LA CREME DE LA CREMA
Thursday February 18, 2021
It’s a vague photo, isn’t it? Not the best transfer from no-news-bearing Facebook but it probably looks fine in its original internet placement. Also, I’m not sure if the personnel shown are current ensemble members. In any event, six of the MBO musicians took part in this recital from the Athenaeum Theatre that was actually taped, as I understand, towards the end of last year.. For the six-part program, this night’s MBO comprised violins Natalia Harvey and Cameron Jamieson, violist Katie Yap, cellists Rosanne Hunt and Josephine Vains, supported by the theorbo of Nick Pollock. As matters turned out, this grouping impressed for a breadth of timbre with a pair of well-matched violins taking centre-stage across much of the program’s tutti work (stating the bleeding obvious) with Pollock’s continuo a full-bodied presence rather than that background tinkling you get from a harpsichord.
We heard the program’s only solo from Pollock in an arrangement of Couperin’s Les Barricades Misterieuses: one of the composer’s most recycled and re-formatted works. This piece suited the instrument, thanks to its double-bass clef register and Pollock was insightful enough to keep the part-writing clean in delivery, if not spartan; even so, a few rough spots butted into the easy flow, like the top note in bar 26 – surprising, as the same note’s repeated presence in the third couplet was almost unfailingly clear and buzz-less. In fact, this 22-bar segment with its well-stretched pulse and responsive phrasing impressed even more than the always-welcome returns of the bracketing rondeau.
Matching this solo, the ensemble offered a duet for cello and bass: the Allegro from Boccherini’s Sonata in C G.6. Vains took the top line of this 41-bar first movement, showing a reassuringly aggressive hand in the triple-stop chords that punctuate the work’s elegant flow. Mind you, sweetness of colour did not feature in the production values of Vains or Hunt, who made boisterous work of these few pages. In spite of a deliberate gruffness, both instruments seemed comfortable in their work with only a few near-discrepant moments, and an uncomfortable upward C Major scale in the solo instrument at bar 10.
Onwards and upwards, a few more players entered the lists for a Trio Sonata in G (‘in imitation of Corelli’) by William McGibbon, that 18th century hero of Scottish music, both in serious and folk spheres. Yap and Vains stayed silent for this brief gem involving two violins and a continuo bass line. The group gave out a satisfying and full amplitude of production as early as bars 6 to 9 of the opening Adagio; the content does not show a lot of invention but the Corelli echoes come across with excellent authority. Further, the group’s attention to phrasing gave these stately pages even more interest.
As the work moved forward, the interplay between Harvey and Jamieson grew more intense, both the imitations/suspensions and easier work in thirds performed with precision and authority. Probably the only question mark in a highly forward demonstration came at bar 42 of the closing Allegro where Jamieson’s semiquavers came across as mechanical, particularly in a phrase that looks like note-spinning on paper already. Still, the piece is an unabashedly amiable tribute to a master from a musician about whom so little is known, although it’s intriguing that what few encounters I’ve had with McGibbon’s work have come from Australian musicians.
This program began with one of the Baroque’s more tasteful free-for-alls in Rebel’s Les caracteres de la danse: that compendium of what was being trotted out – literally – at Versailles in the age of Louis XIV. As early as the Courante, you had to be impressed – even taken aback – by the busy crispness of all involved: from the energy of Pollock’s bottom line to the biting sprightliness of the violin pair. These characteristics returned time and again – in this case, as quickly as the Bouree. Signs of colour organization emerged throughout the suite, like the absence of a strong bass line in the Chaconne until a forte explosion at bar 75. In fact, cellos and theorbo proved capable of holding – or attracting – your interest in harmonically ambiguous passages like the short-lived Rigaudon.
Then, a lot of Rebel’s score is brief, as though he is just touching on some forms but is unsure if they’re worth his – or his audience’s – time. Not so the Sonata, which brackets the Loure and Musette pair. I’m not certain why the Sonata is there, although it does hold the most action-filled pages of the whole set. But you might well ask what is the function of the initial Prelude, except to give the band some warm-up time. Such quibbles disappear when you have the chance of re-acquaintance with the Loure‘s strange format; God knows how you dance to it and Jean-Fery doesn’t give you much time – 7 bars! – to get involved in its coils. No matter how quickly we had to digest some of these dances, the MBO outlined them all with impressive authority, particularly the continuo department who held nothing back in the rapid pages.
Hitting the popular Baroque vein, the players gave a direct-speaking version of Boccherini’s Night Music of the Streets of Madrid string quintet: one of your more refined examples of program music. It’s always a pleasure to see cellos being played as guitars in the Minuetto, holding their own against the concise unison violins. And the interpretation followed the usual pattern of using the written score with a mild irreverence, as in Harvey’s shortening of note values at ornamentally twitchy points. A solitary unsteadiness in the top cello near the end of the Largo assai‘s second appearance proved to be one of the few flaws in proceedings. A no-nonsense brusque attack informed the Passa Calle, during which the solo cello produced an eerie, ‘white’ melody line with no vibrato. And the noble Ritirata – what we all wait for – strode past to excellent effect, the viola and second cello rapid triplet work clear and eloquently percussive, with a deft diminuendo to polish off this small tone poem.
To end, the full group played Georg Muffat’s Passacaglia from the Sonata No. 5 in G of 1682, a score I hear mainly on keyboards. In this strings-plus-theorbo version, the ensemble generated a powerfully sonorous creation, lavish with a sort of strict opulence. As with the better parts to this program, phrasing had been organised with fine results, allowing for as much individuality as possible in a score full of chances for individual exposure, no matter how short. At Variation 5. along with the upper parts’ excellent duet work, the theorbo made a generous, resonant contribution. Variation 7 gave us some tender melting moments, thanks to Muffat’s cleverly-placed triplets. In fact, this reading gave you more opportunities than usual to appreciate the composer’s talent at catching his listeners off-guard with unanticipated extra bars and accents.
The later changes had their high points, as in the sterling violin duets that constitute Variations 20 and 23 and the broad, almost glutinous richness of the final 13 bars. Not that the composer’s inspiration remains on a high level throughout, yet even the more worked-over passages proved worthwhile as a spectacle, seeing the musicians work their various ways into and through the mesh. This Passacaglia made an assured, not-too-taxing display piece for all involved and it brought to the fore this particular ensemble’s abilities to work cohesively, with polish and certainty of intonation, generating a satisfying fabric that combined steeliness with underpinning warmth.