In the Sint-Andrieskerk in Antwerpen, the ensemble Capella Nova performed work by Johann Sebastian Bach on Saturday 20 October. On Sunday 21 October, the concert was repeated in Alden Biesen. We went to listen in the monumental Sint-Andrieskerk. An impression that closely aligns with what Gust Cambré wrote about this programme in February this year.
Capella Nova, founded in 1999 and since then led by musicologist Marleen Reynders, is an instrumental and vocal ensemble of, according to its own description, pre-professional level. This self-characterisation already indicates that they want to transcend amateurism and engage seriously with music. Previously specialising in early music and polyphony, the ensemble brought work by Bach to the Sint-Andrieskerk: a selection of 4 motets (BWV 229, 226, 225 and 227), the suite in F major sonata and Siciliano (BWV 1031) and the cantata Gottes Zeit ist die Allerbeste Zeit, better known as the Actus Tragicus (BWV 106).
The attendance was modest. We counted only about 60 music lovers, including quite a few friends and family members of the musicians on stage itself. But this did not dampen the mood! While the first evening chill was felt in the church, the ensemble brought an enthusiastic, human warmth into the place of worship. All praise, moreover, for the conductor, Marleen Reynders who, with Bach, certainly pursued a different style than she normally does. Reynders proved, however, that she can also handle Bach. The fast tempi recalled the performance practice of our compatriot, Philippe Herreweghe, who is known for making Bach swing, whereas for example the Austrian Nicolaus Harnoncourt, companion in the road of authentic performance, rather sought the solemnity in Bach's music. Also the idea of positioning the choir undoubled in a sort of question-and-answer position deserved approval. It remains refreshing for the music lover to attend concerts by musicians who think seriously about the music they bring!
The bulk of that music consisted of Bach's motets, six in total, of which four were performed. They were originally written as accompaniment to a funeral. Teachers and students of the Thomasschule from Leibzig would then go, while performing the motets, to the house of the deceased, before the church service. There was, however, no hint of a funeral mood on Saturday evening. The choir members applied their best voices and did their very best, with a solid result. Not every singer, however, reached the desired level, which affected the unity of sound. Some sopranos caused slightly disturbing musical exuberance while a couple of weaker basses could not provide sufficient support. For some soloists too, it was a matter of swallowing nerves at times. The organist and cellist, however, two rocks in the musical breakers, managed to channel some slip-ups nicely and beneficially.
Things never became critical! Unless when the recorder player, in a somewhat daring manner and after a successful performance, wanted to leave the stage. He misjudged, still visibly savouring his performance, the height of the obstacle slightly and made merciless acquaintance with the cold marble floor ... Fortunately without much harm. The modest attendance remained a very regrettable matter but on the other hand ensured that the concert took place in an intimate, almost familial atmosphere. Those absent had, as always, simply got it wrong again: all in all it was a pleasant musical experience. I'm already looking forward to the next concert by Capella Nova, preferably with polyphonic work from our own soil.
- WHO: Capella Nova
- WHAT: Motets by Bach
- WHERE: Sint-Andrieskerk, Antwerpen
- WHEN: 20 October 2018