oboist Olivier Stankiewicz, soprano Lucy Crowe, violinist Maria Włoszczowska & associates in a fascinating night of Bach, Zelenka, Handel, Vivaldi

Then got here the Oboe Concerto in G minor, based mostly on the harpsichord concerto the solo instrument could also be oboe however could possibly be violin. Right here, Stankiewicz made a positive case for the oboe. The opening motion had crisply vigorous strings with wealthy tone and a pleasant sure, complementing Stankiewicz’s elegant oboe with some fluid quick passagework demonstrating his positive breath management. The sluggish motion was notable for his great lengthy elegant traces with full tone, then the ultimate motion was a sturdy dance, the instrumentalists offering a full texture alongside Stankiewicz’ perky oboe enjoying, with its cheeky runs.

Bach’s cantata Weichet nur, betrübte Schatten is an early wedding ceremony cantata. The surviving manuscript dates from the 1730s and commentators are in some disagreement concerning the cantata’s date, maybe Bach’s personal wedding ceremony in 1721 or even perhaps earlier. We had the ultimate sequence of the cantata, starting with the aria ‘Weichet nur’, a stunning factor the place time appeared suspended, atmospheric instrumental arpeggio figures with oboe and voice floating over. Recitative led to the aria ‘Sich üben im Lieben’, a perky dance that includes flowing but cheeky oboe traces and delightfully dancey voice, and Maria Włoszczowska duetting with the oboe too. The entire relatively toe tapping. One other recitative led to the ultimate aria, a relatively gallant dance that includes sturdy strings and Crowe’s vocal line elegantly adorned by Stankiewicz.

The primary half, and the Bach sequence, ended with the Double Concerto in C minor for oboe and violin. One other reconstruction from the double harpsichord concerto, the solo instrumentation is relatively safer right here. Olivier Stankiewicz was joined by Maria Włoszczowska on the solo violin line. The opening tutti was sturdy certainly and I cherished the best way the solo traces naturally arose from the tutti. Stankiewicz’ sturdy tone meant that the oboe line was by no means unsure and there was positive steadiness with Włoszczowska’s violin. They carried out at fairly an impetus with a way of infectious delight at enjoying collectively. The sluggish motion featured the 2 in lengthy intertwining traces, the timbres contrasting superbly, then the finale was brisk and vivid, taken at fairly a lick. The entire efficiency was fascinating with a way of fine humour from all.

After the interval we started with Bach’s up to date, Jan Dismas Zelenka and his trio sonata for violin, oboe, bassoon and basso proceed performed by Olivier Stankiewicz and Maria Włoszczowska with Amy Harman on bassoon, Jordi Carrasco-Hjelm on double bass and Satoko Doi-Luck on harpsichord. The primary, sluggish motion, was one thing of a stately dance, violin and oboe interweaving, but Zelenka gave the bassoon a considerably distinguished function and all through the trio sonata his promotion of the bassoon line pushed the work into different territory, verging on the eccentric at instances. The road-up on stage, with basso continuo from the double bass and a distinctly reticent harpsichord meant that the general texture had a starkness to it. The second motion featured participating dialogue between oboe and violin however what we observed was the ridiculously busy bassoon line, with Amy Harman demonstrating fierce virtuosity. It was mad, but participating. The second sluggish motion was a plangent duet, but once more a powerful bassoon line created virtually an actual trio, after which the finale appeared to concerned violin, oboe and bassoon in a collection of duets and close to trios, the entire a sturdy nation dance. But there have been moments when violin and oboe duetted and the bassoon appeared in a unique world!

We adopted this with one thing extra approachable, but no much less virtuosic. Melissa’s aria, ‘Desterò dall’empia Dite’ from Handel’s Amadigi di Gaula, with Stankiewicz’ oboe duetting with Julian Poore’s excessive trumpet in actual virtuoso trend, and Lucy Crowe giving us a fierce efficiency, actually working the fioriture and making the aria virtuosic but suitably trenchant.

Then got here Vivaldi’s Oboe Concerto in F from round 1735 and organized from an earlier bassoon concerto. The thrumming strings contrasted between sturdy and delicate, with the gamers actually enjoying up the contrasts, and these alternated with Stankiewicz’ sprightly elaborate oboe traces. The sluggish motion had Stankiewicz spinning ornamental traces over a strolling bass, pure Vivaldi, after which the finale featured extra contrasts with vigorous strings and busy oboe.

We completed with two extra Handel arias. First ‘Qui l’augel da pianta in pianta’ from the cantata Aci, Galatea e Polifemo the place oboe, violin and voice all vied with each other to evoke the birds talked about within the aria textual content. Ravishing textures and even a voice and oboe cadenza creating actual magic. we completed with Poppea’s relatively fiercer aria, ‘Se giunge un dispetto’ from Agrippina. Right here we had a full of life dance, taken at fairly a lick with each oboe and voice giving us some spectacular passagework with Crowe making the piece suitably fierce.

This was a remarkably full and beneficiant programme, and all through you felt the performers actual delight, having fun with each the music and the sheer act of constructing music collectively. The entire was fully fascinating, virtuosity and bravura combining with actual delight. We had been handled to an encore an additional Handel aria, from Teseo this time.

Olivier Stankiewicz oboe, Lucy Crowe soprano
Maria Włoszczowska violin I, Benjamin Baker violin I, Tim Crawford violin II, Yume Fujise violin II, Hélène Clément viola, Carol Ella viola, Tim Posner, cello, Jordi Automobile -Hjelm double bass, Amy Harman bassoon, Julian Poore trumpet, Satoko Doi-Luck harpsichord