The latest ACO concert, EGARR AND THE GOLDEN AGE shines with brilliance from every part of its varied programme. Incidental music to theatre sits well beside an adaptation of viol consort music. Works from the early concerto styles are successfully placed beside symphonic style. The British and Germanic styles developing between 1641 and 1783 are juxtaposed with stunning effect.
Guest soloist and director, Richard Egarr, Music Director of the Academy of Ancient Music, leads from both harpsichord and fortepiano. His charismatic playing and interpretation of the various compositional styles joins with the ACO’s expertise in delivering exciting early music moments.
The audience is engaged from the outset by Egarr’s interesting style of commentary and direct questioning. Music is put in colourful historical perspective and made relevant for our modern concert interest.
The programme opens with a suite selected by Egarr. Its music comes from that written in 1692 by Purcell for the theatrical piece ‘The Fairy Queen’.
This suite is an enjoyable opening, with its contrasts providing fine momentum. Oboe parts featuring in several movements are played with great poise by Shefali Pryor and Eve Newsome. Ensemble moments highlight Purcell’s ability to be joyous, especially in the closing Chaconne from the Act V wedding scene.
The concert’s earliest work follows, an intense polyphonic fantasy from one of British composer William Lawes’ consort sets. The piece survives well the update from viol consort to modern string family. The parts are seamlessly blended and given the appropriate equal importance.
The ACO’s lead violinist, Satu Vänskä, is soloist for the well-known Violin Concerto in A minor BWV 1041 by Bach. The architecture of this work is logically outlined, and her Stradavarius instrument sings clearly in expressive sections. The outside movements are taken at a keen pace, but the solo filigree is not compromised. All energy is maintained with a driving force and decent ensemble support.
After interval, the programme is dedicated to Haydn’s uniqueness of rhythmic and melodic invention. The composer’s innovative sense of drama and exploration of the fortepiano as a concerto solo instrument is satisfyingly recreated.
Richard Egarr’s command of the fortepiano and his playing of Haydn’s multi-faceted Concerto for Keyboard in D major, Hob XVIII:11 is a pleasure to watch. With searching, expressive cadenza material improvised by Egarr and thematic characters extremely well defined, this is an exciting performance. After explaining the instrument’s subtleties, the audience still hears the fortepiano’s ability to convey emotion, thanks to the proficiencies of both Haydn and Egarr.
The highlight for myself of the items for the orchestra alone is the dramatic Symphony No 44 in E minor, Hob 1:44, known as the ‘Mourning Symphony’, which concludes the concert. The orchestra is superbly led from the symphony’s stunning opening motifs right through to the dazzling thematic outbursts of the work’s finale. Such a performance makes a decent impression on the sensitivities and aural memory for some time.
EGARR AND THE GOLDEN AGE plays the Sydney City Recital Hall Angel Place Saturday 27th June at 7 pm and Sydney Opera House on Sunday 28th June at 2pm
For more information about this wonderful orchestra visit their official website:- http://www.aco.com.au
