On Sunday, March 1st, at eleven o'clock, Musica Gloria performed a matinee concert at the Hollands College in Leuven that lent an extraordinary intensity to the late morning. In the 'Pulcheria' series, a program unfolded that seamlessly wove together refinement and liveliness. We look forward with great anticipation to each Musica Gloria concert, because this ensemble not only creates surprisingly thoughtful programs but performs them with a rare combination of passion, stylistic sensitivity, and communicative power.
With the Suite and Trio No. 2 in G minor by Marin Marais immediately established an atmosphere of restrained intensity. The traverso of Beniamino Paganini sounded fluid and lyrical, with a natural breathing that gave direction to each phrase. Elise Dupont answered on violin with an elegant, finely articulated line, sometimes velvety soft, then again with crisp clarity. Beneath it all, Thomas Langlois wove a warm, resonant foundation on theorbo and baroque guitar that not only supported but actively added color. The music breathed and moved organically. The audience listened captivated and rewarded the finale with hearty applause.
The Suite in A minor by Robert de Visée, entrusted to Langlois alone, brought a moment of stillness. The theorbo filled the space with an intimate yet rich sound, in which every ornament gained meaning. The dance movements unfolded with natural suppleness, without affectation. It was music that seemed to grow from silence and return to silence. The tension remained palpable until the last note had faded, after which the applause sounded noticeably more intense.
With The Characters of the Dance by Jean-Féry Rebel released a playful, almost theatrical energy. The succession of dance forms took on a lively and sharply profiled realization under the hands of the ensemble. Rhythmic accents, subtle contrasts, and well-placed phrasings made for a performance that was both nimble and precise. Here you could hear how well the three musicians have attuned themselves to each other. The enthusiasm in the hall noticeably increased.
In the Sonata No. 3 in D by Joseph Bodin de Boismortier a refined dialogue between traverso and violin. Paganini and Dupont played with effortless unanimity, their lines flowing together in intertwining patterns or playfully set against each other. The theorbo provided the whole piece with a gently dancing foundation. The sound was clear, transparent, and at the same time warm. The music radiated a vital freshness that perfectly matched the character of a Sunday morning concert.
The Passacaille from Armide by Jean-Baptiste Lully formed an impressive climax. The repeating bass gained a solid, supporting force under Langlois' hands, above which flute and violin built an increasingly rich web of variations. The arc of tension was carefully calibrated and culminated in a powerful finale that spontaneously drew loud and sustained applause.
The Sonata in Trio No. 8 in D by the lesser-known Jacques Christophe Huguenet concluded the program with festive clarity. The ensemble playing was energetic yet controlled, with visible joy in performance that also reached the audience. After each movement, the applause grew warmer and more enthusiastic, ending in a grateful ovation.
What made this matinee so special was not only the technical mastery, but above all the inspiration with which Musica Gloria shaped this music. Their performances testify to a love for the repertoire, attention to detail, and a deep understanding of style and character. In the Hollands College, that became tangible once again. This was a late morning in which Baroque music sounded like living art, direct and convincing, and in which audience and performers visibly found each other in a shared musical experience.
