Experienced concertgoersknow that groups specializing in Baroque, Renaissance and Medieval music havelong since lost the dry self-consciousness of the 1970s and ’80s. Some acts gofurther, making entertainment of early music. Even among them, Red Prieststands out. Its charming British silliness might fall flat if not backed up byvirtuoso playing. For this “Pirates of the Baroque” program the four musicians entered wearingwacky red and black pirate garb. Musical piracy of various kinds (“stolenmasterworks”) followed, introduced with grace and wit, and performed with glee.
Red Priest is comprisedof Piers Adams on a variety of recorders, David Greenberg on violin, AngelaEast on cello, and Howard Beach on harpsichord. Like only the very bestmusicians, they play with a balance of both freedom and discipline. Adams reached heights of recorder playing I didn’t thinkwere possible, taking the limited inherent sound of his instrument intoextraordinary variety.
Ensemble tightness andnatural balance were remarkable. A crisp rhythmic spirit was constantlypresent. This ensemble, by necessity, creates most of its own wildly creativearrangements, often featuring blazing bravura and lickety-split precision.Whether playing Bach, Telemann, Vivaldi (whose nickname is the group’snamesake), or lesser-known composers, Red Priest’s playful arrangements pointup the relationship of Baroque music to the jigs and reels of folk music.
All through the concertI tried to find in my mind’s memory classical musicians who have Red Priest’scomic edge, but found few. Victor Borge and Canadian Brass are distant cousins.Classical music is a wide world. There is more than ample room in it for thosewho are talented and innovative enough to find new kinds of lighthearted joy.
