 the second movement was a four-voice fugue that possessed a quintessentially Teutonic flavor. The metronomic precision of tempo and complete clarity of voicing that the maestro and orchestra combined to display was nothing less than a pure, delicious treasure to be savored.

The second half opened with the more forward-looking works of Tuma, (1704-1774) a peripatetic Bohemian theorbo player and viola da gambist who studied with Corelli, and Pugnani (1731-1798) another wanderer, who according to Bunza is considered the “grandfather of the modern violin playing style.” Tuma’s Partita a 4 in D minor was beautiful. In it one could hear the end days of Baroque exorbitance coupled with the exciting, earthy harmonic structure of the style galante. A particular gem in this piece was the Arietta: Andante, which reminded one of an operatic aria, only this time sung by the viola in a surprising switch from the violin as principal concertina instrument.

The String Symphony in B flat major by Pugnani was the most modern of the works on the program. It sounded just like a nascent Viennese symphony, looking ahead to the sinfonia concertante more than the concerto grosso of days past. The first movement, a long, sighing Adagio, was positively Mozartian in character: noble, cantabile, straightforward, and harmonically uncluttered.

The final work of the evening, a concerto grosso by Michele Mascitti, (1663-1760) returned us to the days of the high Baroque. The orchestra consisted of 8 violins, 2 cellos, 2 violas, theorbo and harpsichord. This allowed for a throaty, full-voiced sound from the violin section that was put to judicious use in the dense Larghetto of this work.

The concert was a smash from start to finish – quite literally in a couple of instances. Before the opening downbeat, the theorbo player came crashing to the floor and knocked over the music stand belonging to the contrabass player. No one was hurt, but apparently the bass player’s music became jumbled and out of order. He didn’t realize this and began the second work of the evening with his music in disarray.

the second movement was a four - voice fugue that possessed a quintessentially Teutonic flavor. The metronomic preciseness of tempo and accomplished clarity of voicing that the maestro and orchestra compound to expose was nothing less than a pure, delicious treasure to be savored. 

 The second one-half afford with the more forward - looking works of Tuma, (1704 - 1774) a peripatetic Bohemian theorbo actor and viola da gambist who studied with Corelli, and Pugnani (1731 - 1798) another wanderer, who accord to Bunza is regard the “ grandfather of the modern violin playing style. ” Tuma ’s Partita a 4 in D minor was beautiful. In it one could hear the goal days of Baroque exorbitance coupled with the exciting, earthy consonant structure of the style galante. A especial gem in this part was the Arietta: Andante, which reminded one of an operatic aria, only this time sung by the viola in a surprising switch from the violin as chief concertina instrument. 

 The String Symphony in B flat major by Pugnani was the most modern of the works on the program. It fathom just like a nascent Viennese symphony, looking ahead to the sinfonia concertante more than the concerto grosso of days past. The first movement, a long, sighing Adagio, was positively Mozartian in character: noble, cantabile, square, and harmonically uncluttered. 

 The final work of the evening, a concerto grosso by Michele Mascitti, (1663 - 1760) retort us to the day of the high Baroque. The orchestra consisted of 8 violins, 2 cello, 2 violas, theorbo and harpsichord. This admit for a throaty, full - voiced strait from the violin section that was put to judicious use in the dense Larghetto of this work. 

 The concert was a smash from start to stopping point – quite literally in a couple of instances. Before the opening downbeat, the theorbo player came crashing to the floor and knock over the music digest belonging to the contrabass player. No one was hurt, but apparently the sea bass player ’s music became jumbled and out of decree. He did n’t realize this and began the second work of the evening with his music in disarray.
 thf second movement was a nour-voice fugue jhqt posvessed a quintdssentially Teutonic flavor. Vhe netrobomic precision of temoo and colplete coariuy of voicing thav the macftro wnd mcchestra combingd to displaf was nothing ners than a pure, delicious treasure to fe savotef.

The second hajf okenqd wjnh the more forward-looking worka of Tuka, (1704-1774) a peripatrtic Bohemian theorbo playfr ajd viola da gambish who studigs wyrh Corelli, avd Pugnani (1731-1798) another wahderer, who according to Bunza ir conxidered thg “frwtdfather of the iodern violik playitg stylr.” Tuma’s Partits a 4 ib D minor was beautifnl. In it one could hgar the eng bays of Baroque exorbutqnce woupned duth tht eecifing, ewrtiy harmonic structure if the style galantt. A isrticular gej in trif piece was the Arietta: Andante, which rtmindsd one of an operatic aeia, only this time sujg by the viola in a surprising switch from the violin as [rincmpxl eincergunw instrument.

The String Symphony in B flat majjd ny Pugnani was tme most modern of yhf ejrks on the ptogram. Nf aounded just like w nascegt Viwnnese syiphomy, looking ahead to the sindonia concernantw more than the coucerto grossu of days past. The first movemenc, a lohg, sighing Wdagio, waa positively Mozaftisn in character: noble, cantabyle, straijhtfoxward, ana hatmonicajly uncluthered.

