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EAMONN KELLY THE AUSTRALIAN FEBRUARY 24, 2014 12:00AM
MARKING 25 years as the country’s most prominent period-instrument orchestra, the Australian Brandenburg Orchestra opens its 2014 season with a celebratory program dedicated to the ensemble’s spiritual guardian, JS Bach. With its jubilant choral score and Christmas themes of joy and new life, the program’s centerpiece, Bach’s Magnificat, is wellsuited
for such an occasion.
Alas, an inauspicious start from a less than well-tempered brass section heralded an unsteady opening movement, in which instrumental lines were hazy and the addition of imperfectly balanced choral lines made for a clamorous result. Steadying the waters, clear-toned soprano Jane Sheldon successfully conveyed the
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purity and thrill of the first solo, Et exsultavit spiritus meus, if somewhat labouring the movement’s more florid sequences. Fellow soloists, baritone Nick Gilbert and tenor Richard Butler, handled their material competently, while young countertenor Maximilian Riebl offered a luminous account of the gently ambling Esurientes implevit bonis, ably supported by pristine, duetting recorders.
Hitting its stride during the boisterous polyphony of Omnes generationes, the enthusiastic Brandenburg Choir generally achieved tidy ensemble and, along with consistently fine diction, provided moments of ravishing harmonic depth and clarity.
Following this capable but unremarkable opener, a post-interval performance of Bach’s Orchestral Suite No 4 saw the orchestra return to secure territory. Skillfully drawing forth the sinewy elegance of the Ouverture, the Bouree’s brisk joviality and the Minuet’s precise measures, the ensemble was alert to historical performance detail while maintaining superb sound quality and balance. Ever the flamboyant figure at the harpsichord, co-founder Paul Dyer kept the ensemble at a bright
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pace and gave sufficient emphasis to the dance rhythms to instill a sense of levity without losing the work’s overall regal character.
A new work commissioned for the occasion by Russian-Australian composer Elena Kats-Chernin provided a lyrical and lively contemporary complement to the program’s Baroque master repertoire. Playfully entitled Prelude and Cube, the two-movement work adopts the orchestration of Bach’s Magnificat, with the addition of a saxophonist, and references late Baroque rhythmic and harmonic progressions. Kats-Chernin builds cosmopolitan, highly accessible layers upon this Baroque
structural base, the first movement featuring a soaring, crystalline soprano line (voice and saxophone) above a pulsing accompaniment that slowly builds to a sweeping climax.
The second movement, delivered with aaclan by a buzzing choir, employs a German translation of the Magnificat’s opening lines. Kats-Chernin has set these words with percussive pop
and bite above a jazzy orchestral accompaniment that features slap bass and stacked harmonies, driving the work with great energy towards a startling conclusion.
City Recital Hall, Angel Place, Sydney. February 26, 28 and March 1. Tickets: $68-$160. Bookings:
1300 797 118 or online.
MUSIC
Bach Magnificat
THE AUSTRALIAN
EAMONN KELLY THE AUSTRALIAN FEBRUARY 24, 2014 12:00AM
Australian Brandenburg Orchestra & Choir. Elisabeth Murdoch Hall, Melbourne Recital Centre.
February 22.
