BY ALEXANDRA MATHEW
Ich Habe Genug
Genesis Baroque
Abbotsford Convent, 7 August
Genesis Baroque is a relatively newly formed Melbourne ensemble, comprising local and expatriate musicians. Bach was the theme of this concert at Abbotsford Convent, and his music bookended the program, with a lesser-known cantata by contemporary Nicolaus Bruhns and a new work in between.
It’s daring to start a concert with such a well-known staple of the baroque repertoire — Bach’s Concerto for Violin and Oboe in C minor — but the players of Genesis Baroque amply demonstrated they were up to the task. Violinist and Genesis Baroque musical director Lucinda Moon and oboist Emma Black were our soloists, and it was a rare pleasure to hear two distinguished Australian musicians performing together in such an intimate venue. The opening movement, well played by all, immediately set the tone for the evening: the finely balanced ensemble produced a sound both sumptuous and refined, while the two soloists had a lovely rapport.
Baritone David Greco joined the ensemble for a performance of an interesting sacred concerto for the bass voice — De Profundis Clamavi — by Nicolaus Bruhns. Greco’s voice is expressive and his timbre mellow and sweet. He advertises himself as a baritone, and while he sang the concert for bass superbly, occasionally in his lower register his voice did not sound above the ensemble. This was a minor issue, considering the performance was in an intimate venue with sympathetic acoustics, and the audience had the privilege of being seated at the feet of the ensemble. But Greco’s strengths are many. His breath control is impressive, and his coloratura precise and lively. During the many fast passages, Greco consistently maintained a steady tempo, leading the ensemble around him with just a look or a breath. The music itself was beautiful and dramatic, and, over the course of its approximately 12-minute duration, traversed a variety of tempi, dynamics and sentiments. One would have benefitted from having the Latin text printed in the program notes, but again this is a minor quibble.
Calvin Bowman’s Zengo Sai Dan was a surprising hit of the evening. Not because Bowman’s music is at all lacking, but because one does not usually expect to hear the premiere performance of a contemporary composition at a baroque concert! Regardless, the audience was in for an absolute treat. The music itself was atmospheric and cinematic, bringing to mind the minimalism of Arvo Pärt or contemporary classical compositions of Olafur Arnalds. However, Zengo Sai Dan is firmly rooted in the baroque tradition, with a Bach-esque violin solo, performed ever so movingly by Moon. Her playing was animated and she herself seemed visibly moved by Bowman’s extraordinary score. Bowman joined the ensemble at the chamber organ — a nice touch to have the composer take part in the premiere performance. Let’s hope that this work gets a second outing soon — it will surely fit well into many a baroque ensemble’s program, although few baroque ensembles are in the habit of programming new works. The performance reminded us of the importance of engaging with contemporary composers, and of the advantages of programming new works alongside baroque music.
The concert ended with a stunning rendition of Bach’s well-known cantata Ich Habe Genug (‘I have enough’), led by guest soloists Greco and Black. Greco is no stranger to this work — having performed it with the Sydney Symphony Orchestra — which showed in his assured delivery. His voice sounds so well in this repertoire — it was an absolutely treat to sit back and listen to his glorious baritone intermingling with the several fine musicians of Genesis Baroque, many of whom are soloists in their own right.
A highlight was the da capo aria Schlummert ein, ihr matten Augen (‘Fall asleep, you weary eyes’), sung with tenderness by Greco. And when the opening section was finally reprieved, the ensemble created a magical atmosphere with a piano dynamic. If Greco showed us his sweetness in the Schlummer-Arie, he surprised us with his thrilling capacity for drama in the closing Ich freue mich auf meinen Tod (‘I am looking forward to my death’). Again, Greco impressed with his control and expression.
In all, this was a terrific performance. From the programming to the playing, Genesis Baroque is a unique and polished — and importantly, welcome — voice in the vibrant Melbourne baroque music scene.
Images supplied.
