Music / Apeiron Baroque: Sanguine/Melancholy. At Wesley Music Centre, Forrest, November 10. Reviewed by SARAH BYRNE.

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.

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.

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.

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 composer”), 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.

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.

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.

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.

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?)