Music / “CPE Bach: Universe of Concord”, Australian Haydn Ensemble. At Albert Corridor, December 14. Reviewed by ROB KENNEDY.
CELEBRATING the tip of the Australian Haydn Ensemble’s 10th anniversary season, this live performance of CPE Bach and contemporaries explored the wealthy musical world of the late Baroque interval.
The members of the ensemble, together with creative director Skye McIntosh, have been led by visitor director and harpsichordist Chad Kelly from the UK.
The live performance opened with CPE Bach’s “Sinfonia in C Main”, Wq. 182 No. 3. Enthusiastic is one phrase to explain Kelly’s conducting, however directing the gamers to start out earlier than they’re set to go was over-enthusiastic.
The string gamers on their interval devices sounded fully switched on with excellent timing. Sitting within the entrance row, each breath and articulation is uncovered, and what was revealed portrayed an intimacy of delicate and transferring proportions.
The subtleties inside Bach’s C Main sinfonia have been tender and enduring, particularly in order it’s in C Main. The three brief actions expressed an overtly shiny composition, which made for a pleasant live performance opener.
William Herschel, sure, that well-known astronomer, his work “Sinfonia No. 8 in C minor” adopted, and what a piece it was. Sounding like the start of an equation, no matter that could be, Herschel’s work opened with introspection and drive. Whereas reflecting music of the time, it additionally had a particular assertion in type and voice. It might have been modern. It might have been film music. It was engrossing.
With Kelly’s route whereas on harpsichord, he leaves no participant unsure of what the music is meant to be saying, or what he desires. With a conductor so enthusiastic, does it make for extra-musical expression? That’s as much as an viewers to determine.
CPE Bach’s “Cello Concerto in A Main” Wq. 172 got here subsequent with Daniel Yeadon on his 1781 cello. The primary motion, whereas shiny and profound, left this reviewer underwhelmed. However the “Largo”, it spoke. It was human. It sang and the cello cried.
As one, the ensemble moved and sounded towards the singing cello. This was good as music will get. And within the cello solo, everybody listened. The glowing third motion had one thing to state. It left everybody in anticipation earlier than the interval.
The “Keyboard Concerto in F minor”, by JA Benda, opened the ultimate part. With Kelly on this wonderful 1775 English double-manual harpsichord equipped and ready by Carey Beebe, in all of the solo and distinguished passages, this excellent instrument could possibly be heard, and it was superb.
Kelly proved his value as an instrumentalist. Unbelievable stuff. Each observe precisely carried out. Kelly is aware of music. So does Benda. An awesome composition and composer.
For the ultimate work, Telemann’s “Overture Suite in G Main”, nicknamed “La Weird”, in eight actions. It opened within the standard musical territory of the time, however with extra happening beneath. It was severe and emphatic. The fixed hit factors made it sound modern. Because it progressed, its individuality took over.
There was a number of materials, however little was weird. The conductor added these components. He rushed between gamers, humorously directing them to emphasize their notes. It added a dynamic that the gamers and viewers bought caught up in.
Was Baroque music ever so entertaining? The viewers was undivided, it enthralled.
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Ian Meikle, editor