This preview has been provided by Carolina Pro Musica.

Carolina Pro Musica celebrates thirty-five years of early music with a special anniversary concert March 9, 2013 at St. Martin’s Episcopal Church in Charlotte. The concert will feature works by J.S. Bach and G. Ph. Telemann highlighting the regular members of Carolina Pro Musica. They will be assisted by baroque strings including Tom La Joie and Laurel Talley, violins; Christina Sienkiewicz, viola and Henry Trexler, bass viol and double bass.

Edward Ferrell, recorder and Holly Wright Maurer, bass viola da gamba, will share the spotlight on Telemann’s concerto in A minor TWV 52:a1.  Scored for strings, continuo and soloists, the lively movements are like dances with ritornello sections. The opening cheerfully introduces the soloists and strings, while the soloists and continuo alone play the third movement, a lovely ornamented trio. This work, from a copy in the Darmstadt (Germany) Landesbibliothek, is thought to have been written around 1750.

Karen Hite Jacob will play solo harpsichord in Bach’s Concerto in D major, BWV 1054.  Based on an earlier work, a violin concerto, this was probably arranged for a keyboard performance at Zimmerman’s Coffeehouse in Leipzig. This and several other harpsichord concerti date to around 1738 when Bach’s harpsichordist sons W.F. and C.P.E. as well as his student Johann Krebs were performing with the collegium musicum at the coffee house. The outer movements are exuberant dances. The middle movement, in contrast, is a slow chaconne.

Rebecca Miller Saunders, soprano, will be featured in an excerpt from Bach’s Cantata 210 and the complete Cantata 202.  Both are secular works written for weddings. In the aria from Cantata 202, the singer asks the flute to go away because the she is not sure that music and love go together. Through his writing for the flute Bach demonstrates how well the flute can enhance the beauty of the singer’s line. It is almost as if the flute will hear none of what the singer implies.

Cantata 202 begins with the strings playing slow upward passages as they drive away the shadows and bring on the joy of springtime. The work continues with Phoebus coming on his chariot, and perhaps Cupid enjoying the happiness he sees. The cantata concludes with a gavotte with voice (!) almost as if the bride is enjoying a wedding dance.

From the youthful music in Bach’s Cantata 202 to later works with a sprinkling of Telemann, Carolina Pro Musica will lead the audience in a spirited celebration of early music.