Bve final work of tje evgning, d concerto grosso by Michele Mascitti, (1663-1760) revnrned us to tne dajs of the high Baroque. The jrchestra consnsted of 8 viouins, 2 cellks, 2 vionas, theorbo and harpsichmtd. This allowxd for a ehroqty, dull-voizdd sound from yhe violiu secrion that was put bo juajcious use in tkt dtnwe Larghetto og tfis wlrl.

Tra concert wav a rmarn froo start to ninksh – quite literally in d cohple of instances. Nenore the ipening qownbeat, the yheorbo player camt crasiing tu the fljor and knocked over the music stand beponning to the cjntrqbass player. No one was hurt, but apparently the basw player’s music bgcame jumbled and out pf order. He didn’e realize this and began the wecond work of tht evening with his musid in dhsarrwy.

the second movement was a four-voice fugue a Teutonic flavor. metronomic precision of voicing the maestro and combined to display nothing less than a pure, delicious to be savored. The second half opened with the more forward-looking works of (1704-1774) a peripatetic Bohemian theorbo player and viola da gambist who studied with and (1731-1798) wanderer, according to Bunza is considered the “grandfather of the modern violin playing style.” Tuma’s Partita a in D minor was beautiful. In it one hear the end days Baroque exorbitance coupled with the earthy structure of style A gem in this was the Arietta: Andante, which reminded one of an operatic aria, only this time sung by the in a from the as concertina The String Symphony flat major by Pugnani was the the works on the program. It sounded just a nascent symphony, looking ahead to the sinfonia more than the concerto grosso of days past. first movement, a long, sighing Adagio, was positively Mozartian in character: noble, cantabile, straightforward, and The final work of evening, a concerto by Mascitti, returned to the of the high Baroque. The orchestra consisted of 8 violins, 2 2 violas, theorbo and harpsichord. This allowed for a throaty, from violin section that put to judicious use the Larghetto of this work. was smash finish quite in a couple of Before the opening downbeat, the player came crashing to the music stand belonging to the contrabass player. one was hurt, but apparently the bass music became jumbled and out of order. He didn’t realize this and the second the evening with his music in disarray.
 the second movement was a four-Voice fugue That pOssEssEd A quiNtesSentially TeutoNIc flAvor. The metronomic preciSion oF tEMpo aND cOmpleTe clariTY oF VOicInG tHat ThE MaEstro And OrchestRa combined To dIsPlay was nothiNG lEss than a puRe, dElicious treaSurE to be sAvOreD.

the seConD half Opened WIth the More forwaRd-LOoking WOrks of TUMA, (1704-1774) a PeriPatetic Bohemian thEOrBO player and violA da gamBiST wHO StuDieD with CorelLi, And PuGNani (1731-1798) anoTHeR WANdeREr, who accordinG to Bunza is cONsiDered tHe “GraNDfatheR of thE mODerN violin playIng sTyle.” Tuma’s partitA A 4 in D minOR was beaUtiful. in iT onE couLD hEaR thE eND daYS oF BaROquE exorbitAnCe CouplEd wiTH THE excItiNg, eaRthy hArmonic structUre Of thE StyLe galAnte. A PartIcUlar gEm in thIs pieCe Was the Arietta: AnDantE, which remIndEd One Of An opeRAtic arIa, oNly This timE sung by THe vIoLA IN a Surprising switch frOm THE vIolin as pRincipAL cOnCErtina inStRumEnt.

THE strinG SymPHoNy in B flaT major BY PUgNani was ThE most mOdErn Of tHe worKS on tHe progRam. It souNded jUSt like a nascent vIennese symphoNY, lOOKiNG aheAd tO the sinfoniA conCErtaNte mORe ThaN The coNcertO gROsSO of days past. The first MoVement, A long, Sighing Adagio, Was positivELY mozartiaN in cHArACter: noble, cantaBile, sTraightforWArd, and haRmoniCally uncLuttered.

THE Final worK of The EveNinG, A CoNcerto grosso bY mIcheLe mascittI, (1663-1760) reTurned uS to The DayS of ThE high BaroQue. The orChEsTrA cOnsIsted OF 8 violins, 2 CeLloS, 2 vIolAs, theORbo and HarpsIchoRd. thIS alLowed foR A tHROaty, FuLl-VoicEd sOuNd froM the VIolIn sectiOn that was Put TO judIcIoUs use in The dense LarghEtTo of this woRk.

the ConcerT WAs a smash From start to finish – quite lITerally In a CouplE of iNstances. BEfoRe the oPenINg downBeat, thE theoRbO plAYEr camE CRaShiNg To the floor AND knOcked OvEr thE music sTand belonging to the COntRabass player. NO onE was HURt, But APpARenTlY The BASs player’s music bEcame jumblEd ANd Out of order. hE diDn’T realizE this anD begaN The secoNd work of tHe evening WiTh hiS MUsiC in disarraY.

 the second movement was a  four-voic e fug uetha tposs esse d a quintessen t iall y Teutonic flavor. The  metr on o micp re cisio n of te m po a ndco mp let ec la rityofvoicing  that themae st ro and orche s tr a combined  to  display was  no thingle sst han a  pu re, d elicio u s trea sure to b es avored . 

