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You and I may not always approve of ACO supremo Richard Tognetti's programming choices, but we must agree that he usually makes us think as well as listen.
He interpolated movements by three 20th century composers into three works by the greatest composer who ever lived, the unfailingly inventive Johann Sebastian Bach.
Shostakovitch's sardonic, funny Polka and self-pitying Elegy, segued to JSB's Missa Brevis in G minor BWV 235. Hardly had we settled into wondering at the phenomenally well-matched vocal quartet of Sara Macliver, Fiona Campbell, Andrew Staples and Matthew Brook when in came Arvo Part's pretentiously titled, slow, same-noted Summa.
The energy balloon was pricked, but immediately reinflated by the exuberant Gloria and the unalloyed delight of arias from bass Brook and mezzo Campbell. Schoenberg at his darkest in Litanei from String Quartet No 2 almost earned a place by virtue of Macliver's impassioned delivery of the soul in torment over love betrayed.
Back to the irresistible pleading of tenor Staples to have mercy on all us lowly sinners, enhanced by Shefali Pryor's ever-loving oboe, and the glorious melismas of the Missa's final chorus.
After interval, Bach's motet Lobet den Herrn BWV 230 was uninterrupted, one voice to a part, and heard with the clarity intended by its creator.
Acclaimed British composer Diana Burrell's tone poem Das Meer (1992) gave way to the Bach's Cantata Wo gehest du hin? BWV 166. From the opening query by eloquent bass Brook, it flowed, thankfully uninterrupted, through solos to the final chorale and prayer.
Although I did not approve of Tognetti's adventure, I will fight to the death for his right to take us along with him.
Elizabeth Silsbury | Adelaide Advertiser | 17 Apr 2010
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