Word: huggett
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...people of Boston, unfortunately, did not turn out in droves to see James Galway, perhaps the most well-known classical flautist of our time, perform an all-Baroque concert on Sunday afternoon with some of his longtime collaborators: harpsichordist Phillip Moll '66, violist Sarah Cunningham, baroque violinist Monica Huggett, and flautist Jeanne Galway, James Galway's wife. There were many empty seats at Symphony Hall, and at the beginning of the concert Galway apologized to the audience for keeping it in on such a beautiful day. He and his friends then proceeded to give a concert that was as wonderful...
...first piece was a light and airy G Major Sonata by Bach (BWV 1039) for two flutes and basso continuo, including all the players except for Huggett and with Jeanne Galway on the golden flute that is a trademark of her husband. The playing was excellent all around, with the Galways flawlessly performing a passage that requires technical perfection if it is to be successful, creating an elegant echo effect. Cunningham and Moll were solid backup players, neither too loud and intrusive nor too quiet and listless. Except for a few fluffy notes on one of the flutes...
...Huggett took center stage for the next work, the Sonata in D Major for Violin and Basso Continuo by Jean-Marie Leclair, which she performed with Cunningham and Moll. Huggett and Cunningham have performed together as part of a chamber group, the Trio Sonnerie, and it showed in the lively interplay between the two musicians. Huggett's clear, sharp playing was a marvel, and both Cunningham and Moll, who provided a solid background to Huggett's soaring violin, ably supported...
Galway returned to the stage for Couperin's La Pie'montoise, a sonata and suite in fourteen parts, many of them dances. The piece showed the greatest range in terms of mood, shifting from cool elegance to pensiveness to a delicacy evoking spring. Especially interesting was the interaction between Huggett and Galway, a look of complicity between them finding its musical expression in a passage filled with repetition, as the two echoed both each other and themselves in repeating the same passages. The applause was warm after the surprisingly sudden ending, with especial kudos for Galway and Huggett...
...purely a Galway showcase, the other players fading in the background for once as he overwhelmed them with his flawless playing. The Telemann Quartet in D Minor, however, brought the whole group on stage for the finale, and all contributed to the success of the performance of that work. Huggett and Jeanne Galway, especially, shone in this work, Huggett's playing so clear and light that she almost sounded like a third flute. Feet were tapping as the program reached its conclusion, the artists finishing to insistent applause...