Harpsichord ensemble

Press, 26 February 1983, Page 6

Harpsichord ensemble

The Christchurch Harpsichord Ensemble, Bach subscription series final concert, at the Centre Gallery, Arts Centre, February 25, 8 p.m. to 9.30 p.m. Reviewed by Philip Norman. To all but the most ardent enthusiast an entire concert devoted to the works of J. S. Bach- is a daunting enough prospect, let alone a series of concerts. Yet a good-sized audience turned out to hear the final in a series of three all-Bach concerts presented by the Christchurch Harpsichord Ensemble at the Centre Gallery last evening. Four Bach sonatas were presented in the programme: three of these were for solo instrument and harpsichord, and the fourth a trio sonata combining the four instruments used earlier. v First up was the Sonata in A for violin and harpsichord J” 111 Greg Taylor, as soloist. It was not a particularly nappy start to the concert with a general lack of confidence leading to some mum- ' & ■’ • ... '

bled phrases and problems of co-ordination between soloist and,, accompanist. The rather thin violin sound, while blending well in the later trio sonata, came across as over-exposed and undernourished in a solo capacity. A lively and more forceful closing presto was a redeeming feature of the performance. ?

Sonata in G minor fbr viola da gamba and harpsichord presented the soloist, Rhona Lever, with taxing, technically demanding passages that on the whole were articulated cleanly and clearly. The gentle, delicate sound of this . infrequently heard instrument was at times swamped by the harpsichord, particularly in the opening vivace. An agreeable balance was struck, though, in the surging rhythms of the equally boisterous gigue. Sonata in B minor for flute and harpsichord .. was the most satisfying of the three solo sonatas presented: the pleasing.result of an accomt

plished interpretation of a more interesting work. The soloist, Pamela Keightley, drew firm, clear phrases and gave perhaps greater attention to dynamics than heard before. There was a good feeling, also, of the flute’s moving underneath the harpsichord for minor countermotifs rather than dominating throughout. The combination of timres presented io Trio Sonata in C brought relief from the otherwise monochromatic sounds on the programme. Together, the four instrumentalists produced a tight ensemble sound and established sensitive contrapuntal interplay. David Vine, the common factor in all four items as the accompanying harpsichordist, deserves full praise for his stamina and consistency. There is a reliability and steadiness in his accompanying for which his soloists at times must .have been grateful. - - -