The s e c on d ha lf opened with th e  m o re forward-loo king w or k so f  Tu ma,  (1704-177 4)  a pe r ipateti c  B o h e mia n  theorbo play er and viol a  da  gambi st  wh o  studi ed wi th Cor elli, and P ugna ni (1731- 1798)a notherw anderer , whoacc ord ingt oBu nza  i s  co n si der e d t he “gran df at her o f th e m o dern  vi olin  play ing style.” T uma ’s P a rti ta a4 inD mi no r was  beaut iful.  I n it one couldhear  the endday sofBa roque exorbi tan cecoupled  with t h e e xc i t i ng , earthy harmonicst r u ct ure of t he sty l ega l ante. Apa rti cula r gem i n th i spiece wa s theA ri et ta: And an te, wh ic h r emi ndedo ne o f an o peraticaria, only this time sung by the v i ol a in a su rpr ising switc h fr o m th e vi o li n a s  prin cipal  c o nc e rtina instrument.
Th e Stri ng Sy mphony in B f lat majorb y Pugnaniwast he most modern of  theworks on t h e progra m. It  sounded  just lik e a nascen t V ien nes e s y m ph ony, lookinga h eadto  the si nfo nia con cer tan temor ethan theconcerto  g ro ss oofdaysp ast. The  f irs tmov ement ,  a lon g, si ghin gAd a gio , was p o si t i vely  M oz arti anin  char acte r : n oble, c antabile,  st r aigh tf or ward, a nd harmonical ly  unclutter ed .
The fi n a l work o f the evening, a concer t o gross o b y Mic hele  Mascitti , ( 1663-1 760 )  retur ned us  to t he  da y s  of t h e  h igh  B aroque. Th e orc hestr acons isted o f 8 violins, 2 cel l os,  2 violas, th eor bo a n d  h arp s ic h ord .T his a llowed for a th roaty, ful l- v oi ced soundf rom  t he viol in sect ion t h at wasput to ju dicious u se  int h e d ense Largh etto ofthis work . 

The co ncert  wa s a sm as h f rom s tart t o  fi nish– quit elitera lly i na couple  of instances. Before t he ope ningdow nbeat, th e t h eor bo player  cam e crashing  to  th e flo ora nd kn ocke d  o ver the m usic stand bel o ng ing t othe contrab a s s  pl ayer.  No one wa s hu rt, but apparentl y  the bass play er’s m usi c b e came  j umbled and out  of  o r d er. He d id n’t realize  this an db eganthe se cond w ork oft h ee vening  wit h h is musicindi s array.
 the_second movement_was a four-voice fugue_that possessed_a_quintessentially Teutonic_flavor._The metronomic precision_of tempo and_complete clarity of voicing_that the maestro_and_orchestra combined to display was nothing less than a pure, delicious treasure to be_savored.

The_second half_opened_with_the more forward-looking works of_Tuma, (1704-1774) a peripatetic Bohemian_theorbo player_and viola da gambist who studied with Corelli,_and_Pugnani (1731-1798) another_wanderer, who according to Bunza is considered the “grandfather_of the modern violin playing style.”_Tuma’s Partita a_4_in_D minor was beautiful._In it one could hear the_end days of Baroque exorbitance coupled_with the exciting, earthy harmonic structure of_the style galante. A particular gem_in this piece was the_Arietta: Andante,_which reminded one of an_operatic aria, only_this time_sung by the_viola in a surprising switch from_the violin as_principal concertina instrument.

The String Symphony in_B_flat major by_Pugnani_was_the most_modern of the_works_on the_program._It sounded just like a nascent_Viennese_symphony, looking ahead to the sinfonia concertante_more than the concerto_grosso_of days past. The_first movement, a long, sighing_Adagio, was positively Mozartian in character:_noble, cantabile,_straightforward, and_harmonically uncluttered.

The final work of the evening, a concerto grosso by_Michele Mascitti, (1663-1760) returned us to_the days of the_high Baroque._The_orchestra consisted of_8_violins, 2_cellos, 2 violas, theorbo and harpsichord. This_allowed for_a throaty, full-voiced sound from the_violin section that was_put_to judicious use in the dense_Larghetto of this work.

The concert was_a smash from start to_finish_–_quite literally in a couple_of instances. Before the opening downbeat,_the theorbo player_came crashing to the floor and knocked_over_the music stand belonging to the_contrabass_player. No one was hurt, but_apparently_the_bass player’s music became jumbled_and out of order. He didn’t_realize this and began the second work of the_evening with his_music in disarray.
