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Church of St. John the Divine
November 12, 2017
This evening's post-Remembrance Day programme began with Bach's early cantata "Aus der Fiefen ruse ich", BWV131. The programme described the work as reminiscent of Buxtehude, but I thought the style recognizably that of Bach, even if it is not his strongest piece. The opening section of the Chorus was taken at a slow, mournful pace. The funereal mood was heightened by Marea Chernoff's plaintive oboe. The succeeding Arioso and Chorale was sung by baritone Nathan McDonald, accompanied by the St. John's Chamber Singers sopranos. Although I am certain that this was intended as a duet, I thought that the use of all of the sopranos added a nice unworldly touch to the piece. The same approach was adopted, with equal success, in the Aria and Chorale, sung by tenor Kieran Foss and the choir's altos.
Both of the soloists adopted a rather understated approach. Foss has a good voice, but was not assisted by the fact that his Aria is a rather dull piece (by Bach's standards) and the tempo rather lugubrious. The choristers did a good job in the jubilant concluding chorus, which was taken at a brisker pace.
Next was the only instrumental piece, on the programme, an arrangement for flute, violin, and basso continuo (here realized on bassoon, violone, and organ) of the second movement, Andante, of the Organ Trio Sonata, BWV528. Arrangements of the Organ Trios as works for chamber ensemble are common (since musicians want to have more Bach chamber music to play) and easy (the left hand part is given to one melody instrument, the right hand part to another, and the pedal part becomes the bass line; one need only figure the bass to be done).
The piece is a gentle, reflective movement, in keeping with the evening's reflective theme. For me the highlight was the opportunity to hear Soile Stratkauskas in a solo role. Too often she is heard only as part of the orchestra, and it was delightful to hear her in a solo role. I was pleasantly reminded of what a fine flautist she is, with a lovely warm tone.
The movement from BWV528 acted as a sort of overture to the aria "Wandelt in der Liebe" from Telemann's cantata TWV1:1498. Mezzo Alana Hayes did a good job of capturing the sense of innocence expressed in this aria.
The first half of the programme concluded with the chorale "Jesus bleibet meine Freude", from Bach's Cantata BWV147. It was given a confident, joyful reading. The flute of Stratkauskas was again very much in evidence, and the continuo group propelling the music forward.
The second half began with Buxtehude's "Magnificat", BuxWV anh.1. The piece was sung alternately by soloists and the full choir. Nathan McDonald stood out among the soloists. Earlier he had sung his solo a little like a chorister; here he sang like a soloist from the midst of the choir. More Bach ensued, in the form of the cantata "Nun Komm, der Heiden Heiland", BWV61. Here the young Anne van der Sloot impressed. Though she appeared rather nervous, she has a pretty voice and a bright future. Nolan Kehler displayed a warm, mellifluous voice.
But what abut the Transcendence of the concert's title? It arrived in the form of Bach's Motet, "O Jesu Christ, meins Lebens Licht", BWV118. It brought the concert to a comforting, even hopeful conclusion.
Perhaps the most striking feature of this concert is that it was produced (give or take a ringer or two from the mainland) almost entirely with Island talent. It was gratifying to see that such a good, professional performance could be staged entirely with regional talent. This represents a kind of coming of age of the early music scene in Victoria. The Victoria Baroque Players are a regional treasure and it was nice to see another large and enthusiastic audience out to appreciate their work on a blustery November evening.
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