – On Sounds & Theatre Now
