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JS. Bach was probably the most influential Western composer ever. Elements of his music have proven timeless: his harmony, counterpoint, orchestration and form continue to guide and inspire composers today.
This Australian Chamber Orchestra program combined several Bach works for orchestra and vocal soloists with 20th-century composers' responses, direct or otherwise, to the Baroque master.
Rather than a choir, the vocal parts were performed by distinguished soloists Sara Macliver (soprano), Fiona Campbell (mezzo-soprano), Andrew Staples (tenor) and Matthew Brook (bass).
All used a clean, refined and carefully unified style with thoughtfully chosen vibrato and no trace of operatic flamboyance.
Shostakovich's Elegy and Polka had questionable relevance to the program but the Elegy was captivating, its exposed first-violin melody admirably spotless.
Inserted between movements of Bach's Missa Brevis in G minor were two other works. Arvo Part's Summa, in the composer's 1991 arrangement for strings rather than choir, took a tranquil reading that emphasised the work's minimalism and attempted no emotional or dynamic journey.
Litany from the String Quartet No.2 by Schoenberg, a groundbreaking composer of his own era, proved compatible with the surrounding movements.
British composer Diana Burrell's string work Das Meer, das so gross und weit is, da wimmelt's ohne Zahl, grosse und kleine Tiere (1991) has striking contrasts of texture and dynamics.
Its Bach-style prelude-and-fugue form gives it a strong foundation. It is horribly complicated to perform but, apart from inaccuracies in a dangerous passage for the violas, the ensemble remained tight.
The Bach motet Lobet den Herrn and cantata Wo gehest du hin? took polished and enjoyable performances.
Herald Sun | Anna McAllister | 14 Apr 2010
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