{"id":14734,"date":"2019-02-03T15:58:17","date_gmt":"2019-02-03T13:58:17","guid":{"rendered":"https:\/\/www.epcc.ee\/?p=14734"},"modified":"2019-02-04T14:05:41","modified_gmt":"2019-02-04T12:05:41","slug":"arvo-part-js-bach-australian-chamber-orchestra","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2019\/02\/arvo-part-js-bach-australian-chamber-orchestra\/","title":{"rendered":"ARVO P\u00c4RT & JS BACH (AUSTRALIAN CHAMBER ORCHESTRA)"},"content":{"rendered":"
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The ACO and the Estonian Philharmonic Chamber Choir interweave Bach and P\u00e4rt with ethereal beauty. <\/p>\n
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City Recital Hall, Sydney, February 2, 2019<\/div>\n<\/div>\n
by\u00a0Angus McPherson<\/a><\/em>\u00a0on February 3, 2019<\/span><\/div>\n
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A profound sense of the sublime infuses the music of both Johann Sebastian Bach and Estonian composer\u00a0Arvo P\u00e4rt<\/a>. While two centuries divide the composers, the Australian Chamber Orchestra\u2019s elegantly programmed opening tour of 2019 \u2013 for which they are joined by the Estonian Philharmonic Chamber Choir \u2013\u00a0makes a case for their musical and spiritual kinship, the composers\u2019 works interwoven without break over the two halves, conducted by Richard Tognetti.<\/p>\n

\"ArvoThe Estonian Philharmonic Chamber Choir in the Australian Chamber Orchestra\u2019s\u00a0Arvo P\u00e4rt & JS Bach<\/em>. Photo \u00a9 Maria Boyadgis<\/strong><\/p>\n

The concert opens in semi-darkness, with the 25-strong Estonian choir arrayed at the front of the stage, unspooling the shifting textures of P\u00e4rt\u2019s\u00a0Da pacem Domine<\/em>, written in memory of the Madrid train bombings of 2004,\u00a0the basses primal, almost growling, in the low register and the sopranos luminous. The lights go up on Bach\u2019s\u00a0Komm, Jesu,<\/em>\u00a0Komm,BWV229, and the singers scatter to either side of the stage (splitting into the two antiphonal choirs required for the motet) and revealing the small forces of a reduced ACO, who with the choir conjure the hypnotic stillness of the P\u00e4rt into the weaving lines of Bach with organic ease. The choir\u2019s sound is lean and clear, bursting into the bright joy of the repeated \u201cKomm\u201ds against the orchestra\u2019s pizzicati.<\/p>\n

Aural focus shifts to the strings in\u00a0Summa<\/em>, a string orchestra arrangement of what began as a 1977 setting of the Credo from the Latin Mass, written while P\u00e4rt was still struggling with the authorities \u2013 who had banned professions of faith \u2013 in Soviet Estonia, and an early example of what P\u00e4rt described as his \u2018tintinnabuli\u2019 style (named after the Latin word tintinnabulum, meaning bell). Here the orchestra\u2019s swaying dissonances \u2013 rendered by vibrato-less strings \u2013 have a quiet, haunting insistence, soon offset by the joyful friction of the choir\u2019s \u201csinget\u201d entries in Bach\u2019s larger scale motet\u00a0Singet dem Herrn ein neues Lied<\/em>, BWV225.<\/p>\n

The affinity between P\u00e4rt and Bach is made even more explicit in the opening of the concert\u2019s second half, with P\u00e4rt\u2019s 1964 pulsing and shimmering\u00a0Toccata from Collage on B-A-C-H<\/em>, the ACO\u2019s muscular strings driving the music forward. Two more Bach motets, the vibrant\u00a0Lobet den Herrn, alle Heiden<\/em>\u00a0and the more reflective\u00a0Der Geist hilft unser Schwachheit auf\u00a0<\/em>give way to the two \u2018guest\u2019 composers on the program. Ukrainian-born Estonian composer Galina Grigorjeva\u2019s a cappella\u00a0In Paradisum\u00a0<\/em>is chant-like and ethereal, building to a majestic fullness. The sound of Timo-Veikko Valve\u2019s cello emerged from the silence that followed, with the jagging solo opening of Peter Sculthorpe\u2019s\u00a0Djilile<\/em>. Based on an Aboriginal chant from Arnhem Land, the exquisite economy of\u00a0Djilile\u00a0<\/em>\u2013 accumulating in string layers across the orchestra \u2013\u00a0made it of a piece with the rest of the program, and indeed the transition from the Sculthorpe to the elemental drone underpinning the\u00a0Kyrie\u00a0<\/em>of P\u00e4rt\u2019s\u00a0Berliner Messe<\/em>, the concert\u2019s finale, was a magical moment.<\/p>\n

While there were one or two moments in this concert, at least at the opening performance, when the choir\u2019s pitch wavered ever so slightly in the sopranos, and there were a couple of uncertain entries in the Mass\u2019s\u00a0Credo<\/em>(a major-key reworking of the setting upon which\u00a0Summe\u00a0<\/em>is based), the Estonian Philharmonic Chamber Choir gave a compelling, emotive performance and the\u00a0Berliner Messe\u00a0<\/em>persuasivelybound the program\u2019s threads together. The \u201cin gloria Dei Patris\u201d climax of the\u00a0Gloria\u00a0<\/em>is ecstatic while the dark rolling of the\u00a0Veni Sancte Spiritus<\/em>\u00a0is perhaps a highlight of the program. The gentle\u00a0Agnus Dei<\/em>\u00a0offers a final taste of the transcendence common to both Bach and P\u00e4rt, a sweet end to a beautiful concert.<\/p>\n

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The Australian Chamber Orchestra and the Estonian Philharmonic Chamber Choir tour\u00a0Arvo P\u00e4rt & JS Bach\u00a0<\/em>nationally until February 13<\/strong><\/p>\n

Tickets<\/strong><\/a><\/p>\n

\"Limelight,<\/a><\/p>\n<\/div>\n

Limelight Magazine<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The ACO and the Estonian Philharmonic Chamber Choir interweave Bach and P\u00e4rt with ethereal beauty.  City Recital Hall, Sydney, February 2, 2019 by\u00a0Angus McPherson\u00a0on February 3, 2019 A profound sense of the sublime infuses the music of both Johann Sebastian Bach and Estonian composer\u00a0Arvo P\u00e4rt. While two centuries divide the composers, the Australian Chamber Orchestra\u2019s […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-14734","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"\nARVO P\u00c4RT & JS BACH (AUSTRALIAN CHAMBER ORCHESTRA) - Estonian Philharmonic Chamber Choir<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.epcc.ee\/en\/2019\/02\/arvo-part-js-bach-australian-chamber-orchestra\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ARVO P\u00c4RT & JS BACH (AUSTRALIAN CHAMBER ORCHESTRA) - Estonian Philharmonic Chamber Choir\" \/>\n<meta property=\"og:description\" content=\"The ACO and the Estonian Philharmonic Chamber Choir interweave Bach and P\u00e4rt with ethereal beauty.  City Recital Hall, Sydney, February 2, 2019 by\u00a0Angus McPherson\u00a0on February 3, 2019 A profound sense of the sublime infuses the music of both Johann Sebastian Bach and Estonian composer\u00a0Arvo P\u00e4rt. 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