Good-bye, intrepid mentor: girl from the South, great sense of humor, ears which heard better than God, straight talker, full of encouragement, indefatigable, for us who knew her, eternal. An American singer who with her frequent counterpart, Norman Treigle, showed the world that we Yanks could sing. Miss Curtin never sang a phrase that wasn’t dramatic. Many great artists have come and gone in our beloved Tanglewood family, but the very air is tinged with Phyllis Curtin.
Scholars, musicians, and audiences, as they explore the music of the first half of the seventeenth century, keep coming back to the giant figure of Claudio Monteverdi (1567-1643), just as in later periods they tend to orbit J. S. Bach, Haydn, Beethoven, Wagner, and Stravinsky. In one respect this is justified by the quality and originality of Monteverdi’s music. In others we must acknowledge our fragmentary and disproportionate understanding of the music of all times and places, realizing that we should really know more of the music of Matthiesen, Graupner, and Hasse, C. P. E. Bach, Cherubini, and Scriabin, to name only a few. In the present case, Erin Headley justifiably points out that much of the work of two of the other important composers in this program, Luigi Rossi and Marco Marazzoli, has been hidden away in the Vatican Library—in manuscript, not in printed editions, the form in which Monteverdi purposely circulated and preserved his work.
When I try to imagine how Lee Elman and Albert Fuller felt when they founded the Aston Magna Music Festival in 1972, I find myself somewhat awestruck. That was less than twenty years away from the very beginnings of the Early Music movement in the mid-1950s. When the invaluable Pristine Classical download site form historical recordings recently released Jascha Horenstein’s 1954 recording of Bach’s Brandenburg Concertos, a noted by Mischa Horenstein observed that the orchestra, assembled ad hoc in Vienna by Horenstein himself, included two great lights of historical performance, Nicolaus Harnoncourt, playing the viola da gamba, and Paul Angerer, playing viola solo, violino piccolo, harpsichord, and second recorder, in true Early Music style.