Baroque Beyond Bach From Musica Pacifica

Bach remains at the apogee of Baroque composers, and rightly so. But his dominance can overshadow other important music from the period, as well as composers who influenced him. Early music group Musica Pacifica’s concert, Wednesday at LACMA, dealt with the context that swirled around Bach, in the fascinating program “Bach and His Models.”

Music of other notable, household-name composers was heard, including Vivaldi’s delightfully quirky Concerto in G Minor, “La Notte,” to open and Telemann’s gutsy and gustily played Quartet in G, from Tafelmusik, to close.

But some of the more memorable work was from relatively obscure corners. Johann Jakob Froberger, a prominent 17th century keyboard hero, was represented by his 1656 Toccata IV in F. It’s a liberating work, infused with an improvisatory spirit neatly tapped by harpsichordist Charles Sherman.

Violinist Elizabeth Blumenstock and viola da gamba player David Morris (who elsewhere played Baroque cello) had their showpiece with the Sonata in B-flat of Dietrich Buxtehude, a major influence on Bach.

Transcriptions and adaptations were acceptable practices during the Baroque period, and the tradition continues with this group. Oboist Gonzalo Ruiz had his spotlight moment with Bach’s Sonata in C, adapted from the Sonata in E for flute and continuo, in a dashing and pointed reading, despite a few rough spots.

Corelli’s Sonata in C, Opus 5, No. 3 was written for violin but was also transcribed for a recorder version. Recorder player Judith Linsenberg, one of the group’s co-leaders, bravely navigated its breathlessly paced succession of 16th notes, with that all-important Baroque composure intact.

From Bach’s repertoire, the Trio Sonata in F, here for recorder, violin and continuo, was originally written for organ. The neatly fitted contrapuntal parts were divvied up among the musicians, with plenty of tumbling mathematical vigor.

Binding it all together was the admirable resolve of Musica Pacifica. They don’t so much dwell on speculation over antique performance values as meet the challenge of bringing early music to life in the spirit--and sonorities--intended by the composers.

And at the end of the concert, it must be reported that Bach’s music won out.