“Fathers & Sons” Music of the Baroque reviewed by Julia W. Rath

In a breathtaking performance on Sunday, January 25th, Demarre McGill, principal flute with the Seattle Symphony, played not just one but two concertos, backed by the Music of the Baroque Orchestra, led by conductor Dame Jane Glover. His playful, clear, and vibrant execution could not have been any better! What a thrill to the ear! What a boost to our collective psyche! What exceptional talent!

McGill made his entrance holding a golden flute. The moment he picked it up to play Wolfgang Amadeus Mozart’s Flute Concerto No. 2 in D Major, K.314, we knew we were in the presence of greatness. Not all flautists could handle a composition such as this, known for its complexity and multiple registers and its emphasis on great technique, fine breathing, and a light touch. He made his instrument—with its rich, warm, well-rounded tone—sound almost like a bird. As McGill lovingly showcased Mozart’s signature trills, lilts, and accents, his solos took flight when he added his own unique touches, such as his creative approach to the various cadenzas throughout, beginning with the one in the Allegro aperto movement, followed by the one in the Adagio ma non troppo section and, of course, the one in the closing Rondo—Allegro section: each being more terrific than the next.

Right after intermission, McGill performed Carl Philipp Emanuel Bach’s Flute Concerto in G Major, H.445 sweetly and outstandingly. From easier to more intricate flute solos, characterized by grace notes and arpeggios, McGill incorporated still more cadenzas. The first one, in the Allegro di molto movement seemed more complex than the original music itself. That was followed by another in the Largo movement, and, of course, there was the excellent tonguing in the Presto movement in combination with his light and airy musical style. What a delicate, delicious, and expressive performance—with no breathiness! There were even moments where McGill exuded a joyful physicality, as if he were about to dance. And at the end, he was graciously rewarded by a big hug by the conductor and a standing ovation by a grateful audience.

The title of the concert “Fathers & Sons” was very apt, and the selections were very thoughtful. The first half had to do with the genius of Mozart, starting with his father Leopold Mozart and his Symphony in F Major, LMW VII:F1. Nicely and fluidly executed, this composition eased from the Allegro movement with its almost too heavy French horn (Gail Williams, Samuel Hamzem) to the Andante movement with its beautiful harpsichord (Stephen Alltop) and subsequent stirring bassoon (Galina Kiep), capped by the Allegro assai, where these components were all pulled together. The second half had to do with the genius of Bach, beginning with Carl Philipp Emanuel Bach and ending with his father’s Orchestral Suite No. 4 in D Major, BWV 1069. Notable in Johann Sebastian Bach’s work is its focus on three oboes throughout (Anne Bach, Erica Anderson, and Jennet Ingle) plus three trumpets (Barbara Butler, Jordan Olive, and Jennifer Marotta), timpani (Douglas Waddell), strings, and continuo. In the Bourrée I – Bourrée II movement, the bassoon (Kiep) predominates with its independent line of music, an “inverted dialogue” (if you will), considering that the bassoon is usually a continuo instrument. The Menuet I—Menuet II was basic and methodical, namely, the Bach that we’ve all come to know and love, followed by the Réjouissance movement, making this lively piece of rejoicing and jubilation the ideal closing for the evening’s entertainment.

In all, despite the very cold and snowy weather outside, the Music of the Baroque concert at the North Shore Center for the Performing Arts, in Skokie, was extremely warm and welcoming! Dame Glover did a marvelous job of conducting, ensuring the perfect accompaniment to McGill’s brilliant solos with their charm and polish. There are not enough adjectives (or enough hugs to go around) to describe the entire experience. How terrific it was! How incredible! How incomparable!