Jordi Savall & Hespèrion XXI Take the Viola to New Heights

Awesome may be an overused word, but it describes Jordi Savall’s viola da gamba playing to a T: technically, musically, in his historical accuracy (to the best of his deep knowledge), and in his ability to reach the audience. With himself on the treble viol, Savall and his Hespèrion XXI came to Town Hall Saturday night for what appears to be its seventh or eighth appearance on the Early Music Guild series since 1978.

Currently, the group comprises seven superb musicians: five viol players from treble to violone (double bass size), plus vihuela (very similar to today’s guitar) and theorbo player, and percussionist.

Hespèrion’s concert was titled, The Musical Europe: The Golden Age of Consort Viol Music 1500-1700. In this, the second of two different Seattle programs over the weekend, Hesperion played groups of consort music, mostly dances, from Italy, England, Spain, France and Germany, with a final group including one work from each.

The music was light, sprightly, occasionally stately, almost always in a major key, with each group comprising about five short works, played without interim applause.

Several groups ended with improvisations, in which the group played the underneath lines and Savall took off in ever more exciting flights of musical fireworks, the first one based on the familiar Folia melody. For some of these, only Savall was using his bow, the other players plucking their viols in accompaniment.

With his drum, tambourines and whistlelike instrument, percussionist David Mayoral gave an extra dimension to a consort of what often is only strings. His artistry gave rhythm, punctuation, commentary, and variety to almost all the dances, though used less in the German ones.

As well as the Folia melody, another familiar point was Dowland’s song Flow my teares used as the base for a Pavane by him, and more than a hint of Greensleeves turned up in a Spanish Fantasia.

The final improvisations were built on a Spanish tune called El Jarabe loco (The Crazy Dance). Crazy indeed and liveliest of all, with syncopated rhythms, everyone but Savall plucking furiously, and Savall playing faster than a whirlwind and ever wilder, El Jarabe loco came to a totally abrupt end, and the sold-out audience surged to its feet with enthusiasm displayed in prolonged applause.