ADHOC Baroque is a Canberran treasure. The quality of its performances together with its unique programming and insight into baroque music make it a leading early music group in Australia.

Alessandro Scarlatti’s “Garden of Love” is a dramatic serenata, which is a cantata with a pastoral theme. The arias are accompanied by up to four violins and wind instruments. The recorder represents birds in the woods and the trumpet sounds out the victory of love.

In Adhoc Baroque were, Greta Claringbould, soprano; Maartje Sevenster, alto; Barbara Jane Gilby and Jack Chenoweth, violin 1; Pip Thompson and Matthew Witney, violin 2; Sam Payne, cello; Kyle Daniel, double bass; Robyn Mellor, recorder; Justin Lingard, trumpet and Peter Young on harpsichord and direction.

The bright, clear music the players made in the opening two parts echoed splendidly throughout St Paul’s Church in Manuka. Soon on stage alto Sevenster, singing the part of Venus began with a lively aria that set the tone for the audience to journey through this musical garden of love. After three more songs, soprano Claringbould came in singing the part of the male Adonis and soon Mellor joining in on her high-pitched sopranino recorder cut through everything with her accurate and enthusiastic playing.

It’s always a joy to hear Claringbould and Sevenster sing together. The style and setting of the music gave both of them the opportunity to show off their talent.

The skilfully composed music was well-performed by every player on the day. In one part, the four violinists split up into two groups across the stage creating a spatial effect that worked so well. One group bowed, and the other plucked their strings, with Sevenster’s voice penetrating through the middle; a sublime effect.

After the interval, and the welcomed iced tea supplied on a hot day, a duet from the singers and only the cello and harpsichord was perhaps the most enticing song of the concert. This setting of just the four musicians added much subtlety and intimacy.

The variations in the setting of the parts throughout the Serenata showed great musicality. Scarlatti’s brilliant compositional technique was on full-show in all 20-parts.

A flourishing violin passage with a single note droning from the cello underneath began another aria, highlighting the diversity of the composer’s style. Just after this, in another song, Claringbould gave Sevenster a single red rose just as Adonis would have given to Venus in the original setting of this Serenata. Claringbould singing in unison with the piccolo trumpet delightfully played by Lingard in the eighteenth part showed players in perfect harmony.

The triumphal final duet brought all the players together in a concert of first-rate music, and equal performance. Adhoc Baroque always put together stylish and captivating concerts, and this was one of their best.