Music / “CPE Bach: Universe of Harmony”, Australian Haydn Ensemble. At Albert Hall, December 14. Reviewed by ROB KENNEDY.

CELEBRATING the end of the Australian Haydn Ensemble’s 10^th anniversary season, this concert of CPE Bach and contemporaries explored the rich musical world of the late Baroque period.

The members of the ensemble, including artistic director Skye McIntosh, were led by guest director and harpsichordist Chad Kelly from the UK.

The concert opened with CPE Bach’s “Sinfonia in C Major”, Wq. 182 No. 3. Enthusiastic is one word to describe Kelly’s conducting, but directing the players to start before they are set to go was over-enthusiastic.

The string players on their period instruments sounded completely switched on with perfect timing. Sitting in the front row, every breath and articulation is exposed, and what was revealed portrayed an intimacy of delicate and moving proportions.

The subtleties within Bach’s C Major sinfonia were tender and enduring, especially so as it is in C Major. The three short movements expressed an openly bright composition, which made for a delightful concert opener.

William Herschel, yes, that famous astronomer, his work “Sinfonia No. 8 in C minor” followed, and what a work it was. Sounding like the beginning of an equation, whatever that may be, Herschel’s work opened with introspection and drive. While reflecting music of the time, it also had a definite statement in style and voice. It could have been contemporary. It could have been movie music. It was engrossing.

With Kelly’s direction while on harpsichord, he leaves no player in doubt of what the music is supposed to be saying, or what he wants. With a conductor so enthusiastic, does it make for extra-musical expression? That’s up to an audience to decide.

CPE Bach’s “Cello Concerto in A Major” Wq. 172 came next with Daniel Yeadon on his 1781 cello. The first movement, while bright and profound, left this reviewer underwhelmed. But the “Largo”, it spoke. It was human. It sang and the cello cried.

As one, the ensemble moved and sounded against the singing cello. This was good as music gets. And in the cello solo, everyone listened. The sparkling third movement had something to state. It left everyone in anticipation before the interval.

The “Keyboard Concerto in F minor”, by JA Benda, opened the final section. With Kelly on this amazing 1775 English double-manual harpsichord supplied and prepared by Carey Beebe, in all the solo and prominent passages, this wonderful instrument could be heard, and it was glorious.

Kelly proved his worth as an instrumentalist. Fantastic stuff. Every note accurately performed. Kelly knows music. So does Benda. A great composition and composer.

For the final work, Telemann’s “Overture Suite in G Major”, nicknamed “La Bizarre”, in eight movements. It opened in the usual musical territory of the time, but with more going on underneath. It was serious and emphatic. The constant hit points made it sound contemporary. As it progressed, its individuality took over.

There was a lot of material, but little was bizarre. The conductor added those elements. He rushed between players, humorously directing them to emphasise their notes. It added a dynamic that the players and audience got caught up in.

Was Baroque music ever so entertaining? The audience was undivided, it enthralled.