<?xml version="1.0" encoding="ISO-8859-1"?> <docID>332836</docID> <postdate>2024-11-11 14:16:37</postdate> <headline>Amid a melange of baroque bonbons</headline> <body><p><img class="size-full wp-image-332831" src="https://citynews.com.au/wp-content/uploads/2024/11/20241110a-007-Apeiron-Baroque-Sanguine-Melancholy.jpg" alt="" width="900" height="600" /></p> <caption>John Ma on violin d'amore - 'irrepressible'<strong>. </strong>Photo: Peter Hislop</caption> <p><span class="kicker-line">Music / Apeiron Baroque: Sanguine/Melancholy. At Wesley Music Centre, Forrest, November 10. Reviewed by <strong>SARAH BYRNE</strong>.</span></p> <p><strong>The irrepressible John Ma and his ensemble Apeiron Baroque has built up quite a following since its 2022 inception, reflected in the solid turnout for this concert.</strong></p> <p>I love the concept – music based the two opposing mediaeval humours – sanguinity (optimism) and melancholy, and an opportunity to play a melange of baroque bonbons, most of which I had not heard before, and several that were so brief as to be almost fragments.</p> <p>The usual collaborators, John Ma (assorted viols) and Marie Searles (harpsichord) were joined by experienced international artists Ella Bennets (violin), Anton Baba (cello/viol da gamba) and Aaron Reichelt, fresh from Vienna, (oboe), bringing lovely colour and depth to the ensemble.</p> <p><img class="size-full wp-image-332833" src="https://citynews.com.au/wp-content/uploads/2024/11/20241110a-016-Apeiron-Baroque-Sanguine-Melancholy.jpg" alt="" width="900" height="600" /></p> <caption>Aaron Reichelt on oboe. Photo: Peter Hislop<br /><br /></caption> <p>The introductory piece was the Battaille by Abel, a composer of whom I knew nothing, and Ma’s enthusiastic explanation about the Ross Codex provided valuable context. The piece was lithe and lively to start, then adagio, a slight rusticity lent by the period instruments. That was followed by Zelegna (“every double reed’s favourite composerâ€), bringing a slightly unexpected twist to the usual baroque styling. Reichelt’s oboe was sweet and fluid, despite a slight lack of resolution to the first part and the tremendous busyness of the second part.</p> <p>The third piece was a lovely, plaintive solo piece for the viol d’amore played expertly and beautifully by Ma. The joy he shows in his introductions is both endearing and infectious. This piece deserves more verbiage; unfortunately, the constant noise of the family in the seats behind me led to a mass evacuation of the entire rows in front of and behind them; an unfortunate distraction.</p> <p>The fourth piece was from Oswald’s Airs for the Seasons – Goldenrod, in three brief parts, an ephemeral Pastorale, a Musette (giving some proto-Khachaturian vibes) and a very polite and civilised Tempo di Menuetto. This was followed by another collection of tiny gems: Telemann’s Intrada for 2 Violins (more a courteous skirmish than an actual duel) and several other pieces from his Gulliver's Travels suite. The visit to the Lilliputians was suitably miniature; the Brobdignagians gave us generous agricultural bowing, and the Yahoos were cleverly evoked by a stately theme overscored by a frenzy of second violin.</p> <p>We then heard CPE Bach’s title Trio, Sanguineus en Melancholicus, a lovely dialogue between optimist and pessimist violins, mediated (or encouraged?) by viol de gamba. Finally the trio was rejoined by Searles and Reichelt for the restful adagio e mesto from Quadro Op 5 #1 by Janitsch, a gently rolling melody, the oboe sounding both ecclesiastical and pastoral, and the whole nicely soothing.</p> <p>This was a thoroughly entertaining program, and my mischievous side is hoping for a companion piece next year on the theme of Choler/Phlegm. (No? Just me?)</p> <p> </p> </body>