The Australian Brandenburg Orchestra: “Poet of the Violin”

City Recital Hall, Angel Place – Wednesday 1 November 2023

Reviewed by Paul Neeson (Arts Wednesday)

The Australian Brandenburg orchestra was on its best behaviour in the absence of Artistic Director, Paul Dyer. Instead we had Guest Artistic Director, Leila Schayegh from Switzerland leading the band brilliantly through a delightful program of Baroque treasures.

The concert opened with Hipocondrie à 7 Concertanti by Jan Zelenka, a name I was not familiar with. Born in Bohemia near Prague, Zelenka was commissioned by a Jesuit College to compose a musical drama for the Holy Roman Emperor, Charles VI. This is a well crafted work, I don’t know why it reminds me of a rich Christmas fruit cake, but every acoustic date, plum, cherry and walnut was perfectly placed. The precision and timing of the Orchestra was evident in every bar. Particularly of note was the way Schayegh approached the imperfect cadences leading to a change of key and emotion.

Next we were in more familiar territory with  Handel’s Concerto Grosso in F major. The ripieno accompaniment to the various solo sections was highly disciplined and played as one instrument. Worthy of special mention was the solo oboe movement performed by Emma Black, bringing bursts of warm sunshine to the stage.

By this point we were eager to hear Schayegh perform as a soloist to see if she was worthy of the promotional title of “Poet of the Violin”. Apart from a few flourishes in the Handel, we hadn’t heard much from her 1675 Guarneri violin. She chose a Concerto by Leclair, a violin virtuoso who had embraced the new Italian style of playing which was full of flashy brilliance and fireworks.  Mostly a scintillating performance but with a few momentary lapses in pitch and detail in the higher registers. Now we fully understand Leclair’s reputation as fiendish composer for the violin.

After the break, another concerto, this time by JS Bach. Again an admirable effort by the soloist, but the relentless and unforgiving semiquavers of JS Bach require indomitable technique and concentration. There were moments of sheer brilliance, such as the rapidly ascending string crossing section. We all collectively held our breaths waiting for her to bridge the chromatic ascent and arrive back at the tonic. When she did there was an audible sigh in the hall. The reaction from the audience at the conclusion said it all with noisy foot stomping reverberating throughout the hall.

By the time we reached the final work, Bach’s Orchestral Suits No.4, everyone, including the orchestra, was beginning to flag a little. It had been a monumental journey and I think we were all grateful to arrive safely home.

Overall Leila Schayegh was a brilliant Guest Director. I heard unprecedented discipline and brilliance from the orchestra that spoke of a determined and talented leader. However, as a soloist I think the repertoire challenged her in places. We have been treated to some excellent violin soloists over the years whose brilliance left Schayegh slightly in the shade.

Season runs in Sydney until 3 November and then to Melbourne.