Skip to main content

See also:

K.C. Baroque Consortium members spice up Bachathon XXXV with period instruments

Who would bother to commission obsolete instruments at great cost to play music of composers who will never hear the music?  The Kansas City Baroque Consortium does just that, and tunes lower,  just to create an authentic sound.  Thank you.
Who would bother to commission obsolete instruments at great cost to play music of composers who will never hear the music? The Kansas City Baroque Consortium does just that, and tunes lower, just to create an authentic sound. Thank you.
Floyd E. Gingrich

On Sunday, the Kansas City Baroque Consortium favored the Bachathon XXXV's audience with J. S. Bach's, “Little” Trio for Oboe and Violin, BWV 1040, Trio Sonata in G Major, BWV 1039, and Concerto for Oboe and Violin in d minor, BWV 1060.

Kansas City Baroque Consortium, playing instruments designed in the Baroque style delighted the Sunday audience
Floyd E. Gingrich

Joyce Alper played a mellow baroque oboe, Bill Bauer, the baroque violin, Trilla Ray Carter cello and Leora Nauta played harpsichord, completing the basso continuo. The group was later augmented with Eric Williams and Rob Paterson, violin, and Nell French playing viola.

Later in the program, the consortium was joined by the Kansas City Chapter of the American Guild of Organists' Schola Cantorum, directed by Anthony Maglione, to sing two parts of Bach's, “Lutheran” Mass No. 3 in g minor, BWV 235, "Kyrie," and "Gloria." The fluid orchestra was augmented by Mark Cohick, oboe, Rob Patterson and Kenya Patzer, Violin 1, Beth Titterington and Signe Sandquist, Violin 2, Carl Cook Viola, Richard Bell, cello, Johnny Hamil, Bass, and Rosi Penner Kaufman, Organ continuo.

The instrumental pieces were dessert before the entrê, delightful, well-played, energetic and entertaining. The baroque oboe was particularly clear and filled the need for mourning or celebration.

The choir's enunciation and quality expression prompted one listener to ask conductor, Tony Maglione, whether he had any musical ties to the late Robert Shaw, the developer of an ultra-clear style; Dr. Maglione detailed his direct connection to the distinguished choral master

Timothy Madden sang the baritone air, Gratias agimus tibi. He was clear, moved through timbres without notice, and maneuvered through Bach's florid lines as if he were taking a stroll.

The alto solo, Domine Fili unigenite, was performed by Erin Lillie; her voice carried well over the enhanced orchestra. The interplay between instruments and voice was handled well by Dr. Maglione.

Brad Light's baroque tenor cut through the warm room on the text, Qui tollis peccata mundi. The essence of the Gospel story was presented with an earnest tone and an easy, unforced sound.

It's amazing that this much good music is presented without an admission charge.