![]() Woodhead, after the audience interruption, had gone on to say that, since 2020, the OAE – chiefly a period instrument ensemble, but that description is akin to calling a car a box on wheels – has been based in a north London state school, the first residency of its kind. As ever with this work, the OAE instrumentalist, with an outstanding continuo section acting as a subtle framework, revelled in their solo moments, among them Lisa Beznosiuk (flute), Roger Montgomery (horn) and the trio of trumpets led by David Blackadder. The transition from the quasi-mathematical choral patterning of the Confiteor (“I acknowledge one baptism for the remission of sins”) through the mysterious, collapsing key changes – one of the strangest moments in all Bach’s music – into the explosive Et exspecto (“And I look to the resurrection of the dead”). Of the many arresting moments, one especially stood out. As the work unfolded, colours and textures were expressed with compelling variety, helped by excellent soloists, notably soprano Julia Doyle, countertenor Tim Mead and baritone Roderick Williams. The opening Kyrie was gentle, beseeching, as befitting the words “Lord have mercy”. The drama grew out of music and text, without ever being imposed on it. ![]() His application and care showed in every bar and in the thoughtful coherence of the whole: look out for his name. Czech-born, a harpsichordist as well as horn player, Luks is an early music specialist. The 22-strong Choir of the Enlightenment was impeccable, each entry confident and precise, keeping up with the brisk tempi set by the conductor, Václav Luks, in his OAE debut. At times, the choral writing is in five parts, high-lying, exposed, technically difficult, tiring. He probably never heard it performed in its entirety and may not have intended it as a single work. The performance began, magnificent and affecting, and the loss was his.īach finished this two-hour choral work in 1749, a year before his death. For an instant, the atmosphere was nasty. The crowd jeered back in an effort to silence him, some in language even more colourful than his own. A man at the front started shouting and gesticulating. No need to say the words “BBC” or “Singers” or “Arts Council” or “cuts”. The gist of his brief welcome, of which more shortly, was to thank the audience for buying tickets: in so doing, they were supporting an organisation that believes in excellence and in making music available to all. At the Festival Hall last week, Crispin Woodhead, chief executive of the Orchestra of the Age of Enlightenment, came on stage before a performance of Bach’s Mass in B minor. F eelings run high in classical music, especially now.
0 Comments
Leave a Reply. |