Well before the doors of the Primrose Potter Salon were due to open, ticket holders to Genesis Baroque’s concert, “Holding Court with J.S. Bach”, were queuing across the foyer and up the stairs at the Melbourne Recital Centre.
Genesis Baroque is a period instrument chamber orchestra. Under Melbourne-based Artistic Director Jennifer Kirsner it performs regularly in Melbourne and regional Victoria, co-opting Principal Guest Director Sophie Gent and various guest artists for individual programs.
This program opened with Meredith Beardmore playing the soloistic traverso flute part in Bach’s second orchestral suite. The traverso’s gentle tone carried effortlessly and, with only one player per part, there was the added pleasure of being able to pick out contrapuntal effects that may go unnoticed in a larger setting. As the program notes had promised, the suite’s “rich tapestries” came to life in the Primrose Potter Salon.
A smaller group then played Bach’s first trio sonata for organ, transposed and arranged for two violins, harpsichord, and cello. Bach had “repurposed” some movements from other instrumental works, so it was entirely appropriate, Kirsner said, for Genesis Baroque to perform this sonata with a traditional chamber instrumentation.
The first and third movements had a jaunty feel, with the two violins mimicking each other, and the cello interjecting as if holding animated conversation with the upper strings. In the second movement, marked “affettuoso”, Kirsner and concertmaster Anna McMichael played Bach’s intricate, interwoven melodies – reminiscent of Bach’s great double violin concerto – with great sensitivity.
The concert ended with Bach’s fifth Brandenburg concerto, known for its virtuosic harpsichord part. Donald Nicolson performed the cadenza with true panache; the sparkling tone of this beautiful instrument well suited to the intimate sound of the Primrose Potter salon. Not to be outdone, though, the traverso and violin combined to give a compelling performance of the lyrical slow movement, securely supported by the continuo’s ever-sensitive accompaniment. The ensemble sprang into life in the final movement to bring the concert to a jubilant conclusion.
The capacity audience was clearly well satisfied by the performance, and Kirsner’s decision to program an all-Bach event – if ever in doubt – thoroughly vindicated.
Image supplied.
___________________________________________________________________
Sue Kaufmann reviewed: “Holding Court with J.S. Bach”, presented by Genesis Baroque at the Melbourne Recital Centre, Primrose Potter Salon on March 14, 2024.
