The Dryden Ensemble to Revive THE MARVELOUS MR. MEUSEL

In the chambers of eighteenth-century European courts, music was more than entertainment. It was an expression of refinement, status, and artistic innovation. Among the many composers who thrived in this world, some composers of this era have stood the test of time, while others have been nearly forgotten. The Dryden Ensemble’s upcoming concert, En Concert: The Marvelous Mr. Meusel, shines a light on one such overlooked talent: Gottfried Meusel, a lutenist and composer at the court of Gotha, alongside works by Couperin, De Visée, Dieupart, and Bach.

On Sunday, March 16, at 4:00 p.m. at the Princeton Theological Seminary Chapel, this free concert offers a rare opportunity to hear Meusel’s charming and intricate concerto performed (perhaps) for the first time in the U.S. Under the direction of the Dryden Ensemble’s new artistic director, Daniel Swenberg, the program features an esteemed lineup of musicians: Taya König-Tarasevich (flute), Lisa Terry (bass viol), Webb Wiggins (harpsichord), and Swenberg himself (lute).

The “En Concert” Tradition

At the heart of this program is the eighteenth-century practice of En Concert, a style in which solo lute or harpsichord pieces were expanded into ensemble works. The melody line was doubled with instruments like the flute, violin, or oboe, while the bass was reinforced with a gamba or cello. This approach created a richer and more vibrant sound, often performed in the private chambers of royalty.

Daniel Swenberg explains, “This seemed a wonderful opportunity to play En Concert, with each musician bringing their repertoire and being supported and amplified by the others. The sort of doubling that is a feature of En Concert playing has long fascinated me. The earliest lute concerti from Vienna around 1700 all have the lute’s melody and bass lines doubled at the octave. About a decade ago, I read an intriguing article by Matthew Hall, Suites en Concert: An Overlooked Tradition, which pointed out other repertoires, such as Dieupart’s suites or Couperin, and the many ways one could—or should—approach orchestrating them.”

By incorporating this historically informed performance approach, the Dryden Ensemble brings a fresh yet historically rooted interpretation to well-known Baroque works while resurrecting lesser-known gems like Meusel’s compositions.

Rediscovering Gottfried Meusel

Meusel, a contemporary of J.S. Bach, lived a brief but musically rich life at the court of Gotha. Though largely forgotten due to his early death, his music reflects the elegance and inventiveness of the German Baroque tradition.

Among the highlights of the program is Meusel’s Concerto in G Minor, which seamlessly weaves together lute, flute, gamba, and continuo in a spirited dialogue between instruments. Swenberg, who has been fascinated with Meusel’s concerti since his student days in Bremen, first encountered these compositions in an eighteenth-century ensemble collection from the Brussels library. He notes, “Meusel was highly esteemed in his day. His position as court lutenist at Gotha was prestigious. Lutenist and historian Ernst Baron praised Meusel for taking up the Weissian style and making it his own.”

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