“The Marais Project” – (Jennifer Eriksson & Daniel Yeadon, violas da gamba; Tommie Andersson, theorbo; Belinda Montgomery, Narelle Evans & Mara Kiek, vocals); Recital Hall East, Sydney Conservatorium of music; 23/10/11
“Twins usually look alike and sometimes behave alike, but they can also be as different as cat and dog. In this concert’s union of the two violas da gamba made by Reinhard Ossenbrunner, we saw and heard an amazing pairing and co-operation. Daniel’s instrument spoke with lovely resonance in its lower range, and Jennifer’s revelled in the mid region, but the blend and clarity of tone could well have suggested a single instrument. I really wasn’t expecting it to be quite this remarkable – a tribute to Ossenbrunner’s craft and also, the performers.
The Ossenbrunner Twins before the concert
The opening Adagio, and later, the Sarabanda, of the first performance – Sonata IX from “Le Nymphe di Rheno”, by Johann Schenk – perfectly indicated the lilting, melancholy abilities of these Ossenbrunners. A flavoursome Aria and bright, skipping Giga then displayed their dexterity and clarity.
Sainte-Colombe’s Concert XXI “Le Villageois” emphasised gentleness and expression, and drew to an enticingly lovely, fading conclusion. The movement endings in Marais’ Suite in G Major, 1st Livre, pursued this elegance. Also in this piece, ornamentation added brightness; while bow stroke and attack illustrated the dance, and theorbo suggested audible steps. Bottom end leanings and swelling further enhanced flavour and detail.
I had always thought John Coprario’s viol compositions a trifle monotonous, but the playing of his Fantasia for two bass viols and organ (the theorbo was the organ here) was an exception. An elegant, clean performance.
Belinda Montgomery proved an excellent vocal choice to combine with the weaving viols in two verses of the carol, Une jeune fillette. For the concert’s conclusion, at the request of Ossenbrunner, the vocal trio – to viol and theorbo accompaniment – took us for a short, chugging ride on their Ossenbrunner Express – more recognizable as The Chattanooga Choo Choo. I suspect it isn’t easy delivering those rhythms via underhand bowing. Slick and entertaining!
But what most had been hanging out for was the freshly composed piece by HSC student, Alice Chance. Her inspired, O Pastor Animarum, via the 12th Century’s Hildegard von Bingham, was intuitively realized. The underlying consistency and modal structure melded comfortably with the gamba’s capabilities, and the melodies supported both ancient and contemporary idioms. The work’s more or less two blended movements was short and satisfying. The performers adored the piece and rendered it lovingly.”
Delicious, and note perfect.”
Review by Neville Olliffe; reprinted with permission from “Early Music News” Vol 11 No. 6