Music / “Women by Women”, Limestone Consort, Haydon Hall, Forrest, September 18. Reviewed by ROB KENNEDY.

CONCERTS of music entirely by female composers are all too rare, but this one having all-female performers as well, also proved why we need more of them.

The players in Limestone Consort for this concert titled “Women by Women” were Lauren Davis, leader and violin; Greta Claringbould, soprano; Robyn Mellor, recorder; Clara Teniswood, cello and Ariana Odermatt, harpsichord.

Beginning with “Hor che Apollo”, by Barbara Strozzi (1619-1677), this lament contained ages of beauty, suffering and a last farewell. The main tune swapped between recorder and soprano, the harpsichord, violin and cello acting as continuo solemnly filled in the accompaniment.

This composition spoke of a composer who knew her craft well. The balance across voices perfectly captured this expressive and changing work. In several parts, it was an exemplary work sung beautifully by Claringbould. It reflected the essence of early music captured tenderly by the consort.

The “Sonata No. 3 for violin”, by Elisabeth Jacquet de La Guerre (1665-1729), also contained the harpsichord, cello and violin. With a slow movement to begin as was customary in 1709, when this was written, it crossed much musical territory.

Each short movement held a small world of clever writing. The cello had a lot to do and sat prominently within each movement. The violin and cello had a call-and-response play in one section, seizing the playfulness of the music. Ending with another slow movement, the instruments sang to one another a delightful, calming refrain.

The “Sonata Quinta” by Isabella Leonarda (1620-1704), for recorder, strings and harpsichord, quickly changed from mellow to dance, back to mellow then into a brighter passage. It contained a bit of everything in the first section. The music continued to frame itself this way throughout. One section responded to another, making it a highly eclectic work.

Excerpts from “Suite III, Pieces de clavecin”, by Elisabeth Jacquet de La Guerre, contained six movements. This uniquely written composition, because it has no meter markings, began expressively sad, then moved to a brighter and graceful style. Every movement showed a flair that spoke of clarity over complexity. Odermatt handled each piece with style and with a concentrated yet almost effortless expertise.

Anna Amalie von Preußen (1723-1787), “Sonata for recorder and continuo”, in three movements is an elegant piece. With longer sections than other baroque works, it showed greater development, which placed it, as Mellor said in her introduction, leading towards a classical style.

The allegretto middle movement held some of the most sparkling lines. Even though the final movement was marked Allegro ma non troppo, it proved a statelier tempo, but all highly enjoyable.

For the final work with all five female performers on stage, “Purpurei Flores” by Isabella Leonarda, was, as the title suggests, a floral work. The music, bright yet profound, which altered tempo from fast to slow, added much variation. The violin, soprano, and recorder held the forward voices in a superb style through sections. The cello also got to sing as the harpsichord joined it all together.

Lauren Davis performed in three concerts this week. Symphonic music for the Canberra Symphony Orchestra, accompanying choral works with the Canberra Choral Society and today, baroque pieces with her Limestone Consort. That’s a lot of work, but it was worth it because this concert was a little gem.