The Renaissonics consists of six musicians: Leader John Tyson, recorders (everything from soprano to great bass); Douglas Freundlich, lute; Laura Gulley and James Johnson, violin; Daniel Ryan, cello; and Miyuki Tsurutani, harpsichord and recorder. Together the group has a very pleasing and authentically period-seeming sound. The ensemble members have evident love and enthusiasm for their music, and shared occasional educational background bits with us.
The program was divided into five parts or themes. The first, “The Witches’ Sabbath,” honored the pagan holiday of Beltane with four pieces, the first, curiously enough, being a setting by Antoine Brumel of the “Dies Irae.”
The second section was “La Commedia,” which included a number of lively dance tunes by Palestrina and others. “The Masque” had the First and Second Witches’ Dances from “The Queen’s Masque”, The Satyr’s Masque, and a piece called “The Ghost” by Phillip Rosseter. “The Woods So Wild” included the piece of that name by William Byrd, and “Christes Cross,” by Thomas Morley. Mr. Tyson informed us that this complex piece is rarely performed, due to the extended passages that count seven beats against eight, and then seven vs. nine vs. two. The trio of Tyson, Ryan, and Gulley made it through quite featly.
“The Beginning of the World,” was the final section, with pieces from “The English Dancing Master” and others.
The ensemble was accompanied by two very skilled professional dancers and teachers of dance, Mark Mindek and Maris Wolff, who gave us an impressive number of dances (and costume changes). They started off with a classical couples dance to the Attiagnent “Pavan” and “Branle Gay” in the first section. They moved into more fanciful material with a sword dance done on stilts, which is evidently one of Mr. Mindek’s specialties. Ms. Wolff entertained with a droll dance wearing a two-faced mask to “Aria del Gran Duca”. Wolff again lead out as a “goat” pursued by a troll (Mindek again on stilts) in a very funny and clever dance number. Skillful as Mr. Mindek is on his stilts, the effect began to get a bit old when he came out as “The Green Man” (if you effectively have no ankles the repertoire of dance moves is somewhat limited) but the number was enlivened by the participation of Ms. Wolff as a forest fairy.
The concert was followed by a reception and the audience members had been invited to sign up during the interval for dance lessons after the show. Discretion being the better part of valor, we elected to withdraw instead.
Beautiful as the music was, I left the concert with a feeling of melancholy. I am very worried about the future of programs like this one. The hall for this performance was nearly full. Surveying the audience, I see a sea of gray heads. When I started going to opera and symphony performances 35 years ago, it was no shock to me that 75% of the audience was older than I am. Now I’m 54, and 75% of the audience is STILL older than I am. I’ve noted this phenomenon at the opera, at folk music concerts, and to a slightly lesser degree at the ballet (which always has a somewhat larger contingent of young women in the audience) and at the symphony. What will happen to these cultural institutions when this audience starts dying off? 25% of the present audience won’t sustain them. Even if there is some recruiting of new audience members, I have my doubts that there will ever be a new crop of interested retirees with ticket money, given the ongoing campaign on the part of Big Business to pare away at pensions, take away the health care that supports an able old age, and dismantle Social Security entirely or toss it into the greedy clutches of brokers and bankers. I guess I can add this to my list of signs that the American Golden Age is coming to an end. Oh, well—might as well enjoy it while we can. Now, where did I leave my fiddle?