414, taming all disturbances with shaped lines of pensive poise.Ĭellist Timo-Veikko Valve dispatched the virtuosic passagework of Carl Philipp Emanuel Bach’s Cello Concerto in A major with gusto and fearless bravura – ‘pretty damned quick’ as P.D.Q might have said. The repeated notes in the lower strings were a little overplayed, becoming strangely obstinate at the return.įortepianist Erin Helyard was an eloquent Orpheus in the Andante from Mozart’s Piano Concerto in A major, K. Soprano Anna Dowsley was in superb voice for a chaconne by Johann Sebastian’s respected uncle, Johann Christoph Bach, creating a smooth, luminous, melodic arc over a four-bar repeated bass while violinist Satu Vanska animated the texture with divisions of florid intricacy.įor Johann Sebastian Bach’s aria Widerstehe doch der Sunde, Dowsley moved into the contralto range, adopting a stern tonal edge in lower notes. It was welcome to sample a murky chromatic excerpt from Robert Schumann’s rarely heard fugues on the motto theme that derive from the notes B-A-C-H, originally for pedal piano but arranged here for strings. Heinrich Bach’s Sonata a 5 looked back to the seventeenth century with short – even short-winded – sections and interpolated improvisations (in one case hinting at the Double Concerto to come). Exploring the Bach brand: the Australian Chamber Orchestra.
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