Presented by Freiburg Baroque Orchestra in association with the Adelaide Festival
Reviewed Sunday 4th and Monday 5th March 2012
The Freiburg Baroque Orchestra (Freiburger Barockorchester) presented two concerts in two evenings, the first being the four Orchestral Suites of Johann Sebastian Bach, and the second featuring more of his music as well as works by his cousin, Johann Bernhard Bach, by Händel, and by Telemann. The orchestra plays on period instruments and, as a result of research and practice, uses the techniques and plays in the style of the era, or as close as we can get without actually having seen and heard the music being played.
The four pieces in the first concert, Suite No. 1 in C major, BWV 1066, Suite No. 2 in B minor, BWV 1067, Suite No. 3 in D major, BWV 1068 and Suite No. 4 in D major, BWV 1069 contain many well known melodies. The movements within each, following an introductory overture, are based on baroque dances, such as the minuet, gigue (jig), bouree, gavotte and polonaise. The Badineri, from Suite 2 is a chance for the flute to shine and the famous Air from Suite 3 was arranged for solo violin and is better known as the Air on a G String.
Right from the first few notes it was obvious that this was going to be something very different and special, and that we were in for a real treat. From beginning to end the music carried the audience along on a wave of delight. The four suites are filled with superb melodies and demonstrate the inventiveness and genius of the composer. Bach's music has always been an inspiration to musicians, and there was no doubt that these musicians were inspired. The tempos, the use of stepped dynamics, the balance between the parts and the enthusiastic performances lifted the music to great heights. The most enthusiastic applause, rightly deserved, followed every piece.
The second concert began with more from Bach with his Sinfonia in D Major from Easter Oratorio BWV 249 and the Concerto in D Minor BWV 1060R. Then another of the great names of the era, Georg Friedrich Händel's Suite from Il Pastor Fido HWV 8a and then the Overture No. 4 in D Major from the lesser known Johann Bernhard Bach the second cousin of J. S. Bach. Another piece from 'old father' Bach, his Sinfonia in B Minor from Cantata BWV 209 Non Sa Che Sia Dolore, led to Georg Philipp Telemann's Concerto grosso in D Major TWV 54: D3.
This marvellously varied collection of pieces reinforced the importance of Bach but demonstrated that there were many other magnificent works being written by other very important composers as well. Bach, and the members of his large extended family, tend to overshadow the contribution of the rest of the composers in the minds of many people. Again, the enthusiasm of the musicians and the excitement of the audience was enormous, setting up an unspoken dialogue of mutual enjoyment.
This would have to be the finest of playing the music of Bach, and the other Baroque composers in the second concert, that I can ever remember hearing. Any live concert is far superior to even the finest recording, of course, but this was better than any previous live concert of era's music. Much of the reason for that is the dedication and enormous talent that the musicians in this ensemble have for the music of that period. They specialise in the music of the Baroque, although they do occasionally play music from other eras as well. Without their immense musical talents there would be nothing and this is obviously the prime factor. This is a collection of extremely fine musicians playing the music that they love most, and that is instantly recognisable. There is, however, more to it than that, and it comes down to their connection to the period, in both performance techniques and instruments, that sets them apart from a modern orchestra playing these works. So what makes them different, and better? For a brief comparison of music and instruments of the Baroque and now, read on or, if that side of the concert does not interest you, stop now and jump to the final paragraph.
The sound is quite unlike that of the same music played on modern instruments by a modern orchestra. The Baroque orchestra was much smaller, more like a chamber orchestra, and this group has no conductor but is led by the principal violinist, Gottfried von der Goltz. It is not only because the orchestra is smaller that the music sounds different, though.
Firstly, on modern stringed instruments, strings are made of metal, but they were formerly made of gut, as used by these players, giving a softer sound. They do not use either a chin rest or shoulder rest, supporting the violin with the left hand. The string players all use the shorter, lighter Baroque bow, which is held differently to the modern bow, much as many folk musicians hold their bows. This all combines to give an openness and clarity to the string section, enabling us to hear more easily the structure of the music and the harmonic inventiveness.
There are three Baroque trumpets, but they are nothing like the modern instruments. They are considerably longer but, more importantly, they have no keys and thus can only play the natural harmonic series of notes, like a bugle. They do not have the piercing brightness of a modern trumpet, either. They are also played more often in the higher clarino register.
Similarly, the three oboes (then known as hautbois) and the bassoon are less powerful than modern instruments, and with far less keys than we have on them today. This, too contributes to the lighter sound and more open texture.
The orchestra also includes a harpsichord, the piano not yet having been invented. This provides the continuo, the harmonic accompaniment. These orchestras were often led from the keyboard, as Bach would have done. The timpani smaller than modern versions, made of copper, not brass, and with animal skin heads, where plastic heads are common today. Skin heads meant regular retuning as they got tighter or looser with humidity and temperature chances. Modern instruments also have a pedal to completely change the tuning instantly.
In a couple of pieces they were joined by flute soloist, Karl Kaiser, also playing a period instrument, with only a few keys. The flute of that era was made from wood and had a narrower bore then the modern metal flute, so was also considerably softer.
The result of coupling all of this attention to detail with magnificent musicianship is that these were Baroque music concerts like no other. Calls for encores garnered one in the first concert and, with a little more insistence from the audience, two encores in the second concert, which the orchestra were as happy to play as we were to hear. Bravo!
Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.
Adelaide Festival – Freiburg Baroque Orchestra
Venue: Adelaide Town Hall, King William Street, Adelaide
Season: One night only for each concert
Duration: 2hrs (incl interval)
Tickets: $30 to $99
Bookings: BASS 131 246, BASS outlets, or online
Photography by Marco Boggreve