This review, which somehow had disappeared into the Intertube ether, covers a concert heard last week.
Solomon Alexander Hart, The Feast of the Rejoicing of the Law at the Synagogue in Leghorn, Italy, 1850 (The Jewish Museum, New York)
Their work has gained enough notoriety that scholar and harpsichordist Ton Koopman stepped in to help with the transcription and arrangement of three pieces heard on May 13, in a concert of Jewish Baroque music presented by Pro Musica Hebraica in the Kennedy Center Terrace Theater. The program combined music for Jewish liturgical services, as well as chamber music by Jewish composers, paired with music by Christian composers to show the similarity of styles. In most cases, composers whose music is already widely known won the comparison, especially in the case of Handel's G minor trio sonata (op. 2/5), which eclipsed similar pieces by Salomone Rossi and Marco Uccellini. The only complaint to be made was the decision to alternate instrumental and vocal pieces strictly, requiring far too many time-extending set changes.
Robert Battey, Baroque music of Jewish composers is lively and pretty, but it fails to stand out (Washington Post, May 15)
Emily Cary, The Apollo Ensemble performs Jewish musical gems (Washington Examiner, May 12)
Pro Musica Hebraica returns in the fall with another season of Jewish music, including a headliner concert by the duo of Evgeny Kissin and Maxim Vengerov (February 24, 2014), in the Kennedy Center Concert Hall.