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by PETER McCALLUM
Sydney Morning Herald I 29 October 2011
In the past four decades, baroque groups have worke assiduously to perform using a defendable, historically informed facsimile of the style used in the Baroque and Classical eras. It seems only a step, therefore, for someone to turn their attention to composing in the same way as the 18th-century composers. Reversions to the style of a former age are a recurring feature of art although, paradoxically, they are often most successful when the earlier style is misunderstood and distorted, as in the recreations of Greek drama by Racine.
In this context, the Cello Concerto in G minor by present-day flautist and scholar Federico Sardelli, premiered by Brandenburg baroque cellist Jamie Hey, is almost too faithful to his historical model, Vivaldi, whose work he sees himself as continuing. Although Sardelli might not like the
term, the work comes across as a pastiche, albeit an accomplished one. Hey performed deftly and with obvious commitment, and the work will surely be welcomed by those who think there can never be too many Vivaldi concertos.
Even in his day, Vivaldi had his imitators, although it would be unfair to dismiss Jan Zelenka as a pasticheur. Guest
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director Riccardi Minasi led the Sinfonia to Zelenka’s serenata, II diamante, with energy, dynamism and a welcome appreciation ofthe importance of shaded contrast, while soprano Siobhan Stagg fluttered around the trills and runs of the aria Qui piegate, qui posate (the text speaks of doves) with quiet clarity- at the cadenza one could imagine the doves had found a birdbath. In Vivaldi’s Concerto Opus
10, No.2, “lanoue”, baroque flautist Melissa Farrow had a quiet sweet sound, maintaining the pitch best in fast passages in the upper register. The Ouverture Grande by Vivaldi’s contemporary, Johann Fasch, was somewhat less inspired than his modern-day imitator Sardelli but in the closing work, Vivaldi’s Violin Concerto, Opus 11, No.2, il favorito, Minasi played with breathless precision and a sound at once smooth and complex, light and rich, like a fine merlot.
