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Volume CXXXIII, Number 4 |
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Renaissance musicians play original music from Shakespeare's plays
LESLIE BRIDGERS
STAFF WRITER
The Ensemble Chaconne is comprised of a trio of Renaissance instrumentalists. The lengthy list of renowned groups with which they have performed, as well as museums and recital halls to which they have been invited, indicates that Bowdoin should consider itself a privileged host.
Regardless of CDs recorded or venues toured, Ensemble Chaconne's performing prowess and evident passion to play are what formed its reputation. In its 18 seasons together, the group has delved into both Renaissance and Baroque music.
Saturday's performance, "Measure for Measure," showcased "original music from Shakespeare's plays" including pieces from Hamlet, Othello, and Macbeth.
Accompanying the ensemble was renowned mezzo-soprano Pamela Dellal. In some pieces, Dellal took on the part of several characters and colored each one individually with variations of accent and tone. Though Dellal has been trained in many classical forms of singing, it was the challenge of "find[ing] the right representation for different walks of life" that attracted her to Renaissance music.
The instrumentalists were less purposefully launched into the genre. Chris Hendriksen claims that he "was lucky enough to have a lute tucked under [his] arm." Though some may not have taken so well to this circumstance, Hendriksen has an obvious connection to his instrument. The historical lute of the fifteenth century closely resembles a guitar with its five simple strings and its suitability to both plucking and strumming, but Henriksen handles the newer 19-string version with seeming ease.
Carol Lewis expresses a similarly arbitrary introduction to the viola da gamba, saying that as a musician in college she somehow "fell into it." Though the viola da gamba, or "viola held with the legs," is no longer a household name, between the sixteenth and eighteenth centuries it was just as popular as the traditional viola, violin, and cello. Many homes held chests of these violas and would often play them together as a family. Its distinctive sound, full of resonance and harmonics, is well-suited to the solo part, and it holds down the bass or carries middle melodies in ensembles.
Floating across the top of the tunes was Peter Bloom on the Renaissance flute. The light sound of Bloom's instrument seemed to carry him through the performance.
Though variations of the flute have ranged from rough and simple with a limited range to clear and precise-such as Bloom's "indoor" version-all retain the same ability to uplift and entertain the spirit. In his portrayal of Shakespearean song, this effect was evident in both audience and player.
Although the instruments were foreign and the atmosphere was almost otherworldly,
there were was common feeling flowing through the crowd. Connection had
been made between English lectures in hollow classrooms and the reality
of clamoring masses packed into sweaty theaters. Together, the lively
sounds of the Ensemble Chaconne and the full and commanding voice of Pamela
Dellal successfully brought Shakespeare to life.
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