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Bach and Beyond Concert...
May 13, 2009 The Bulkley Valley's own musical virtuosos, Wolfgang Loschberger and Simone Hug teamed up to produce a wonderful acoustic musical program of pieces ranging from baroque to classical to pop in aid of the Migwani Children's Dormitory Project. Proceeds were $1300. Following is the article from the Interior News. Article courtesy of
Interior News Bach & Beyond comes up with exactly the right recipe Recipe for a Classical Spring Concert: take one House of Worship (Christian Reformed Church), one charitable cause (Migwani Children’s Project) and a group of talented amateur musicians. And if all goes well, the local aficionados will flock to it. Karen Price, Jeannette Lough, Joel Bootsma, Wolfgang Loschberger, Sharon Carrington and Ellen Hansen - dubbed Records Borealis - opened with a two-movement Trio by the 18th century German flutist and composer Johann Quantz. The recorders, the harpsichord and the viola - distinctly baroque - established an ambiance that lasted throughout the evening. A Fantasia in A minor by Johann Sebastian Bach, followed by a little gem by the 16th century Italian composer Luca Marenzio, who had been called the “supreme practitioner of madrigalism” ended the instrumental opening. Then Elaine Edmison, Phyllis Havard, Orlando Wiebe, Wolfgang Loschberger and Simone Hug - the Baroque Vocal Scene - held sway. The trilled sacred and secular pieces by the 16th century composers Giovanni Palestrina from Italy, and Orlando di Lasso from Belgium, the 17th century Englishman Henry Purcell, and finally a whimsical ditty about a “Sweet Nymph” by Thomas morley, a contemporary of William Shakespeare. I have always been intrigued by the calibre of our local musicians. But nothing could have prepared me for the piece de resistance of that evening. The six Brandenburg Concertos by Johann Sebastian Back - each differently instrumented - have been called a microcosm of Baroque music. To say that it takes panache and untold hours of practice to tackle one of them tells only half the story. But it seems that the No. 4 in G major - styled for harpsichord, violins, recorders, viola and cello - had been tailor-made for Wolfgang Loschberger and his fellow musicians. Three of whom have yet to be mentioned - Dorothy Giesbrecht and Kiri Daust on violin and Sue Harris on cello. If the audience had been attentive during the first half of the evening, now it was enthralled. The endless hours of practice had welded the individual members of the small orchestra into a seamless entity. But if any one of the group deserves special recognition it must be Simone Hug. Her violin solo was simply sublime. The standing ovation, that didn’t want to abate, said it
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