Fine chamber concert

Press, 4 October 1977, Page 6

Fine chamber concert

By C. FOSTER BROWNE ; The concert given to the; Chamber Music Society ini the James Hay Theatre last; evening by the Academy of: Ancient Music (Christopher Hogwood. harpsichoad. Christopher Hirons and Monica Huggett. baroque violins, and Jane Ryan, bass viol), was one of those rare treats when an audience does not] fully know what to expect, i and is left entranced. The instruments have a' seeming transparency of I sound giving perfect clarity and tonal qualities delightful! to hear. They blend beauti-j fulls’ and are responsive to| the finest gradings of expres- • sion. The players have the I confidence of secure control; and are artists of the highest; rank. The programme began with’ a ciaccona by Corelli. This! was a composition where the! bass part repeats, and varia-l tions in new figurations are: based upon the changing harmonies. In lesser hands: such a composition could be !

\ pedantic and arid, but from the great masters it has rare i fascination and flexible (Strength. i A similar work by ■Legrenzi, the Venetian master, was dignified and elaborate, casting a scintillating radiance, as did the Corelli work, and the concert ended with superb variations of similar style and fascination by Vivaldi. These came like ja display of treasures in the ■cathedrals of Milan or Florence. 1 James Bowman, the ! counter-tenor soloist, was unable to sing because of a I throat infection. Instead we were given some elegant and exhilarating compositions by : Purcell, magnificent to hear, i showing what a rare mastery (this great Englishman had. A ■ ciaccona by him showed 40 jlittle movements so exquisitely dovetailed that there I was no observable break n I their steady flow. Also of interest and giving great pleasure was a set of harpsichord pieces given to Mr (Hogwood by the Public Library in Auckland. He had

i been searching for this rare 8 collection for a long time. Mr 8 Hogwood has superb control over the harpsichord, making / it a flexible and expressive - instrument in a way that few - can emulate. ’ Couperin’s "Apotheosis of i Corelli on Mount Parnassus” I was a charming work, giving f early example of “proi gramme” music. Its subject • was the healing of the rane cour. jealousy, and spite - which existed at the time between the supporters of the • French as against the Italian - music and musicians, and i pours healing balm by showb ing the great Italian. Corelli, I, being received and given /1 highest honourable place ~next to Apollo on Parnassus. ?ilf this gracious healing t gesture was effective, we ) | might be able to find a job -I for Couperin nearer home. ’■ Solos by .lane Ryan on the II bass viol were a rare experi--lence and were magnificently •I rewarding. " This concert was one of _;the finest we have had from i'the Chamber Music Society.