Marion Verbruggen | Theater Critic's Choice | Chicago Reader

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Marion Verbruggen

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The recorder is one of those instruments that couldn't find a place in the modern orchestra. Already in existence in the 12th century, it enjoyed widespread popularity during the Renaissance. But slowly the flute and the piccolo--both equipped with reeded mouthpieces--gained wider acceptance, and by the late 1700s the recorder had fallen into disfavor. With this century's early-music revival it's made something of a comeback. Dutch virtuosos like Frans Brueggen and Marion Verbruggen, among others, have revived the instrument's easy enchantment. In October the Amsterdam-born Verbruggen teamed up with the Newberry Consort for a recital of the household music of 17th-century Dutch burghers, among whom recorder playing was a popular pastime. Now she returns with the period-instrument ensemble Musical Offering in a concert of Baroque music. Telemann's Concerto in E Minor for Recorder, Flute, Two Violins, Viola, and Continuo is included in this program, as is Sammartini's Concerto in F for Soprano Recorder, Strings, and Bass Continuo. There are two recorder parts in Bach's Brandenburg Concerto no. 4, also on the program. Verbruggen and her fellow players ought to make the most of these engaging pieces. Joining her are Joan Parsley (harpsichord), Stanley Ritchie (Baroque violin), Susan Carduelis (flute), Jennifer Roig-Francoli (violin), Peter Slowik (viola), Sara Edgerton and John Mark Rosendaal (cello), and Beverly Schiltz (bass), all wellrespected period instrumentalists. Saturday, 3 PM, Church of the Ascension, 1133 N. LaSalle; 664-1271 or 414-226-2224.

Art accompanying story in printed newspaper (not available in this archive): photo/Catrien Ariens.

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